Abstract

This paper explores Zha Changping’s humanistic criticism of pioneering Chinese art as a new paradigm in art criticism after the postmodern disintegration of traditional art history with its linear art history writing. It introduces the “seven forming factors” at the heart of Zha’s “world relational aesthetics,” which, on one hand, gauges the pulse of the time, while on the other hand seeking to uncover the underlying relational logic informing this generation of pioneering artists’ intellectual outlook and artistic output.