As the great catastrophe in the modern and contemporary history of China, the Cultural Revolution(CR) is an object, which must have sutured the past of darkness. At the same time it is a continuous event and also a scar of memory. In other words, for history is "a dialog between the past and the rea...
As the great catastrophe in the modern and contemporary history of China, the Cultural Revolution(CR) is an object, which must have sutured the past of darkness. At the same time it is a continuous event and also a scar of memory. In other words, for history is "a dialog between the past and the reality"(E.H.Kar), CR intervenes in the reality and, on the contrary, the reality recomposes CR. From this point of view, CR is a historical event, which so far is not ended, and it is an object of memory, which is still being composed at the moment. As the saying: "Poetry is greater than history"(Aristoteles), artistic works more intensively reflect the past. The works related to CR can not be an exception. And CR is endlessly exposed in the contemporary Chinese fine arts and the works of the contemporary Chinese artists-Wang Guangyi, Yue Minjun, Zhang Xiaogang and others are proved to be those who suffer from the trauma of CR and who feel no liberty from CR. For example, CR probably is a symbol showing the "identity" of the Chinese artists. And the diversity of the symbol is the experience and pattern of the dialog between artistic works and CR (i.e., intervention in reality). For example, with withering of grand-narrative and appearance of micro-narrative, the CR critical works of Guan Zhoudao were the root of the Chinese fine arts in the late 70s and early 80s. In the contemporary cultural situation, the literary works about CR actively analyzed the history (CR) from the personal point of views and explained in the way of monolog and micro-method led the 1990s' works. In this way they tried to recompose the history "randomly", like looking at reality with their own eyes. In this process, CR is continuously exposing new features and the real facts are appearing before us as unfamiliar phenomena. This is a way of combination and "reappearance" of contemporary arts and reality. In conclusion, the purpose of this article is to make it possible to see a section of the contemporary Chinese fine arts through the study of the icon image of CR and to analyze the way of fine arts recomposing the history and the intervening in the reality. In this sense, the author has entitled the article "Icon and Form". It means how to reshape (the present) the typically formed icon of the CR (the past).
As the great catastrophe in the modern and contemporary history of China, the Cultural Revolution(CR) is an object, which must have sutured the past of darkness. At the same time it is a continuous event and also a scar of memory. In other words, for history is "a dialog between the past and the reality"(E.H.Kar), CR intervenes in the reality and, on the contrary, the reality recomposes CR. From this point of view, CR is a historical event, which so far is not ended, and it is an object of memory, which is still being composed at the moment. As the saying: "Poetry is greater than history"(Aristoteles), artistic works more intensively reflect the past. The works related to CR can not be an exception. And CR is endlessly exposed in the contemporary Chinese fine arts and the works of the contemporary Chinese artists-Wang Guangyi, Yue Minjun, Zhang Xiaogang and others are proved to be those who suffer from the trauma of CR and who feel no liberty from CR. For example, CR probably is a symbol showing the "identity" of the Chinese artists. And the diversity of the symbol is the experience and pattern of the dialog between artistic works and CR (i.e., intervention in reality). For example, with withering of grand-narrative and appearance of micro-narrative, the CR critical works of Guan Zhoudao were the root of the Chinese fine arts in the late 70s and early 80s. In the contemporary cultural situation, the literary works about CR actively analyzed the history (CR) from the personal point of views and explained in the way of monolog and micro-method led the 1990s' works. In this way they tried to recompose the history "randomly", like looking at reality with their own eyes. In this process, CR is continuously exposing new features and the real facts are appearing before us as unfamiliar phenomena. This is a way of combination and "reappearance" of contemporary arts and reality. In conclusion, the purpose of this article is to make it possible to see a section of the contemporary Chinese fine arts through the study of the icon image of CR and to analyze the way of fine arts recomposing the history and the intervening in the reality. In this sense, the author has entitled the article "Icon and Form". It means how to reshape (the present) the typically formed icon of the CR (the past).
주지하다시피, 문혁1은 중국 근·현대사에서 가장 암울했고 가장 절망스럽고 가장 혹독했던 시기이다. 그것은 참혹한 재난의 역사였던 만큼 그로테스크한 어두운 기억의 저편을 구성하면서도, 부단히 저편에서 이편으로 으스스하게 밀려온다.
‘에피스테메’의 대전환은 누가 말한 것인가?
혁명보다 더 중요한 것이 빵이라는 것을 10년의 좌절 끝에 비로소, 그리고 가까스로 깨달은 것이다. 70년대 말 푸코(Michel Foucault)가 말한 바 ‘에피스테메’의 대전환이 일어난 것이다. ‘역사적 과정에 내재해 있는 구조의 필연적 체계, 혹은 역사적 줄거리를 가능케 하는 조건의 총체’가 바뀐 것이다.
우리가 재구성된 역사만 알 뿐인 이유는?
그것은 참혹한 재난의 역사였던 만큼 그로테스크한 어두운 기억의 저편을 구성하면서도, 부단히 저편에서 이편으로 으스스하게 밀려온다. 역사란 ‘현재와 과거의 끝날 수 없는 대화’이기에 과거는 현재에 의해 끊임없이 재구성된다. 그러므로 과거는 부단히 현실에 개입하고 또 현재도 지나간 역사에 개입한다. 역사는 끝나지 않는, 여전히 진행형인 사태이다. 그러므로 원-사태(Ur-Sache)로서의 역사 자체는 알려질 수가 없다. 우리는 다만 재구성된 역사만을 알 뿐이다.
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