Conclusion

The difficulties to understand the notion of Cultural Heritage and the process of entering this heritage make the answer to the question of the place of Chinese Revolutionary Art in Chinese Cultural Heritage uneasy. Nevertheless, we have seen that the Mao’s period has produced art in many forms, even if there is still a debate about if it is really art or only propaganda, so there is a “corpus of material signs” as defined in the definition of the UNESCO. Besides, this art is today very present in people’s mind as proved by the influence of this period in contemporary art and mass-commercial art. We think that being influential to contemporary art can be a start to become National Heritage all the Chinese people don’t accept this heritage yet. Indeed, maybe this period is to close to the present or is to harmful, but Chinese people seem to not totally assume its heritage, which represents a great paradox as the ideology inherited is still alive, even though it has actually been deeply modified.

To conclude we can say that the universality of Mao’s heritage, whether you believe in its ideas or not, expressed in Revolutionary Art, and the fact that this heritage has been handed in to our generation and will be to the future, make it a part of Chinese Cultural Heritage.