The histroy of fine arts during the period of the Cultual Revolution (1966 -1976) will show the audience the yesterday''''s myth. The channel of the Cultual Revolution Fine Arts aims at filling up the gap in the research of the history of China fine arts by serious historiographic attitude, which will provide the culture scholars with the raw materials for studying them.

By "the art of the Cultural Revolution", we mean a political and cultural movement which took place in China between 1966 and 1976, which is called "the Great Cultural Revolution" in the history. During the radical revolutionary movement, the young students of China did not go to school any more at that time and turned to destroy all the traditions including books, temples and cultural relics instead. They abandoned all of the so-called capitalist books, clothes and ways of life, attacked teachers, the propertied class and the people who had any relationship with the Kuomintang Party (the Nationalist Party) and the United States. Through the days, the students not only went to streets for their parades and slogans, but also traveled to all the places around China for their propaganda and liaisons. The period in the contemporary history of China has been regarded the best period of the spirit of the rock-and-roll culture in China, during which a great number of visual artworks relative with the movement had been created, including oil-paintings, sculptures, cartoons, posters and more.

Since 1976, the Chinese people have not made any mentions of these artworks and the young generation began to learn from the Western avant-garde art. By 1990s, the Hollywood culture of the United States and the pop culture of Hong Kong flooded all over China and the young people forgot that period of history little by little. It is even more noticeable that the generation who were born after the 1970s know nothing at all about the history and the artworks of that period. The main reason for re-mentioning the visual artworks of the political and cultural period in China is no other than the background against which the avant-garde art of China has entered the international art world and won great notability in the West. It cannot be denied that the Western artistic system has played a decisive role in pushing forward the avant-garde art of China into the international art world, but the Westerns have their own bias against the contemporary art of China when they are making their efforts to popularize and influence the avant-garde artist groups of China. The Western art circles have regarded the avant-garde art of China as such a model: the Western avant-garde form plus the Chinese political themes plus the traditional symbols of China. As a matter of fact, all of the artworks and artists selected into the Western international art exhibitions can be explained in such a way.

The value of "the art of the Cultural Revolution" has been re-mentioned against the background of the post-colonialist culture. Since 1996, some of the young artists, such as Liu Dahong, Sui Jianguo, Wang Xingwei and others, who were born in 1960s, have begun their artistic efforts with both the post-modernism as their forms and "the Cultural Revolution" and the modern revolution of China as their themes. They have raised a basic and common question: where is the modernity of the Chinese art? In their opinions, the modernity of the Chinese art should lie in the modernist experiences and the visual forms of politics in the modern history of China. After twenty years, some of the artists and critics have begun to re-evaluate the visual values of "the art of the Cultural Revolution". In some senses, "the art of the Cultural Revolution" has been regarded both as an early "self-description" of the modern political senses of China and the Utopian visions of the modern times and as an important element of the pop culture period of the modern political art. In visual forms, the works of the professionals have been influenced by the former Soviet Union and, in contrast, the cartoons and posters have reflected the original instincts of the folk art. It is no doubt that the current value of "the art of the Cultural Revolution" lies in the following points: it is the modern experiences in a Third-World style in the modern political movement; it is the self-awareness of the modern politics: it is the self-recording of the modern history of ego and it is also a local modern culture against the post-colonialist culture of the West.

Of course, many of the Chinese scholars have different ideas about the exaggerated values of "the art of the Cultural Revolution". They think that, whatever it may be, "the art of the Cultural Revolution" has already become a part of the political and cultural tools which brought unbearable pains and nightmare memories to a generation of the Chinese people. Moreover, even if "the art of the Cultural Revolution" could be expressed from a cultural angle to re-write the modernity of China, it is still questionable as to what spiritual values of the "free" history under the rule of the political totalitarianism could be tapped. As for re-mentioning of "the art of the Cultural Revolution", it also contains the sentiments of reminiscences and anti-post-colonialism.

In fact, as the scholars, artists and individuals from all around the world have made their efforts to collect and research the materials with their focuses on "the art of the Cultural Revolution", it is without doubt that more and more documents and books will appear in the future.