| Budget Amount *help |
¥2,050,000 (Direct Cost: ¥1,900,000、Indirect Cost: ¥150,000)
Fiscal Year 2007: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
Fiscal Year 2006: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2005: ¥900,000 (Direct Cost: ¥900,000)
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| Research Abstract |
I conducted field surveys in Shanghai in 2004 and 2006, Jinmen Island in Taiwan in 2004, and in Beijing in 2003, 2005, 2006, 2007, and 2008. During this field work, I also collected books and organized data.
In the 2005 fiscal year, I advanced my research on "body theory" according to my original plan.
I concluded that the "human body" expressed in contemporary Chinese art is highly conceptual, in other words, "the body which a brain builds".
There is a big difference between the "pin-up beauties" calendar posters of the Republican era and the " 鉄姑娘 (Iron girls)" of the Mao era. This clearly reflects differences in the historical and social views on gender in each period.
Moreover, "the life-size body" expressed in contemporary art replaced the previous idea of "the collectivized body." In contemporary art, the conventional idea of gender clearly dissolves, and instead, a new concept of gender is pushed forward. I also pointed out that "the life-size body" found in contemporary Chinese art
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works is the very reduction of the body of the politician, i.e., the power machine.
Moreover, I investigated centers of contemporary Chinese art, such as Beijing "Daishanzi (798) art division." As a result, I suggest that the ideas behind contemporary Chinese art scenes are influenced by the Bauhaus, which aimed at a new integration of art and technology, and Maoism, which advocated laborers as the national masters.
During the 2008 fiscal year, which is the final year of the proposed study, I continued and enriched my research according to the original plan.
I reported critically that the 798 Dashanzi art division in Beijing had lost its original ideal and turned into a "business district" rather than an "art division" during the bubble economy.
Other major publications include the book "Chinese Contemporary Art" in February 2007. This book is graded "S" (which corresponds to an "excellent" level in the field) in "Saitama University Research Results." In January 2008, its Korean version was published with an addition of a new chapter. The book received favorable reviews in such papers and journals as "新京報" in China and "Art in Asia" in Korea and further international acclaim is anticipated. Less
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