From Gongbi Zhongcaihua to Gongbi Hua: Conceptual Formation, 1978–1990

Abstract

Following the Reform and Opening-up in 1978, Chinese Gongbi Hua experienced a conceptual transformation from Gongbi zhongcaihua (meticulous heavy-color painting) to Gongbi hua (meticulous painting). While existing studies have focused on the revival of Gongbi Hau, artists, and technical developments, little attention has been paid to how the concept of Gongbi hua emerged and replaced Gongbi zhongcaihua. This study aims to examine the formation of the concept of Gongbi hua and the factors that contributed to its establishment. Drawing on conceptual history and the social history of art, the study employs literature analysis, terminological investigation, and formal analysis to examine major art journals, exhibition materials, and representative artworks produced between 1978 and 1990. The findings reveal that the establishment of Gongbi hua was not merely a change in terminology but the result of expanding artistic practices, cultural policy adjustments, institutional reconstruction, and the reconfiguration of critical discourse. A key turning point occurred in 1983, when theoretical discussions redefined Gongbi Hua as a broader category encompassing heavy-color, light-color, mogu, and baimiao forms. The growing independence of light-color and mogu techniques further weakened the classificatory significance of “heavy color.” The study concludes that the formation of Gongbi hua reflected the restructuring of artistic knowledge and values in Reform-era China and demonstrates how artistic concepts acquire legitimacy through the interaction of social transformation, institutional change, and artistic practice.