This study argues that folk art entered the modern discourse on Chinese visual arts as an object of both pride and shame and describes how ideas about folk art

Folk art is now widely recognized as an integral part of the modern Chinese cultural heritage, but in the early twentieth century, awareness of folk art as a di

China—Art—Modernity provides a critical introduction to modern and contemporary Chinese art as a whole. It illuminates what is distinctive and significant a

The Modern Chinese Folklore Movement coalesced at National Peking University between 1918 and 1926. A group of academics, inspired by Western thought, turned to