Proceedings of the 8th International Conference on Arts, Design and Contemporary Education (ICADCE 2022)

Research on the Involvement of Public Art in the Revitalization of Revolutionary Countryside
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Red culture is the inner soul and spiritual pillar of the Chinese people's lifelong struggle for the revolutionary cause. China's art village construction activities in recent years have generally improved the rural ecological environment, improved the villagers' quality of life, and promoted the villagers' sense of cultural identity and belonging. Coinciding with the Centennial birthday of the Communist Party of China, red theme tourism has also set off a new climax. It is of great practical significance to actively explore the development mode of “red culture + Rural Revitalization”, take local people's governments and Party organizations at all levels as the leading role, and combine the intervention mode of public art practice to help rural ecological revitalization, industrial revitalization and cultural revitalization, and promote the integrated development of red culture, red education and red tourism.


During the agrarian revolution led by the Communist Party of China, Chairman Mao put forward the great principle and policy of “encircling cities in rural areas and seizing political power with armed forces”. The country has successively established 15 rural revolutionary bases, distributed in more than 300 counties in more than 10 provinces and throughout the vast rural areas of the country. As a revolutionary base, rural areas are not only the cradle of spread of red culture but also the root of red gene. Development and revitalization of rural areas is a major event related to the overall development of China.

China has won a major victory in poverty alleviation, and the vast rural areas have basically got rid of poverty and backwardness. In particular, red tourism has played an important role in driving regional economic development and ideological and political education. As early as the end of 2004, the state began to vigorously support red tourism. After three development cycles, more than 300 classic red tourism scenic spots have been created. However, in the process of development for many years, it is also difficult to avoid problems such as unbalanced development of red villages, old public facilities in scenic spots and similar red theme construction, which makes it difficult for tourists to feel distinctive interactive experience and profound red education. There are many red villages in China, each with different regional ecological environment, red cultural highlights and national cultural customs. The homogenization of red village construction should be avoided. In the context of the high-quality requirements for red tourism in the new era, how to enhance the new driving force for the sustainable and healthy development of red villages, give better play to the comprehensive benefits of red tourism, and finally promote the revitalization of red villages has become a new problem that needs to be studied and solved urgently.


The involvement of public art in the revitalization of red countryside is a sustainable and long-term development model. In the study of successful cases of public art activating the countryside, the most famous Japanese Echoic-Tsumari Art Triennial began in 2000 and lasted for 22 years, and has continued in the form of Triennial Exhibition; Setouchi Triennale began in 2010 and has successfully held four art festivals in 12 years. Qu Yan, a domestic artist, promoted the implementation of the “Xu village plan” in 2007 and has held five China Heshun · rural international art festivals for 15 years. Although the “Bishan plan” was finally stopped by the local government, it has also experienced five years. These provide valuable experience and lessons for the subsequent successful holding of Jingdezhen Fuliang Art Festival and Chongqing Wulong Earth Art Festival. Rural public art activities from the planning period to development period and then to the effective period is a long-term mechanism, which avoids the damage of some flash activities to the countryside. Art festivals are generally held in the form of biennales and Triennials, forming a systematic and rational development trend, gradually driving the construction of villages and forming a model of sustainable development.

The involvement of public art in rural revitalization, in a narrow sense, refers to the direct use of the influence of public art festivals to drive the development of rural tourism economy and create rural cultural brands; In a broad sense, it also includes a social activity in which public art intervenes in rural public buildings, public facilities, public space and public culture. Rural public art from the perspective of red should be the unity of publicity, regionality, artistry and education. It is the cooperation between artists and local governments, between artists and local villagers, and between artists and the media. Public art to promote the revitalization of red villages should be led by local people's governments and Party organizations at all levels, use the way of art, give play to the dominant position of villagers, and be realized under the fermentation of the media. The intervention of public art must imperceptibly build the material ecology and spiritual ecology of the red countryside with a flexible attitude, in order to inherit the revolutionary tradition and the red gene.


Rural public space includes all assets and resources except the homestead of farmers and its attachments (houses), the contracted land within the scope of the land contract management right certificate with the family as the unit, and the private land recognized by the masses. Rural public space is an important place for villagers' daily social, sacrifice, entertainment, leisure and other public activities. It involves many aspects of villagers' daily politics, economy, culture and life, and has diversified and complex functions. The construction of red rural public space by public art is not only to beautify the “shell” of rural public space, but also to reflect the “core” of Rural Red Culture and national regional characteristics.

4.1. Public Art Involved in Transformation of Red Rural Public Buildings

The transformation of rural public buildings is the primary way to retain the root of rural red culture. Public buildings are important cultural landmarks in the red countryside, including the original former residence of revolutionary great men, the former site of the CPC conference, rural workshops, production teams, hero monuments, martyr cemetery, revolutionary memorial hall, museums, as well as schools, ancestral halls, some houses that are idle and abandoned and can be transformed. Due to the rapid development of the red tourism industry, the phenomenon of copying classic cases inevitably appears. The overall spatial form of the countryside presents highly homogeneous external characteristics and lacks the original regional and national characteristics. The intervention of public art is to oppose similarities and advocate individuality. While exploring to create a beautiful appearance of rural architecture, researchers should also deeply explore the functional evolution and cultural changes of rural architecture. Using its local artistic characteristics to extract and apply rural regional characteristics, red culture and other elements is conducive to enhance the recognizability of the overall appearance of the countryside, create the overall red atmosphere of the countryside and highlight the regional characteristics. The rational planning of idle and abandoned houses, such as building red academies and red libraries, can not only provide the villagers with red ideological education, but also meet the villagers' needs for agricultural science and technology information. It can also create a number of leisure accommodations with the theme of red culture. Under the influence of the artistic atmosphere, tourists can review the party's revolutionary history and feel the revolutionary tradition and revolutionary spirit, in order to highlight the red revolutionary tradition and effectively boost the local economic development.

4.2. Public Art Involved in Transformation of Red Rural Public Roads

Rural roads serve as a link connecting the whole red tourism route and a channel for interaction, cooperation and exchange between urban and rural areas. First of all, the government should strengthen the construction of road infrastructure in remote villages, especially in mountainous areas. On the basis of ensuring the accessibility and safety of rural tourism roads, the reformers should make use of the advantages of local terrain and the characteristics of folk products to transform the landscape along the line, and use local materials and adjust measures to local conditions. In addition to the static display of public landscape sculpture works and installation art works, the Red Army's long march route and March route can also be integrated and planned to build it into a revolutionary war experience road integrating the significance of ecotourism and red education, so that tourists can review the party's revolutionary history, carry forward the spirit of patriotism, and experience the hardships of the revolutionary road The achievements of the revolution were hard won and received the baptism and education of revolutionary history. Secondly, the artistic transformation of village roads and field trails can not only make tourists tightly wrapped in the artistic atmosphere, but also improve the brand culture of local agricultural and sideline products. In addition, the network is also an effective way of publicity and promotion. Making full use of the advantages of the Internet and the Internet of things to eliminate the development gap between urban and rural areas and regions can effectively drive the modernization of rural industries, drive the economic benefits of agricultural and sideline products, and further improve the convenience and sense of access of the red tourism industry. Let the red countryside not only have a beautiful ecological environment, but also have a better life for the people, and turn the rich red resources advantage of the revolutionary countryside into the green development advantage of strengthening the village and enriching the people.

4.3. Involvement of Public Art in Rural Public Field and Transformation of Public Implementation

In addition to the village entrance and activity square, the rural public field also includes mountains, fields, rivers, etc. The artistic transformation of rural public areas must not be separated from the rural ecological environment. It is necessary to consider the characteristics of seasonal change, climate change, terrain height, and river trend and so on, and use the local unique ecological resources such as products, stone, wood and so on to create the style characteristics that are harmonious with the local appearance. Combined with the exhibition and tour routes, create a rest area, entertainment area and experience area in the public field, combine the red culture education with the functionality, entertainment and artistry of public implementation, and “teach in fun” the transformation of public facilities. On the premise of improving infrastructure, comprehensive service area, parking lot and other public service facilities, build an artistic fruit and vegetable picking garden, green plantation and intangible cultural heritage manual experience base. Fram Kitagawa believes that if art can be well combined with public utilities, such works can not only have the vitality of development, but also bring permanent works to the place. It is easier for villages and tourists to accept the art of “incomprehensible” into works of art with public practicability [1]. Rural public art should integrate functionality, publicity, artistry and education, so that tourists can personally feel the red culture and revolutionary spirit in the interactive experience.


The composition of rural public art festival includes resident artist projects, art works exhibition, opening and closing ceremonies and exhibition interaction, systematic visual image design, media publicity and continuous topics formed in later work [2]. Since its establishment, the public art festival has reproduced the cultural heritage through top-level design, culture as the basis, art as the way, diversification as the path, and revitalizing the countryside as the goal.

5.1. Art Creation in the Village Strengthens the Exchange and Interaction Between Artists and Villagers

The development of public art has been an interdisciplinary and interdisciplinary comprehensive art. The rural public art festival generally invites artists, architects, rural construction experts, ecologists, local villagers, folk craftsmen and so on. The countryside is neither an artist's personal show nor an artist's experimental field. Unilateral “artistic invasion” should be avoided. Public art can deeply understand the actual needs of local residents by using its characteristics of “locality”, “publicity” and “interaction” and starting from the ecological characteristics and regional culture of the countryside. Resident artists should deeply investigate the life of local villagers, tell red stories through local villagers, and extract effective creative materials from them in combination with regional culture and national customs, which is conducive to excavating and combing the local red culture, innovatively constructing the red culture of the new era with the help of artistic means, and promoting the continuation of revolutionary historical context. Professor Fang Xiaofeng said: “the really original good works must be created by the owners of this land, because only they can deeply understand the culture here” [3]. Therefore, inviting and encouraging local villagers to participate in the creativity and sharing of works can reflect the consciousness of their protagonists, which is conducive to the publicity and management of artistic works and the later maintenance. The interaction between artists and villagers can enrich the spiritual life of residents, improve the cohesion of rural areas, stimulate the aesthetic self-confidence and cultural identity of villagers, realize the internal driving force of red culture, build a harmonious rural ecological culture, better inherit and carry forward red culture and make red culture glow with new charm in the new era.

5.2. Public Art Festival Drives Development of Rural Red Culture Tourism and Related Industries

The outline of the national red tourism development plan for 2004-2010 points out that red tourism takes the local revolutionary history, revolutionary achievements, revolutionary spirit and other red culture as the theme to realize the deep integration of red culture inheritance and tourism [4]. The public art festival involves the design of red tourism routes, the publicity of red cultural and creative products, the establishment of red IP brand, etc. The organizer can develop a red experience tour and red education tour with the theme of “searching for red footprints and inheriting red genes”, and create a red tourism education base in combination with the construction of patriotism education base. Build a local art and culture exhibition center with revolutionary communication value, combined with intangible cultural heritage protection, let tourists participate in interactive experience, and drive the protection and inheritance of traditional handicrafts and traditional local art. Giving full play to the traditional advantages of rural red, taking red cultural tourism as the link and public art festival as the driving role can effectively promote the recovery of rural economy and the development of rural tertiary industry. Through the experience of red rural tourism, practice the core socialist values and enhance social cohesion.

5.3. Media Publicity Promotes Rural Popularity and Red Culture Brand

With a novel development mode, the rural public art festival has attracted the attention and focus of the media while attracting tourists from all over the country, and has been widely disseminated by means of television, Internet, we media and so on. Since its establishment, the rural public art festival has always paid attention to the fermentation role of the media. In particular, the opening and closing ceremonies will attract many multimedia and create a “network red punch in” effect. The International Art Festival can also promote the popularity of Chinese artists through the promotion of international well-known media, and expand the world influence of China's red countryside, giving new vitality to the red countryside in an artistic way, and making use of the advantages of Rural Red heritage to carry out the publicity and promotion of red culture. Making use of the influence of the public art festival will help expand the publicity of the brand of rural red culture industry, attract more young talents to return to their hometown, and promote the modernization of rural industries in the region; Improve the communication and cooperation mechanism, improve the urban-rural cooperation platform, expand communication channels, and form the characteristics and advantages of foreign exchange and communication of rural local culture.


Qu Yan believes that the important thing for art to intervene in the countryside is not the art itself, let alone the aesthetic category, but to become a social action, restore the damaged rural life form and natural ecology, and establish the normal relationship between people damaged by the social transformation movement. Art is an effective way to wake up the countryside, return faith and restore people's sense of life [5]. Red resource endowment and folk regional culture held by the countryside will become its core competitiveness. The correct leadership of the party organization and the dissemination and education of red culture are the powerful driving force to stimulate and promote the revitalization of the countryside. The involvement of public art in red rural construction should emphasize the inheritance of traditional red culture and the development of regional economy. Therefore, the intervention of public art should not only beautify the rural environment and enhance the development of rural industrial economy; It is more important to imperceptibly improve people's political and ideological awareness, lead people to carry forward the revolutionary spirit of hard work, enhance people's cultural aesthetic confidence, make up for the lack of rural public culture, and strengthen the role of rural red culture communication.


In the era of poverty alleviation and decisive victory in an all-round well-off society, giving full play to the characteristics of public art, such as “artistry”, “publicity”, “locality” and “interaction”, will help to promote the interaction and integration between art and ecology, rural areas and the public. Public art promotes the revitalization of red villages, forming a good situation dominated by the government, assisted by enterprises, art intervention and mass participation, in order to make red villages more attractive. Involvement of public art in revitalization of red villages should not only enable the people living in rural areas to enjoy high-quality public cultural services and get spiritual nourishment, but also promote the development of Rural Red Tourism and rural red cultural industry through the holding of public art festivals, feed back rural construction, bring real vital interests and life changes to the villagers, but also activate rural red culture with public art and inject new blood into rural red culture. Rural people's sense of happiness should be continuously improved on the basis of rural people's sense of keeping pace with the times and cultural reconstruction.


Wuhan Textile University, 2021 Special Project of Ideological and Political Education Research.


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Renjie Han. Practical Value and Enlightenment of Art Festival Enabling Rural Construction – Taking Longli International New Media Art Festival as an Example. Creative Design Source, 2021(02): 68–72.
Xiaofeng Fang. Ethical Thinking on the Involvement of Design in Rural Construction. Decoration, 2018(4): 12–15.
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Yan Qu. Return of Soul. 2015 Xucun International Art Commune, 2015.

Cite This Article

AU  - Zhangmin Yan
PY  - 2022
DA  - 2022/11/21
TI  - Research on the Involvement of Public Art in the Revitalization of Revolutionary Countryside
BT  - Proceedings of the 8th International Conference on Arts, Design and Contemporary Education (ICADCE 2022)
PB  - Athena Publishing
SP  - 105
EP  - 109
SN  - 2949-8937
UR  -
DO  -
ID  - Yan2022
ER  -