<?xml version="1.1" encoding="utf-8"?>
<article xsi:noNamespaceSchemaLocation="http://jats.nlm.nih.gov/publishing/1.1/xsd/JATS-journalpublishing1-mathml3.xsd" dtd-version="1.1" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><front><journal-meta><journal-id journal-id-type="publisher-id">IEF</journal-id><journal-title-group><journal-title>International Education Forum</journal-title></journal-title-group><issn>3083-4902</issn><eissn>2981-8605</eissn><publisher><publisher-name>Bio-Byword Scientific Publishing Pty. Ltd.</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.26689/ief.v2i10.8715</article-id><article-categories><subj-group subj-group-type="heading"><subject>Article</subject></subj-group></article-categories><title>Intertwining of History and Reality: An Exploration of the Creation of Wang Yingsheng’s “The Return of Hong Kong” </title><url>https://artdesignp.com/journal/IEF/2/10/10.26689/ief.v2i10.8715</url><author>WangWei,LiuYanqing</author><pub-date pub-type="publication-year"><year>2024</year></pub-date><volume>2</volume><issue>10</issue><history><date date-type="pub"><published-time>2024-11-21</published-time></date></history><abstract>This article aims to delve into the background, process, artistic techniques, and cultural significance and social impact of Wang Yingsheng’s important artistic work “The Return of Hong Kong.” Through an analysis of Wang Yingsheng’s artistic style, combined with a detailed interpretation of “The Return of Hong Kong”, this article reveals how Wang Yingsheng integrated his personal artistic pursuits with significant historical events to create a work that is both characteristic of the times and full of artistic appeal. Simultaneously, this article explores the position of “The Return of Hong Kong” in the history of Chinese contemporary art and its influence on Chinese culture.</abstract><keywords/></article-meta></front><body/><back><ref-list><ref id="B1" content-type="article"><label>1</label><element-citation publication-type="journal"><p>Chen XX, 2003, New Introduction to Deng Xiaoping Theory. Oriental Publishing Center, Shanghai, 258.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B2" content-type="article"><label>2</label><element-citation publication-type="journal"><p>Zeng XH, 2001, The Great Transition. Xinjiang People’s Publishing House, Xinjiang, 221.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B3" content-type="article"><label>3</label><element-citation publication-type="journal"><p>Han ZY, 2022, Portrait of the People. Jiangsu Phoenix Fine Arts Publishing House, Jiangsu, 142.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B4" content-type="article"><label>4</label><element-citation publication-type="journal"><p>Fan D, 2024, Preface to Academy: The True Colors — Wang Yingsheng Painting Exhibition. https://yangbo.cctv.com/2024/06/19/ARTIJqhdeAN0b6MJUqMUx7Pq240619.shtml</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B5" content-type="article"><label>5</label><element-citation publication-type="journal"><p>Ji JL, Liu YY, Xu JY, 2017, 20 Years of Return: A Personal Account by a Committee Member. People’s Political Consultative Conference Newspaper, June 30, 2017, 6.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B6" content-type="article"><label>6</label><element-citation publication-type="journal"><p>Na HS, Sun N, 2019, Regional Cultural Symbols and Feature Aggregation from the Perspective of Art Creation. Journal of Northeast Normal University (Philosophy and Social Sciences Edition), 2019(2): 170–175.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B7" content-type="article"><label>7</label><element-citation publication-type="journal"><p>Chen R, 2023, Using Culture and Art as a Medium to Promote Dialogue between Chinese and Foreign Civilizations. People’s Daily, May 7, 2023, 6.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B8" content-type="article"><label>8</label><element-citation publication-type="journal"><p>Huang ML, Tian T, 2013, Research on the Era Imprint and Cultural Adaptation of Oil Painting Art. Hundred Schools in Arts, 29(2): 216–217 + 191.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B9" content-type="article"><label>9</label><element-citation publication-type="journal"><p>Huang MF, 2013, Bias: From Calligraphy, Digital Art to Cultural Industry. Hundred Schools in Arts, 29(6): 83–91.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B10" content-type="article"><label>10</label><element-citation publication-type="journal"><p>Zhang HS, Wang XY, 2012, Art Aesthetic Education in the Context of Contemporary Chinese Popular Culture. Hundred Schools in Arts, 28(3): 78–81 + 134.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B11" content-type="article"><label>11</label><element-citation publication-type="journal"><p>Chu XQ, 2016, The Impact of Technological Progress on Artistic Creation Concepts and Aesthetic Value Orientation. Hundred Schools in Arts, 32(1): 130–156 + 163.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B12" content-type="article"><label>12</label><element-citation publication-type="journal"><p>Huai W, Gao J, 2006, The Symbolic Function of Artwork Design in the Environment. Packaging Engineering, 2006(2): 167–170.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B13" content-type="article"><label>13</label><element-citation publication-type="journal"><p>Chen L, 2022, Utilizing Hong Kong’s Unique Advantages in Co-building a Cultural and Leisure Bay Area. China Culture Newspaper, July 21, 2022, 2.</p><pub-id pub-id-type="doi"/></element-citation></ref></ref-list></back></article>
