Abstract
Although industrial landscapes today appear as one of the most alien of art forms, they were once fundamental as backgrounds of socialist realist paintings. This essay examines the legacies of two masters of the genre in China and North Korea—Song Wenzhi (1919-1999) and Chōng Yōngman (1938-1999)—and demonstrates how different revolutionary histories have led to a divergence in legacy and achievement.
| Original language | English |
|---|---|
| Pages (from-to) | 61-65pp. |
| Journal | Made in China |
| Volume | 2 |
| Issue number | 4 |
| DOIs | |
| Publication status | Published - 2017 |