Abstract

Taking a wide view on modern arts history, we may find that Chinese arts had changed the most in the period of the May 4 period. Furthermore, Chinese arts in the whole 20th century tillered from the parent body of the arts of the May 4 period. This paper, from the perspective of the eye of power by Michel Foucault, a French philosopher, examines the arts in the period, introduces the conception of scientific discipline and tries to analyze the sociological reasons why realistic transformation of Chinese paintings grew up to be the discourse power and the internal operation mechanism when it conflicts with the non-power discourse.

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