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.
Firstly, auspicious phenomenon mentioned before is known as ruiying in Chinese. It is believed to be blessings and a mean of communication from Heaven in form of strange and wonderful responses towards, in this case, Emperor Huizong.
Secondly, Emperor Huizong was a patron of arts and in his painting academy he highlighted 3 aspects of painting: realism, systematic study, and poetic idea. (source dri buku yg foto di library) These 3 aspects were clearly shown in Cranes above Kaifeng: Auspicious Cranes which indicates the amount of control Emperor Huizong had on the visualization of auspicious events.
Before we get to those 3 aspects, why are these cranes significant in knowing that the event is auspicious? Cranes can symbolize longevity and are believed couriers of immortals. In other words, the cranes are sacred bird. (Ars orientalis) Thus, the phenomenon where 20 cranes came to the city gates was interpreted as auspicious event.
Realism refers to about a true representation of a person or a thing. However, in Huizong’s case, Benjamin Rowland argues that the emperor’s style is “m...
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...Heaven’s Pond) to stress that this event too was a similar auspicious event.
This inscription is the biggest support towards the idea of auspicious cranes that Huizong claimed that controlled the interpretation of the painting itself. If this inscription was not made, it might be easier for the audience to have other interpretation other than Mandate of Heaven. However, it was effective to be used to control the meaning of the painting and emphasize the event’s association with blessing from Heaven.
Overall, putting the truth about Cranes above Kaifeng aside, this hand scroll containing a painting and a poetic inscription shows how Huizong with his control over art can dictate the meaning and message an art can convey. This will lead to a manifestation of certain belief to the people of Song dynasty, which in this case is a belief that it was a Mandate from Heaven.
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
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Emperor, and First Grand Secretary, I would like to praise you both in your quick, and industrious actions taken for the welfare of the Empire. I would also like to thank you both for taking such meticulous consideration of our memorials. Your fervent attempts are well respected and I can see the ways of Confucius guiding these principles. I urge you now to take the next step, dear Emperor, and address the issue of succession here in the Forbidden City. Choose Changlou, your firstborn, to ascend to the throne after your departure, and remove Lazy Zheng from the Forbidden City. If you are to do this, you, Emperor Wan Li, will solidify your position here as a man of Confucius ideal, and as a powerful efficient ruler. This will establish most trust among ourselves here, and therefore create a more unified government.
Before launching into praises of the Song Dynasty 's many achievements, the matter of its origin
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Cao Xueqin’s Story of the Stone is a classic in Chinese literature, showcasing the life and exploits of the wealthy Jia clan during the feudal era. Through Cao’s depiction, the reader is afforded a glimpse into the customs and lifestyle of the time. Chinese mode of thought is depicted as it occurs in daily life, with the coexisting beliefs of Confucianism and Taoism. While the positive aspects of both ideologies are presented, Cao ultimately depicts Taoism as the paramount, essential system of belief that guides the character Bao-yu to his eventual enlightenment. As was the case in China, Cao depicts the two forms of belief existing alongside one another, and not necessarily practiced exclusively to one another.
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According to Art in China by Craig Clunas, the Wei Dynasty, which started in 386 and ended in 535, was an era in which Buddhism was central to the culture of both the noble and common people. For much of the Wei dynasty the artists and sculptors were slaves to the state. Different styles of Buddhist art were popular during this period. At first, the artists copied some elements from Indian Buddhist sculpture, but then they developed their own style. During the Wei most of the art produced had a connection to Buddhism, and the emperors spent a great amount of resources to have the Buddhist art pieces produced (Clunas 92-97).
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...assistance. The man instructed him to make small dumplings, or Tāngyuán (湯圓), for the God of Fire. Also, he told him to tell the people to hang up lanterns and light firecrackers. The emperor obeyed the man’s commands and the city was saved. While the people were admiring the decorations in the city, Yuánxiāo was finally reunited with her family. During the Lantern Festival, the Chinese people enjoy eating Tāngyuán (汤圆). Tāngyuán are small, sticky dumplings filled on the inside with sweet stuffing. Eating these dumplings represent family unity and togetherness. After eating, the people enjoy the craft of making large, elaborate lanterns from colored paper. They enjoy watching the beautiful lanterns in the night along with the full moon. Another popular activity involves guessing lantern riddles. These riddles have messages that indicate good fortune and prosperity.
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