By the time the Yuan emperors were driven from China in 1368, and a new dynasty under Chinese rulers established -- the Ming Dynasty (1368-1644) -- literati painting was a firm tradition. Literati paintings were prized above academic paintings by most educated people, who understood their goal of revealing the inner character of the painter and communicating, through depictions of nature, man, or objects, virtues, strength of purpose, and sensitivity towards the conditions of human life.
So important had painting become, that some literati chose to focus their entire lives on mastery of the art, rather than pursuing government careers, even though their rulers were no longer alien to China. In the increasingly urban and educated society
There are many things that most people take for granted. Things people do regularly, daily and even expect to do in the future. These things include eating meals regularly, having a choice in schooling, reading, choice of job and a future, and many more things. But what if these were taken away and someone told you want to eat, where and when to work, what you can read, and dictated your future. Many of these things happened in some degree or another during the Chinese Culture Revolution under Mao Zedong that began near the end of the 1960’s. This paper examines the novel Balzac and the Little Chinese Seamstress by Dai Sijie and a book by Michael Schoenhals titled China’s Culture Revolution, 1966-1969. It compares the way the Chinese Cultural Revolution is presented in both books by looking at the way that people were re-educated and moved to away, what people were able to learn, and the environment that people lived in during this period of time in China.
In the Chinese history there is an important date that many remember. That is the Cultural Revolution that started in 1966 (Chan 103). This Cultural Revolution wasn’t a war by any means, but a competition between the different factions of the communist party for power. The Cultural Revolution was also a very important event in the history of the Chen Village. We saw through the different chapters of Chen Village just how it affected the different people that were living there during the eleven year span that it lasted (Chan 103). The Cultural Revolution caused a lot of problems to stir up in Chen Village.
Cranes above Kaifeng or Auspicious Cranes is a hand scroll attributed to one of the most artistic important figure: Late Northern Song Emperor Huizong (Sturman, 1990). This painting was made to commemorate a “rare” phenomenon where 20 cranes flying on the sky above the main gate of the palace, Kaifeng, on the day of Lantern Festival on the year 1112. This phenomenon was believed as a Mandate of Heaven under the rule of Emperor Huizong (IBID). This auspicious phenomenon, however, might not be as magical as it seems since Cranes above Kaifeng mirrors Emperor Huizong’s 3 aspects of painting that shows Emperor Huizong’s power on art during his sovereignty.
The Cultural Revolution in China was led by Mao Zedong, due to this Liang and many others faced overwhelming obstacles in many aspects of their life such as work, family and everyday encounters, if affected everyone’s families life and education, Liang lets us experience his everyday struggles during this era, where the government determined almost every aspect of life.
Hung Liu is successful in creating a juxtaposing image that tells a story about the many aspects of her Chinese origins. According to the painting, not all life in China is surrounded by beauty and elegance, like many believe it to be based on the traditional historical customs. Liu makes her point using a brilliant yet subtle progression, moving from the ideal to reality. Making use of the various principles and elements of art in her work creates a careful visual composition that benefit and support the painting’s achievements as a whole. This oil painting, being approximately 13 years old now, will hold a special place in Chinese history for the rest of its existence. The ideas Hung Liu portrays in Interregnum may help reform a social movement in the country by making her viewers socially aware of the cruel conditions the Chinese are facing under Communist rule, and this is all made possible through the assimilation of the principles and
Imagine pondering into a reconstruction of reality through only the visual sense. Without tasting, smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece of art work, which was the artist’s intended purpose. The eyes serve a much higher purpose than to view an object, the absorptions of electromagnetic waves allows for one to endeavor on a journey and enter a world of no limitation. During the 15th century, specifically the Early Renaissance, Flemish altarpieces swept Europe with their strong attention to details. Works of altarpieces were able to encompass significant details that the audience may typically only pay a cursory glance. The size of altarpieces was its most obvious feat but also its most important. Artists, such as Jan van Eyck, Melchior Broederlam, and Robert Campin, contributed to the vast growth of the Early Renaissance by enhancing visual effects with the use of pious symbols. Jan van Eyck embodied the “rebirth” later labeled as the Renaissance by employing his method of oils at such a level that he was once credited for being the inventor of oil painting. Although van Eyck, Broederlam, and Campin each contributed to the rise of the Early Renaissance, van Eyck’s altarpiece Adoration of the Mystic Lamb epitomized the artworks produced during this time period by vividly incorporating symbols to reconstruct the teachings of Christianity.
“Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness.” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
The Tang and Song Dynasties are both pertinent to China’s development. During the Tang period, which is also considered the “Golden Age”, art and literature was embraced and thrived. During the Song Dynasties, many technical inventions allowed China to grow as a nation, and emerge as one of the greatest nations in the medieval world. Both dynasties played a key role in the history of China.
Many people are familiar with the pyramids and tombs of Ancient Egypt, yet not as many know about the different types of art created by the lower classes. Documentaries, movies, and television shows rarely mention the more standard art that was created, that didn’t take years of hard labor to create. This art can be compared to the drawings that many people make today, as a hobby to do in their freetime. The only difference is that the Egyptians made art for more practical purposes, and rarely for fun. You would likely find a lot of these pieces in plebian burial sites, or packed away in museum storage. Though they lack the renown of the pyramids and tombs, the different styles and types of art created by the Ancient Egyptians have just as much value as the larger accomplishments, but for different reasons.
The Chinese Ming Dynasty, stretching between the mid 14th to mid 17th century, saw the completion of many great feats of architecture in order to convey the immense wealth and power of various emperors and government officials. The complex shown is only an example of many buildings that were completed using various architectural and stylistic feats of the Dynasty. One example of an architectural complex completed within the Ming Dynasty is the Forbidden City (c. 1406-1420). The vast imperial palace was built within Beijing in order to consolidate royal power. The Ming dynasty, marked by isolationist practices, invested time in both further developing design and artistic integrity within architecture as well as composing vast and impressive
Through the characters and their experiences in The King of Children, Ah Cheng shows the effects that the Cultural Revolution had on education and how that affected the people’s search for personal meaning in education. The Cultural Revolution and Down to the Countryside’s elimination of all practical and economic incentives for receiving an education caused characters to find moral and ethical incentives for education, such as to protect others and to be able to communicate effectively.
The French Revolution, indeed, changed the structure of economics and social sphere of the old regime, and also the ideology of that time. In the years that followed the Revolution, the always increasing senses of both freedom and individuality were evident, not only in French society, but also in art. As stated by Dowd, “leaders of the French Revolution consciously employed all forms of art to mobilize public sentiment in favor of the New France and French nationalism.” In between all the artistic areas, the art of painting had a special emphasis. After the Revolution, the French art academies and also schools were now less hierarchical and there was, now, more freedom of engaging into new themes, not being the apprentices so tied up to their masters footsteps, not being so forced to follow them.
The Great Proletarian Cultural Revolution, beginning as a campaign targeted at removing Chairman Mao Zedong's political opponents, was a time when practically every aspect of Chinese society was in pandemonium. From 1966 through 1969, Mao encouraged revolutionary committees, including the red guards, to take power from the Chinese Communist party authorities of the state. The Red Guards, the majority being young adults, rose up against their teachers, parents, and neighbors. Following Mao and his ideas, The Red Guard's main goal was to eliminate all remnants of the old culture in China. They were the 'frontline implementers' who produced havoc, used bloody force, punished supposed 'counter revolutionists', and overthrew government officials, all in order to support their 'beloved leader'.
Before the Cynical Realism movement began, the revolution came to be a disastrous plan that was put in place in order to revitalize the revolutionary spirit of China’s leaders with the assembly of youths that were ordered to rid of the “old” culture and those that did not support the new revolution. The entire uprising led to a total economic decline and failing educational systems, as well as the loss of faith that many Chinese citizens had for their government. After the death of Mao Zedong, the people of China, especially the artists, were beginning to see how far behind China was compared to the rest of the world due to Mao’s desire for a “self-sufficient” China (Smith 16). The art institutions were previously forced to emphasize strictly social realism and the study of representational work. Realizing ...
The purpose of this paper is to tell the history of the Ming Dynasty’s impact on the Chinese Empire, and to explain why the Chinese Empire was in fact an empire.