Abstract: The article examines the problem of perception of abstract art in Chinese society using the example of Heilongjiang Province. It analyzes the reasons for the marginalization of abstract painting within the structure of the local art market, as well as the mechanisms shaping the aesthetic preferences of the public. The subject of the study is the interrelation between aesthetic education, cultural capital, the institutional environment of galleries, and the level of reception of innovative artistic forms. It examines how the listed components are connected to each other. Aesthetic education determines the initial basis of audience evaluations. Cultural capital provides the ability to go beyond figuration. The institutional environment of galleries either helps interpret innovative forms or reinforces their rejection. The level of reception serves as the final indicator of this complex connection. Thus, the subject of the study covers the structural dependencies between education, cultural resources, gallery operations, and the perception of new art. The research methodology includes cultural-historical, comparative, genre-stylistic, semiotic, and sociological methods. The theoretical foundation consists of P. Bourdieu’s concept of cultural capital, H. R. Jauss’s receptive aesthetics, and W. Worringer’s theory of abstraction. The empirical basis comprises a survey (N=212) and a survey of 21 galleries in Heilongjiang Province (March–June 2025). The scientific novelty lies in the fact that, for the first time at the regional level (Heilongjiang Province), a systematic analysis of structural factors hindering the spread of abstract art has been carried out using quantitative and qualitative methods. The share of abstract painting in the surveyed galleries is only 4.3%, and its distribution is extremely uneven and concentrated mainly in border cities (for example, in Heihe). The key barriers to reception are: the conservative “horizon of expectation” of the public, a deficit of systematic aesthetic education, and the institutional weakness of galleries. The marginalization of abstract painting is caused not by its inherent elitism, but by the gap between the field of cultural production and the field of mass reception. Overcoming this situation requires systemic changes in the sphere of art education and the development of cultural mediation institutions.

Abstract: This study investigates the critical and under-researched issue of the widespread discrepancy between the official self-designations of art institutions in China and their de facto operational functions. This problem is central to accurately understanding the dynamics of the local art market and the trajectory of contemporary artistic development within the region. The identified misalignment generates significant practical challenges for various stakeholders, including practicing artists, art professionals, critics, and the general audience. Using the major urban center of Harbin as a representative regional case study, this research underscores the urgent necessity for a comprehensive and systematic scholarly analysis of what constitutes the functional identity of cultural institutions operating within a specific socio-economic context.Methodologically, the research employs an integrated qualitative approach. This encompasses comparative-typological analysis for categorizing institutions, functional analysis to deconstruct their stated versus actual roles, and immersive participant observation. This mixed-methods framework was essential for gathering robust empirical data and conducting a nuanced examination of the day-to-day operations and organizational behavior within the sampled institutions. Constituting the first systematic, field-based investigation of art institution nomenclature in Harbin, a key contribution of this study is the development of an original typology based on self-designation. This analytical tool allows for a critical assessment of the tangible relationship between an institution's chosen name and its real-world functions. An in-depth analysis of 323 organizations led to the identification of seven primary institutional types and revealed substantial, statistically significant variability in name-to-activity alignment. The findings indicate that a majority of institutions fail to perform the core functions implicitly or explicitly promised by their titles. For instance, entities designated as “art museums” (美术馆) demonstrated the highest degree of correspondence to established professional museological standards, albeit at only 56.3% (9 out of 16). Conversely, venues operating under the name “salon” (沙龙) exhibited the lowest alignment (a mere 3.1%, or 6 out of 191), a finding largely explained by the term's predominant local co-option by the beauty service industry. Similarly, so-called “art studios” (艺术工作室) showed a notably low correspondence (16.7%, 5 out of 30) to the traditional, widely accepted understanding of a dedicated creative workshop, highlighting a pervasive pattern of semantic drift and functional ambiguity within the local cultural ecosystem.