Abstract
Nineteen-seventy-nine was a vintage year for both artistic and political experiments in China. In the arts the continued revival of traditional plays and paintings almost entirely replaced the stereotyped political art of the Cultural Revolution. Even more remarkable, growing contact with the West brought Brecht to the Chinese stage, Beethoven at the Beijing symphony, impressionism in art exhibitions. Foreign travellers were treated to the vaguely art nouveau nudes of the Beijing airport murals. Chinese readers were exposed to a new “realism” in literature which went beyond recounting the “wounds” of the Cultural Revolution period to frank exposure of defects in contemporary society.
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