The Research On Cultural Subjectivity Of "Symbolic" Artistic Creation In Chinese Contemporary Art Under The Post-colonial Context

In the 1990s, the Chinese contemporary art appeared on the international arena, which meant the fate of "being chosen" and "being watched". Chinese contemporary art has experienced the transformation of "passive colonization" to "active colonization". A "passive colonization" mainly refers to the "political pop" and "Cynical Realism" in the late 1980s and the early 1990s, represented by Wang Guangyi’s "great criticism" and Li Jun’s "big head". Because their works were inspired by the feelings of the reality in Chinese society, but when their works turned out to the world, regarded as "a true portrayal of the reality of China" and "the first time a glimpse of China’s soul", they were misread by "post colonialism" and the western "Orientalism". Provided that in the beginning of the 1990s, Chinese artists did not know in which standard Chinese contemporary art was viewed by the western art, then with the development of globalization, in the late 1990s Chinese contemporary art evolved into "active colonization". Confined to the powerful Western culture system and seduced by fame and fortune, a mode of flattering "symbolic" creation in the Chinese art became popular, shallowly and distortedly applying the traditional cultural resources and the social reality of contemporary China to the works, in order to emphasize "Chinese identity’’ However, this identity was the loss of subjectivity, and it was shape by the western "Orientalism" standard, precisely catering to the Western needs of exotic elements and strengthening superiority feeling towards the western capitalist system.Based on the above background, in order to provide valuable thoughts on the development of Chinese contemporary art, this paper focuses on the research of cultural subjectivity of Chinese contemporary art creation "symbolic" phenomenon under the context of post colonialism. This paper adopts the documentary method (studying the documents of cultural identity and Chinese contemporary art) and case study research (a further study of some artists and art events). The fourth to the eighth parts are the focus of this paper. These parts try to find the theoretical basis of the study of cultural identity through the interpretation of western "post colonialism" philosophy and to analysis the deep reasons that why Chinese contemporary art confronted post colonialism chaos when it went globally. And to renew Chinese culture self-consciousness, self-confidence and self-reliance and to adhere to the subjectivity of Chinese culture, the author puts forward his opinion in the respect of contemporary art.Finally, under the circumstance of western "post colonialism", two points should be noticed. Firstly, to rebuild the evaluation standard of Chinese art and to reshape the cultural consciousness, self-confidence and self-reliance, we should take the initiative to resist "post colonialism" in culture, including the misreading of "passive colonization" and the flatter of "active colonization". Secondly, in response to the international diversification of culture, we should not distort "quintessence" and destruct the future by the narrow-minded nationalism. We should extensively absorb the essence of foreign culture with an open and tolerant attitude to create a more reliable contemporary art so as to show "Chinese identity".