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The "Chinese fever" that has been sparked at international art exhibitions is the brilliance of the history of old shrines. The "5000 Year Civilization Exhibition of China" held by the Guggenheim Museum of Fine Arts only highlights the "ancient" and "modern" parts, canceling the "contemporary" part, in this way, it fully affirms the value of traditional culture. Therefore, avant-garde artistic creations after 1985 have all tended to destroy and subvert the spiritual value of cultural relics. The cultural relics that once symbolized power have been washed away from traditional values by artists, used as pure "materials" for expression, and extensively used as a consumable material, which to some extent aligns with the existing cognitive concepts of Western art consumers towards Chinese art. After recognizing and affirming traditional culture, Chinese female artists export works that are considered exotic, proficiently mastering the language barriers between transforming traditional culture and international aesthetics, no longer limited to graphic or decorative content. Its creation presents a chaotic state of mixed old and new, with a mixture of East and West, full of a strong vitality. They pursue a better material civilization life, break through the constraints of tradition on behavior, learn and master international ways of expression, achieve dual liberation of body and mind, and thus develop a comprehensive style. The renovation of traditional culture and the establishment of an international comprehensive style by artists are the ways for them to find uniqueness and entry in the many obstacles of "ism".
Peng Yang (Fri,) studied this question.