중국 전쟁화의 표현 주체와 국가 이미지

Abstract

This study aims to examine changes in the national image in Chinese war paintings as the expressive subjects in Chinese war paintings have changed. The expressive subjects were divided into individuals, the nation and capital. First, Chinese war paintings were spontaneously represented by the expressive intention of each painter. Before the establishment of The People’s Republic of China(1919~1949), the national image appeared as a protector and shelter which is the basis of inevitable life (Chapter 2). Second, Chinese war paintings were represented by the expressive intent of national power. The People's Republic of China when it was established(1949~ 1979) asked painters to declare the win and take over in power of the communist party. War paintings became an instrument to promote the legitimacy with the foundation of the state. At this time, the national image was expressed as a great successor and hero, and heights, plazas and spaces with the horizon visible were shown. Third, Chinese war paintings were shown by expressive intent of capital. Capital at the time of reform and opening up(1979~2010) was in collusion with power. Capital supported war paintings which advocated nationalism as an actual ruler while hiding behind the nation. Huge war painting projects and contests encouraged war expression which did not have any more currency with the active help of capital. Painters produce larger and more graphical war paintings according to the logic of capital. Then, the national image was reorganized as a dominating and spectacular space through large sizes and synesthesia. The state could be a force to encourage the sacrifice of the individual while it is the basis of inevitable life. In addition, power in collusion with capital concealed private interests with public nature. This nature of the state is shown through the national image according to changes in the three expressive subjects of Chinese war paintings.