The Image Behind the Image

DOI

10.2991/978-2-38476-452-5_48How to use a DOI?

Keywords

New Painting; Subjectivity; Visual Experience; Anti-Categorization; Image Reconstruction

Abstract

This paper examines the rise of “New Painting” (新绘画) in post-millennium China, positioning it as a critical evolution beyond historical movements like Scar Art (伤痕艺术), the '85 New Wave (85新潮), and Political Pop (政治波普). Rather than a unified style or manifesto, New Painting embodies a radical subjectivity—a conscious departure from technical fetishism toward deeply personal visual languages that resist commodification and categorization. Its emergence signals a paradigm shift: where preceding movements engaged collective trauma or political critique through codified symbols, New Painting privileges the artist's interior landscape. Artists like Li Qing (李青) and Zhang Zhaoying (张钊瀛) exemplify this transition—their canvases operate as psychological arenas where cultural memory collides with contemporary fragmentation.

Copyright

© 2025 The Author(s)

Open Access

Open Access This chapter is licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License (http://creativecommons.org/licenses/by-nc/4.0/), which permits any noncommercial use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.

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TY  - CONF
AU  - Dixin Han
PY  - 2025
DA  - 2025/07/31
TI  - The Image Behind the Image
BT  - Proceedings of the 2025 4th International Conference on Science Education and Art Appreciation (SEAA 2025)
PB  - Atlantis Press
SP  - 372
EP  - 377
SN  - 2352-5398
UR  - https://doi.org/10.2991/978-2-38476-452-5_48
DO  - 10.2991/978-2-38476-452-5_48
ID  - Han2025
ER  -