From"Chinese Ethos"and the"Double-Hundred Policy"to the"Two Integrations":The Policy Evolution of Chinese Art Theoretical Discourse Over a Century
The development of Chinese art theoretical discourse over the past century reflects the broader social transformations within the country's artistic domain.The overarching goals of social revolutions are translated into specific cultural objectives through revolutionary"programs",which are then further concretized into lit-erary and artistic"policies".These policies serve not only as the foundation for art theoretical discourse but al-so as expressions of the artistic values and purposes of their respective eras.The evolution of these literary and artistic policies has driven changes in art theoretical discourse,progressing through distinct stages:from the"Populace Literature and Art"established during the May Fourth Movement,to the nationalist discourse char-acterized by"Chinese Ethos"during the New Democratic Revolution,to the"Revolutionary Literature and Art"centered around the Yan'an discourse,and further to the"Socialist National New Culture"advocated during the Socialist Revolution.In the contemporary era,the principle of"People's Orientation"has become predominant,leading to the latest discourse marked by"Mass Entrepreneurship and Mass Innovation"and the"Two Integrations".The century-long evolution of Chinese art theoretical discourse highlights the close inte-gration between"policy"and artistic criticism,where policy functions as both the core of theoretical frame-works and the benchmark for critical evaluation in specific cultural activities.
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