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Marriage in ancient China
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The Eight Immortals, sometimes referred to as the Eight Genies, are a group of legendary immortals in the Chinese religion of Taoism. The immortals are He Xiangu, Cao Guojiu, Li Tieguai, Lan Caihe, Lü Dongbin, Han Xiangzi and Zhang Guolao and Zhongli Quan (Wikipedia). Born in the Song Dynasty, each immortal’s power can be transferred into a “Power Tool” and can be used to grant life or destroy evil; these tools are referred to as the “Covert Eight Immortals” (Wikipedia). Even though this sounds as if it is a part of a dead myth in Taoism, the Eight Immortals became a vital role in Chinese artwork, literature and marital arts. Ever since Taoism became popular, Chinese artwork normally portrays humans who have become immortal. In the 12th and
...ngly opposite, the Chinese Landscape Painting depicts a boulder-filled mountainside with a waterfall, a river, a Chinese house, and trees spread throughout. The quote underneath is from Lao-tzu, (the founder of the Daoism philosophy). The complexity of the sentences by Lao-tzu is much higher than the sentence of Socrates.
The Classic of Filial Piety is a highly influencial piece of art from acient China that many use, along other acient Chinese arts, to portray how art in China was effected by the beliefs and events surrounding the artist. However, not many mention on how it was a major factor in influencing China to accept painters and paintings as arts that could be used for artists to express themselves, thus being both affected by the current events and being the event that affected other arts. The Classic of Filial Piety was painted by Li Gonglin and is different than modern art, mixing both pictures and text. The art was painted in the Northern Song Dynasty, which lasted from 960 to 1279. China was in the later half of the Dynasty, as the painting is estimated to have been painted in 1085. During this period, there was many who wanted to return to classic systems of beliefs, which Li Gonglin included in his piece mixed in with modern elements.
China has seen many changes throughout the course of their development, yet one aspect about their culture has tended to see continuity over the centuries. The practice of ancestor veneration has been present for thousands of years in Chinese culture. Looking at this single theme from China in 1600 compared to earlier periods, it is not hard to see that China has seen great continuity when it comes to honoring their ancestors. Religion, politics, and the economics of China may have changed over the years, but ancestor veneration has persisted and has even been shaped by these aspects.
China has many different schools of thought, most of which build upon or agree with each other. One of the constant schools of thought is the Mandate of Heaven. The Mandate is seen in many different dynasties throughout the history of China. It was created during the Zhou dynasty and is based on the ideology of Confucianism. It delivers the message that a ruler must follow the will of Tjan (god). If a ruler does not follow his will, the leader will be overthrown and a worthy ruler will be put in place. In addition to the Mandate of Heaven, multiple different schools of thought were created such as Confucianism, Taoism, Legalism, and Mohism. Confucianism is based on relationships. It emphasizes proper moral, social, political, and religious conduct. The five relationships that you must maintain, also to stay constant with the Mandate of Heaven are from ruler to ruled, father to son, husband to wife, elder brother to younger brother, and friend to friend. Another philosophical thought, taking an entirely different approach to life from Confucianism is Taoism. It is based upon non-action. The basic belief of Taoism is human attempts to improve the world ultimately make it worse. Instead, we should base our lives upon softness and spontaneity. We should not worry ab...
Liu, Jiahe, and Dongfang Shao. “Early Buddhism and Taoism in China (A.D. 65-420).” Buddhist-Christian Studies 12 (1992): 35–41. JSTOR. Web. 7 Nov. 2013.
...uare Temple at Eshnunna; both very different mediums of art. Although the mediums are different, both are greatly significant in understanding the cultures of the past. Within each of these works of art the theme of immortality is prevalent. One states the theme very plainly, whereas the other has acquired this theme as time has passed. Never-the-less the theme of immortality is important in understanding each of these works of art. It is this theme of immortality which connects these works of art to our modern day and the dream a lot of us have of living forever. Although many hold this dream, I think the artist Freddie Mercury said it best in his song “Who Wants to Live Forever” when he said “This world has only one sweet moment set aside for us.” Our life is very fleeting in the grand scheme of things, it’s this same fact that gives our life such great importance.
Taoist immortals have been traditionally known for their young attitudes, appearances, and energies(Hoff 109). It is not the adult that achieves the highest level of development. It is the 'clear-minded, all seeing Child. The wise are Children Who Know. Their minds have been emptied of the countless minute somethings of small learning, and filled with the wisdom of the Great Nothing, the Way of the Universe.(Hoff 151).'; Pooh has been called the bear with little brain, but this is not a bad thing. Taoists believe that the brain can often send people off in the wrong direction. A brain can do all sorts of things, but the things that it can do are usually not the most important things. The masters of Taoism, like Pooh himself, listen to the voices within themselves, the voices of simple-mindedness and wisdom. These voices go beyond knowledge(Hoff 154). Pooh may be a simple-minded, childish bear, but his friends in the Hundred Acre Wood Forest have demonstrated that knowledge and cleverness can often lead to no accomplishment. All people possess an Owl, Tigger, Piglet, Eeyore, and Rabbit within themselves, but it is the 'Silly Old Bear'; that they must choose to follow.
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
For instance, Lao Tzu, the philosopher who founded Taoism based on spiritual tenets of what death and afterlife are. Lao Tzu indicates that “Life and death are one thread, the same line viewed from different sides”. Lao Tzu uses thread metaphor for death and life; death and life are different sides of the line. Which means, death is not the end of the life but the beginning of the new life. He also believes that death is a law of natural, and human beings ought to accept and follow it instead of resisting it. People who want their body live forever are foolish. Dickinson’s poem could be observed from the perspective of Lao Tzu’s notion, which encourages people to accept death normally and peacefully. Emily Dickinson style in poetry, as she deals with spiritual ideas, seem to evoke philosophical principles as those proposed by Lao Tzu, despite their geographical or chronological distance. Emily Dickinson is an American writer who lived in 19the century, and Lao Tzu is an Eastern philosopher who lived in 500 B.C.; apparently, they do not have the opportunity communicate with each other, but they convey the same view on death through their literature. Although, both Lao Tzu and Dickinson think highly of spiritual life, they do not despise the physical life. The idea they may want to express is that only if human beings take advantages of the
In, Gilgamesh, the quest for immortality is important in order for Gilgamesh to cheat death, after his one and only best friend’s quick fatal fall to illness. Gilgamesh being two-thirds God and one-third human has many great obstacles to overcome, especially with the Gods. The search for immortality and overall self may be a great accomplishment for Gilgamesh to overcome.
It will define that Zhang used traditional Chinese charcoal drawing aesthetic to show the subtext of his artworks in contemporary Chinese art. By tracing the traditional Chinese charcoal drawing aesthetic in Chinese Painter Zhang Xiaogang artistic development in the past two decades, his art as a whole can be interpreted in presenting his concerns of the foregone society and showing his own feelings towards the public history with a unique form of expression.
Chinese art went through many different stages starting from the year 1842. But the massacre of Tiananmen Square in the year 1989 was a turning point in the political life of China and in the country's art. Until the year 1992 art in China was underground, but it kept expanding. As a result of that, some Chinese artists started to do art works that rebel against their government and express their feelings towards China. One of these artists is the famous Chinese artist Ai Weiwei who expressed in each piece of art he did, his feelings that China should let its people break away from the rotten traditional, in order to express their thoughts freely.
In the view of the Chinese common man, life on earth is but a temporary stop on his journey to death and other reincarnations. Since death is viewed as inexorable and inherent in the human condition, the Chinese accepts it with composure. It was a common custom in China, especially in rural areas, for people to have a coffin ready in their houses as a preparation for death that may come ten or twenty years in the future. Well-to-do people used to build their own tombs long before they felt they were approaching death. This composure should not be construed as absence of sadness and regret. The Chinese believe that, in spite of its seamy side, life is still better than death which is shrouded in mystery. Death, for Chinese, does not mean total disappearance. Only the corporeal frame is disintegrated, and the spirit survives and perpetuates itself in a series of reincarnations. The belief of the survival of the soul forms the spiritual basis for ancestor worship while the feeling of gratitude ant affection for one's ancestors forms its moral foundation. Among the Chinese, the honest man is born amidst traditions and rites; as an adolescent, he seeks to improve himself through culture; and in maturity, he aims at wisdom through following the spiritual path. This pattern is not an abstract ideal but a way of life, which often leads to an attitude of tolerance and detachment. The bulk of the Chinese people lived for centuries in this environment of ancestral beliefs and religious doctrines.
There is an ancient Chinese legend called the Time of the Ten Suns. The story describes the sons of the emperor of heaven, the ten sun crows that were each responsible for lighting up the world, alternating days. Until one day, all nine crows rebelled and flew out on the same day, burning the world to a cinder and leaving humans on scraps of uncharred ground. The emperor of heaven enlisted the help of Hou Yi, an immortal, respected archer with unmatched skill, to scare the crows back into obedience. However, when he saw the devastation, he felt it would not be just to allow the crows to live and so shot down all but one. The emperor, enraged, banished Hou Yi, turning him and his wife mortal. Regardless of his plight, Hou Yi served the humans to the best of his ability, slaying monsters and corrupt officials until he aged greatly. Desperate to survive, to regain his immortality, he sought and found two elixirs of life for him and his wife. Unfortunately, his wife took both elixirs and ascended without him. Insane with fury, Hou Yi turned upon and rained vengeance and tyranny upon the earth he once
As a result, an audience may realize that it is Taoism what keeps all of Ang Lee’s films connected. Taoism is Ang Lee’s not-so-obvious fingerprint. By using the Taoism belief in different aspects of the film like the camera, the composition, the art direction etc., audiences have freedom in the world his film created to choose the way they perceive the most authenticity about the character and the world the character is in.