The proletariat mode of Russian propagandistic art was much driven by the Leninist mode of Menshevik thought, so that it could condone a limited extent of conservation on either Czarist or Orthodox aesthetic elements.
However, China under Mao Zedong reinterpreted such Soviet-Russian art style as inclining to Bolshevism advocated by Joseph Stalin. Thus, there was an elimination of Romanticism from the Modern Chinese oil paintings of the fine art academies since the administration of CCP, which resulted in a brutal suppression on all kinds of Western European art styles including French or German aesthetics. On the contrary, Russian paintings within the Soviet era still allowed the existence of Post-Impressionistic and Expressionistic elements of French and German art due to a respect to religious affections.
If tracing back the histories of Sino-foreign cultural exchanges, Xu Beihong did persuade the Soviet Russians to humbly apply the harmonious aesthetic nutrients of Lingnan literati painting for protecting the Romanticist and humanistic elements of Russian art even though the Soviet Union introduced propagandistic art. He did not agree with Wassily Kandinsky’s pessimistic approach of reforming Russian art with Bauhaus industrial values as an escape from the Soviet political suppression.