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Essay american victorian furniture
Western cultural Chinese influence
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Drowned V is the fifth installment in Choi Yan-chi’s Drowned cycle, a long term project beginning in 1989 with her fist installation in the Hong Kong Arts Centre. While stationed in Toronto’s non-profit Mercer Union gallery, Drowned V was a personal response to the issues of identity and home that many Hong Kong citizens struggle with. The installation opened into a softly lit domestic space populated with carefully spaced Victorian style wooden furniture, dark picture frames adorned the wall and the repetitive noise of a water pump could be heard in the background (Choi). Set on the tables were fish tanks, each holding a stack of books suspended in tanks of oil. The Victorian furniture and soft lighting would first inspire the feeling of warmth …show more content…
Drowned V draws on Choi’s past works and social activisms in Hong Kong’s art world, however, it takes these themes and turns them inward. Drowned V addresses the struggles Choi had with the restrictive art world of late 20th century Hong Kong through the theme of preservation. Old unwanted books (scavenged from libraries and thrift stores) sit still and preserved in oil with only their titles displayed to the viewer. They are preserved and protected, yet inaccessible and unwanted. Similarly the classical Chinese ink paintings were prioritized and protected by Hong Kong’s governments and yet they symbolized the old way that many of the modern artists of the time felt no connection with. Conflicting feelings between the classic “Chinese” identity and the modern more locally based identity in art drive this piece as Ward summarizes in her essay on Drowned V: The two styles simply collide, and neither is thought through the practices of local, contemporary culture; the future is slapped onto the past and neither is thought through the other. The demand to sacrifice a thoughtful future for the continuation of the past has made Choi’s work difficult. But she is also aware of the problems of sacrificing past culture for the sake of a better future–the history of twentieth-century China is filled with such evidence. Suspended between two states, between two relationships with the past, Choi is at home in neither. (para
Smarr, Janet. “Emperor Wu”. Making of the Modern World 12. Ledden Auditorium, La Jolla, CA. 17 Feb. 2012. Lecture.
The novel Paradise of the Blind by Duong Thu Huong is set in North Vietnam during the Communist revolution in 1980's and is translated into English by Phan Huy Duong and Nina McPherson. The traditional Vietnamese society of time set in the novel is illustrated through Hang, the protagonist. The author conveys the underlying message of pursued hope to the readers via constructing the correlation between the constantly changing natural environment and Hang. This correlation gives in turn a microscopic view of the family ties and its impact on the entire Vietnamese generation. As the imagery of hope prevails, Hang ultimately gains capability to escape her past in favour of the future thus being able to reject prominently dominant family obligations. This bildungsroman novel, written from Hang’s perspective gives further insights into her growth throughout her life as the constantly changing natural environment is utilised as a sophisticated stylistic device where its changes parallels the emotional development of Hang.
In Ha Jin’s Under the Red Flag, the author interweaves different stories to showcase the individuals’ struggle to go against their natural instincts, as a means to comply with New China’s standards. These standards have been dictated by the political enforcers, and have established a new underlying moral basis that is expected of everyone to comply with. Although the stories are quite different, the connection they share is clearly explicated—they all combat the societal pressures to change themselves or face the consequences of being different. Two characters in particular: Ding Liang and Zhu Wenli, reveal the result of two different choices made.
This week I am choosing to write my piece on the bronze “Incense Burner,” from the tomb of Prince Liu Sheng. I choose this because the depiction of life and harmony in this artifact contrasts deeply with the art from previous regions, where their sculptures emphasized mainly on masculinity, heroism and death. I thought this piece to be very phenomenal, and I believe it captures the essence of this human and nature like bond, the gold outline tracing on the waves of water like arches bringing in this feeling of enlightenment. In this chapter much of the artwork depicts nature as the mother,protector, and also the ruler of life. They send to viewer’s different aspects and the profound connection between the beauty of nature and human. Above the outline ocean waves of the “Incense Burner,” are these
In 1966, a socio-political movement known as the Cultural Revolution swept across the People’s Republic of China and resulted in astounding changes whose effects are still being felt by the nation today. The Cultural Revolution changed nearly every aspect of traditional Chinese culture, politics, and psychology, and replaced it with Maoist ideology. To change the paradigm of a nation with deep historical roots, immense size, and a greatly distributed population, such as China, in a course of ten years is a feat most commendable. Responsible for this mind boggling change is, at the heart of it, a single man, Mao Zedong. Mao Zedong was born in 1893 to humble beginnings in the countryside, the world itself oblivious to the future of this man (Spence).
Morton, W. Scott, and Charlton M. Lewis. China: Its History and Culture. 4th Edition. New York: McGraw-Hill, 2005.
The twentieth century was an awesome time in the historical backdrop of relocations that happened the world over. In this century individuals recorded development starting with one place then onto the next. The developments were required by the quest for greener settlements of life. Individuals of the Asian birthplace relocated to the U.S. what's more, gotten themselves torn between their own way of life and the American practices. This two opposite compels one of inventiveness and the other recently discovered, was battled by the Chinese era that was brought up in the American foundation. This skirmish of thought drove Chinese Americans to an inside feedback between what they are by birth and what nature
Quinn, Edward. “Cultural Revolution in China.” History in Literature. New York: Facts On File, Inc., 2004. Bloom’s Literature. Facts On File, Inc. Web. 14 May 2014
“China is a nation that appears to be severing its roots by destroying its past. Demolition and construction were everywhere on such a scale that I was unsure if what I was seeing was being built or destroyed, destroyed or built ... And yet, paradoxically, the Chinese have traditionally had a deep identification with their native soil and an attachment to place.”
Out of times of societal conflict, art arises like a phoenix from the ashes left in the wake of injustice. A piece of literary art entitled Red Scarf Girl, is a memoir of author Ji-Li Jiang’s life during the Chinese Cultural Revolution. The novel details her youth during the rise of communist China and is directly inspired by events that transpired in Jiang’s life. As evidenced by Jiang’s, Meeropol’s, and my art, one can see that art is often motivated by the creator’s desire to shed light on wrongdoings gone unnoticed by the masses.
In the film Light the Red Lantern and the novel Family by Pa Chin both deal with conflicts and contradictions between China’ old cultural traditions and materialization of new culture movements. The old traditions causes a cultural block between the older generation and the younger generation. These two works demonstrate this as oppression in the expectations of the family traditions upon the younger generation and the treatment of women.
When I first think of the Hotel Shangri-La in Singapore, I don’t think of opulent decorations and swaying palm trees. Instead my thoughts go to the table in every room where there should be a book waiting to be read. Rumor has it that when the place first opened up in 1971 every single guest received a copy of a single book, the owner’s favorite: James Milton’s Lost Horizon. The adventurer in the novel, Hugh Conway, stumbles upon a fictional Tibetan sanctuary of long-living citizens and the
The largest flaw Wang Meng committed in The Forest Dwelling at Juqu is his representation of waves in Lake T’ai. The lake’s waves are sharp, repetitive spikes that have little difference in height despite the lake’s upward recession. Water itself crashes and recedes, cycling through with its own life energy. However, Wang Meng’s water is stagnant and unchanging, cold and cruel like the reptilian scales it resembles. The pulsating, life-giving water that the villagers center their life upon is foreboding due to Wang Meng’s strokes, and is such a different form than what heaven intends. Wang Meng does not understand the fundamentals of water, and his painting suffers a lack of vital force due to
Xu Xi is a Chinese-Indonesian native of Hong Kong and she is one of Hong Kong's foremost contemporary English language novelists. She is described like a camera zooming down from the peaks and penthouses to close-ups of the crowded flats and side streets of Hong Kong. Her book is populated by ordinary people like Lam Yan Kuen and their daily lives. Through the stories of these nonentities, Xu Xi recounts the history of Hong Kong in today's voice. Her stories showcase the tension between the East-West relationships and the ambivalent feelings of Hong Kong people during post-colonialism and handover.
Considered one of the most important figures in Chinese contemporary art, Fang Lijun has devoted his paintings and woodblock prints to the cynical outlook of the Cultural Revolution in China and incorporates his passion for art into modern work. His dream-like depictions of repetitive and new figures tell a story of the rebellion and meaningless existence that Chinese youths felt due to the strong impact of China’s quick development towards modernity. Leading the Cynical Realism art movement starting in 1989, Lijun uses his experience during the Cultural Revolution to create images that define the perplexity of the changing society. His position during these times created a path for him to mold his artistic views and understandings of ethics and the morality of humans in the world. This dedication to the reactions surrounding the Revolution has had a successful path of grabbing attention from viewers on a global scale.