A Study Of National Government’s Art Policy Evolution And Its Influence On Fine Art Devel Opment During The Aiti-Japanese War (1936-1945)

This paper based on the National Government’s basic state policy:"Anti-Japanese and National construction" during the Anti-Japanese war. At the perspective of "anti-Japanese" and "national construction", we divide the development of the fine art under the leading of the National Government, during the anti-Japanese war, into three periods:1, the culture preparation period for the war (1936-1937);2, the earlier stage of the Anti-Japanese war (1938-1940);3, the later stage of the Anti-Japanese war (1941-1945). This article breaks the formal single perspective of "anti-Japanese", and makes a new division to the progress of art career during the Anti-Japanese War, and also regroups the National Government’s policy orientation on art at each period. As the ruling party, the National Government undertakes the battle mission on the frontline battlefield. Our research object focuses on the influence that the National Government’s art policy works on the fine art development and this will do favor on our re-assessment to the overview of the fine-art development during the Anti-Japanese War.During the culture preparation period for the war and the earlier stage of the anti-Japanese war, there are three key factors that affect the fine art development:the Central Culture Career Planning Committee’s "peacetime"(normal) education leaded by "cc clique"; the industrial education implemented by the National Government’s Ministry of Education at the lead of Wang Shijie and the national calamity education of the fine art education realm. In January,1938, Chen Lifu officially became the new minister of Education of National Government and restarted the weekly fine art teaching period in primary and middle schools. It means the power of the "cc clique" stepping into the National Government’s Ministry of Education and also becoming a symbol of the union of the National Government’s fine art concept. While the fine art field at that time divides into two sides:one of them calm down gradually and begin to accept the Chongqing National Government’s the fine art concept:"peacetime" education; the other side refuse to accept, they head for Yan’an numerously and begin the road of revolution.Thus, at that time in China, two kind of fine art camps have been emerged:Chongqing and Yan’an. With the collapse of the Anti-Japanese fine art united front, Liberated Area separates itself from the control of the National Government gradually. Therefore, while the National Government’s art policy becomes more and more mature during the later stage of the anti-Japanese war, but its sphere of influence faces a little shrink and was leaded by the "normal" concept. Thus, the paper will state the status of fine art in Anti-Japanese War from3aspects, the orientation of national government arts policy and art values; art operations and safeguards and the development of art.