In The 80 S Under The Perspective Of Chinese Avant-garde Art - Field Analysis

The Bourdieu’s culture and sociology theory occupies the one and only role inthe contemporary French thought. His method of viewing the field of culture andeducation from sociological Angle brings a new perspective to academia. The artdevelopment in1980s is a crucial period of Chinese art history. That is the reasonwhy so many art theorists maintain a keen interest in studying it as it still haveunearthed secrets. After the new century, more art theorists start to use the newtheory and new method to analyze Chinese contemporary art. Currently, abreakthrough within art perspective, to do research from an outside perspectivelike sociology, culturology and other field has become a trend of frontier. Thisarticle mainly reveals the1980’s domestic art field production mechanisms and howavant-garde art struggle for the field of legality. To analyze1980’s Chineseavant-garde art from the Bourdieu field theory strives to have a new interpretation.There are four chapters here. The first chapter outlines the term “avant-garde”from the source of Western context and explains the new meaning in Chinesecontext. Western “avant-garde” art has two kinds:“the art of self-discipline” and“avant-garde against the system”.The former embodies the rebellion to thetraditional artistic language, the latter rebel to the system and even the culture.While in the context of China,“avant-garde” embodies the dual variation. Itembodies the change of art form and also acts as the resistance of social system.The second chapter introduces Bourdieu’s field theory. Firstly, how Bourdieu’sfield theory can be used to analyze1980’s Chinese avant-garde art is embodied,based on analysis of the methodology, which is a innovative point in the paper.The art of French society in late19thcentury analyzed by Bourdieu’s field theoryhas a close relationship with money. The art enjoys freedom.It relies on and was controlled by economic field at the same time. There is a similar phenomenon inthe1980s Chinese social context. The art enjoys freedom but it depends onpolitical field. Both arts in the two societies seek development space in the field.The third chapter introduces the confrontation relation between realism andmodernism art in art history before the struggle between the realism art andavant-garde art for power in1980’s Chinese art field is analyzed. The fourthchapter beginning with the avant-garde artist Wang Guangyi as a case, analyzes thestrategies of avant-garde artist, as well as the “internal logic” in art field forproduction artist myth.To expound through four parts, this paper demonstrates the characteristics ofof art in the1980s China’s history based on sociology of Bourdieu, trying to makecertain innovation.