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 were articulated in the pivotal period of the 1930s and 1940s.
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 were articulated in the pivotal period of the 1930s and 1940s.
