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Censorship of arts and artists
Censorship of arts and artists
Censorship of arts and artists
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The documentary called “Without Fear or Favor”, regarding Ai Weiwei, connects to traditional Chinese artist, as well as what we have studied in class in many ways. The political sarcasm found in Ai Weiwei work of arts, like jamming chairs and tables together, and then reassembling them with no nails is like the Ming dynasty. Ai Weiwei reminds me of Ni Zan, because they both experiences hardships from powerful leaders that banished them and their families to flee taking the possessions away. Ni Zan experienced Mongol invasion, just like Ai Weiwei lived through his father’s banishment. There is a distinct difference between him and the Four Great Masters, including being outspoken. He is continuously disobeying government orders, mocking society
Most outcasts of history had a particular, exclusive life; full of struggles against the society ever since birth and grew up with a heart made out of steel from the harsh criticism they have endured. They differ from the community within their beginning to their end, and many of their stories end up becoming legends and gaps of the past that nobody will be able to reincarnate. China’s first and last female emperor, Wu Zetian, was one of these exclusives. Ever since birth, her history of tactics to the people around her; in order to ascend the throne, juxtaposed towards society’s attitudes of women at the time; through her breakdown of gender stereotypes and quick knowledge, and offered a new perspective to the world of just how cruel and beautiful women can be. She successfully destructed all accumulated views of women in the Tang Dynasty, and created her future in the way she wanted it – on top of every man in her country. She was an outcast – somebody who juxtaposed against the demands of her. She was history.
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
In his poem, “Notes from the City of the Sun”, Bei Dao utilizes obscure imagery consistent with the Misty Poets and veiled political references to illustrate the struggles in Chinese society during the Cultural Revolution. The poem is sectioned into fourteen short stanzas containing imagery that are symbolic of the cultural hegemony in China under the rule of Mao Zedong. Bei Dao, born Zhao Zhen-kai, is an anti-revolutionary poet and one of the founders of a group known as the Misty Poets. The Misty Poets wrote poems that protested the Cultural Revolution led by Mao Zedong. Therefore, a lot of Bei Dao’s poems speak out against the Cultural Revolution and the restrictions that it placed on any form of art. Bei Dao’s poetry is categorized as “misty” because of the ambiguity in its references to Mao Zedong and the Cultural Revolution. An obscure imagery that occurs twice in “Notes” is the sun imagery. Another imagery that depicts the injustice of the Cultural Revolution is the description of freedom as scraps of paper. In the poem, Bei Dao also equates faith to sheep falling into a ditch; this is a depiction blind faith during the Cultural Revolution. The purpose of this essay is to analyze how Bei Dao’s use of the Misty Poet’s ambiguous imagery and implicit political context in the poem “Notes from the City of the Sun” to illustrate the cultural hegemony in China under Mao.
His work included many cultural motifs such as flowers, dragons and landscapes. His china china series, a set of sculpted busts that had relief carvings of his cultural heritage, resembled traditional Chinese tattoos. His art isn’t considered pop culture but the series china china reminds me of art made by Dr. Lakara a Mexican artist. Both artists utilize their cultures in their art work Ah Xian use of traditional stylized Chinese landscapes carved into the porcelain bust is an example of how he uses his cultural identity in his work. He also uses the relief carvings similarity to tattoos as symbol of how permanent ones cultural identity is.
“Mao’s Last Dancer” is a book about the life of Li Cunxin. Li Cunxin was born into poverty in China under the rule of Mao Ze dung. The book was first published in 2003 and since then has won several awards including the book of the year award. Throughout the novel the composer chronologically cites the life of Li Cunxin and how he felt and where he belonged at certain points in his life.
Much of Ai Weiwei’s activism and artwork has been influenced by his experiences growing up. Ai Weiwei lived through a tumultuous time in Chinese history, with the Cultural Revolution, the Tiananmen Square Massacre and the Opening Up of China by Deng Xiaoping. Ai Weiwei’s father, Ai Qing was a famous poet during the Cultural Revolution. However, he was targeted in the Anti-Rightist campaig...
Qian begins the account of Li Si by describing his rise from the minor position of clerk to his eventual high rank. Qian makes note of the strengths that Li displays to put himself in such a position. Qian even quotes Li as saying that a man's status "simply depends on where one locates oneself." (Qian 25) Li Si's initial step up in society took place on his interest in others' welfare as opposed to his own. This is a virtue which Confucius summed up by saying, "he who acts out of self interest arouses much resentment." (Confucius 16) When serving under the King of Qin, Li Si looked to the betterment of China as a whole. He saw that a unified China would be a stronger China and therefore chose to support the King of Qin, who he felt had "one opportunity in 10,000 generations." (Qian 26) Through his support of who he thought was the best man to lead China, Li portrayed another Confucian virtue; "'What should I do to win the hearts of the people?
One of the first traditional aspects of Chinese masculinity was the concept of wen-wu. In order for one to achieve and understand the substance of masculinity, one has to have either wen or wu, or
Gao Shi and Cen Shen have been connected together since the Southern Song, because they wrote a large number of poems to describe their experiences on the frontier. Gao Shi’s preference was those “bleak and barren expanses.” He usually focused on the armies, and depicted their suffering and courage. The description of the landscapes was a tool to show the troops were suffering from the wars.
Xunzi has been compared to Thomas Hobbes on many occasions, while it is safe to compare Mencius to Jean-Jacques Rousseau. Xunzi found that because of humans innate bad nature, a structured and just government must rule people by promoting righteous behavior with not only Li, but also law. Mencius and Confucius instead took the idea of Li and gave it far too much importance. If adherence and understanding of Li were all that was needed to keep a society in check, their well-field system and precious Zhou sage king model were pointless if applied.
In China they use the death penalty for a way to create revenue. Human body parts are surprisingly very expensive. Ai Weiwei the author of the essay Heartless claims that a liver, kidney, or heart transplant can range up to 140,000 to 150,000 RMB and in US currency it is 2000 to 3000 dollars. The country makes a steady profit off of harvesting organs, and they are also the world's top executioner for giving the death penalty. Furthermore, human rights and dignity are stripped when the prisoner is on death row. Weiwei claims “An ambulance is parked where the executed can plainly see it, and as soon as the gun sounds the white angels lunge toward the still-warm corpse with organ transplant coolers in hand”(579). The victims do not have any
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 sixteenth century, there were several ways political and economic changes affected patterns of cultural life in different parts of Afroeurasia. Many larger regions began to spread more extensively. In the Ming dynasty, the rapid growth of city populations and a surge in economic change helped. Influences with new people and different products from abroad, brought a new way of life for this dynasty. During this time, Wang Yangming was a public official and a military officer. Wang's ideals differed in the fact that he preached individual creativity, education for the poor and respect for women's intellectual abilities. This caused conflict in many ways, amongst neo-confucian officials that believed in male authority and strict
Li Po can be described in many ways. Some of which are good and in other ways, not so much. For example, Li Po was exiled from China, which was his where his heritage has been. Also, he was a drunk, who seemed to have caused many problems with his then in-laws. At the same time was married four different times to four different women. His life was during the time of the Tang Dynasty, living from 701-762, which made his sixty-one years of age when he passed.