Summary Of Hung Liu's Three Fujin

Hung’s portrait reminds me of Frida Kahlo’s portrait as both artists include nature to represent life and imagination. Both portraits depict a woman with a neutral but almost pained expression, surrounded by various symbols of life. In addition, Hung appears to be trapped in her high collar much like Kahlo is caged in by her thorn necklace. Essentially the style of this self-portrait is realistic while simultaneously expressing the artist’s innermost thoughts and emotions. The portrait emanates a psychological appeal as Hung highlights the distinction between the dullness of her image and the color of mind, thus expressing her longing for creativity. Aside from the style of this portrait, I found that Hung’s profile was drawn in a traditional manner. In contrast, there was originality in the way the colors of the image contrasted. I found it very bold and powerful for Hung to contrast her black and white image with surrounding bright colors. It definitely draws a focus onto her face, but it’s done in a subtle way so that the painting overall represents the distinction between the inner and outer

After being selected as the Last Emperor of China by the ill Empress Dowager Tzu Hsi, Henry Pu yi at his childhood lived a lavish life not knowing of what obligations will face him in growing up. At the age of 6 in the year of 1912, China converts to republic and the Ching Dynasty was forced to abdicate.

By 1792, Uatamaro embarked upon the subject to which he would devote the rest of his life. His dipictions of the geisha's would be amoung the most well known Japanese prints of all time. One of the most incredible series Utamaro undertook at this time was the half-length self portrait series. Traditionally a figure was portrayed as a full length figure, but these intimite prints of simply patterned cloth and plain backrounds read almost like personal portraits, a concept very new in Japanese printmaking. Soon after the half-length portrait series Utamaro embarked upon two other great sets of prints-- "The types of women's Phisiognomies" and " The Ten Learned Studies of Women". These two sets of prints had the smoewhat portraiture feeling of the half-length portraits. In addition Utamaro experimented with using mica as a reflective backround surface. Amoung these series is alsot the print, " Women Preparing Stuff for Dresses) one of the most famous of all Japanese

Representations of the bodhisattva in China prior to the Song dynasty were masculine in appearance. Guanyin's image is depicted as a young man dressed in Northern Song Buddhist robes sitting gracefully. He is depicted looking or glancing down, symbolizing that Guanyin continues to watch over the world.8 This Guanyin sculpture was made around Late Song dynasty, the appearance of the bodhisattva showing the slender build, feminine curved face, even though the Guanyin is still portrayed as a male figure, it shows some transition between male and female characteristics.

Mark C Elliott’s book Emperor Qianlong Son of Heaven, Man of the World is a short biography about Hongli. Hongli was the fourth son of the Yongzheng Emperor and the favorite of his father and grandfather and was born in 1711. In the beginning it describes how he rose up in rank as a son through his father who introduced him to the current emperor Kangxi, his grandfather. The first chapter gives us the story of what Hongli was like as a child and how he won the favor of the Emperor. The book follows Hongli all the time from his birth from a low ranking palace consort right up to the end of his life even after he technically gave up his title as

“The mind changes, the word changes, time doesn't stay still, history is a verb, it is ongoing, there is no past tense, future tense, history is constant” Hung Liu told interviewer Rachelle Riechart (Riechart). Hung Liu is a Chinese woman who was born in Changchun, China in 1948. She was born during the age which we call the Chinese Cultural Revolution, which heavily impacted her life. She lived in China for 36 years and then left for the United States. She now resides in Oakland, CA, where she teaches art at Mills College (“A World of Art”). A lot of her artwork is based on photographs and memories she has from China and photographs she’s taken in the United

This illustration represents an earliest style and painting technique found on a good portion of Chinese paintings. The black paint was applied directly to the vase to create a distinction and captivate its audience. The artwork is made of two

Mckissick, Floyd. “CORE Endorses Black Power.” In Let Nobody Turn Us Around: Voices of Resistance, Reform and Renewal: An African American Anthology, edited by Marable, Manning, and Leith Mullings. Rowman & Littlefield, 2003.

In still lifes, an arrangement of objects are placed and in vanitas, still lifes had specfic objects arranged that symbolized life and death. Genre paintings often depicted people in their everyday lives. Judith Leyster, another of the very few and accomplished woman painters of this time, did still life and genre paintings. Like Artemisia, she also accomplished a first as a woman artist. In 1633 she was the first woman admitted into the Luke’s Guild of Haarlem. Although she did still lifes, her most common works were genre paintings, which often potrayed people looking happy and full of life doing everyday casual things. One of her most notable, is her own Self-Portrait. In her self portrait she is shown smiling and painting a picture of a violinist who is also smiling, as he plays his instrument. This painting symbolizes how just like the violinist creates art with his instrument and bow, she herself, who is a painter, creates art with a paintbrush and pallete. Although the subject matter and style isn't as dramatic and dark as Artemisia's, it is considered Baroque because it is also naturalistic and shows people

Coming from a background of a human geographer, Yi-Fu Tuan writes an analytical research paper about his observations related to the theory of escapism and their appearances throughout different parts of nature, animals, religion, and people. His overall concluding argument throughout his book is that escapism as we know it is not only human but also inescapable. He argues that there is nothing wrong with escapism as long as it is “a passing mood, a temporary escape, a brief mental experiment with possibility”(xvii). It is part of nature and human culture itself that allows for us to escape into fantasy or other distractions but as long as we keep some type of reality within it, there with be no risks that degenerate a person into a “self-deluding

One of China’s most popular love comedies, The Story of the Western Wing (Xixiang Ji) by Wang Shifu (1250-1300) dramatizes a scholar-and-beauty romance. Zhang Sheng, a promising student, and Cui Yingying, a beautiful maiden, meet in a temple, fall in love at first sight and after a series of thwarted attempts, they end up happily marrying each other, after the student has passed the civil exam as the top one, of course. Among the five books of The Story of the Western Wing, Book III stands out in the very middle of the whole play with interesting characteristics in terms of both theatrical features and thematic complexity. First of all, while dan and sheng share most of the

In “The Daodejing,” Laozi, similar to many prominent Chinese philosophers before and after his time, discusses his unique perspective of the “Way.” There is much controversy, however, regarding whether Laozi was the actual author of this text or was even a real person, and “his” work is thought to have been a composite. (For the purpose of clarity, throughout this paper, the author(s) of “The Daodejing” will be mentioned as Laozi.) Laozi’s vision of the “Way” is exceptionally challenging to define using words because of its metaphysical nature. Although this term is somewhat difficult to envision, it is what mankind should aspire and take action to be aligned with. According to Laozi, in “readings in Classical Chinese Philosophy,” the “Way” (or dao) is the “source, sustenance, and ideal state of all things in the world” (Laozi 158). It can be best thought of as the underlying guiding force of all events that occur in the universe, and mankind is closer to the “Way” when they realize that all things are interconnected and have an effect on one another. As might be expected, this vague definition isn’t a foolproof depiction of the eighty-one chapters in the “Daodejing,” but one is able to grasp a basic understanding of Laozi’s ineffable doctrine. Although numerous chapters are meaningful and could provide substantial analysis, this paper will focus in on Chapter Twelve. Ultimately, this chapter adequately and efficaciously compresses the teachings of “The Daodejing” into

While Qiu’s work depicts the prosperity of Suzhou in the middle era of the Ming dynasty, Zhang’s painting shows the daily life of people in Kaifeng during the Song dynasty. Qiu Ying’s buildings are more structured and grand, even the shops appear more spacious. The scenes in this painting represent an important page in Chinese history by combining the history and reality of a genre painting. So many landmark buildings in Suzhou are clearly recognizable which show the developed economy and traditions of the Ming dynasty and the artist’s own style. Qiu Ying uses the traditional blue-and-green style in this painting, leading to a beautiful picture which is filled with bright green mountains and clear blue

Yiyun Li’s collection of short stories in Gold Boy, Emerald Girl share the common theme of loneliness in a collection of short stories: “Souvenir,” “Sweeping Past, and “A Man like Him.” While the characters of each story encounter different hardships and tragedies, each character seemed to show development. At first glance, they seemed to have grown from their experiences. However, they eventually fall into a downward spiral of regret and sorrow after having epiphanies of their mistakes. The identifiable protagonists’ grief-stricken experiences dramatically shift their perspective, becoming hopeless in the harsh reality they have grown accustomed to.

A landscape painter “tended to be a recluse, an individualist, and a Daoist (Morton and Lewis 2005).” These artists thought of landscape painting as the “grandest and most satisfying way to represent nature as a whole, to feel a sense of communion with nature, and to know oneself to be part of an orderly cosmos (Morton and Lewis 2005).” Thus, one can see the implications of landscape painting lay not just in its beauty and simplicity, but also in its spiritual connection with Nature, and thus had wide appeal. The point of view in landscape painting was also of paramount importance. The Chinese artists understood that Western artists took in scenes from five or six feet from the ground. Chinese artists worked from a raised viewpoint, so that they are not bogged done by small details in the front and get a better sense of the whole scene (Morton and Lewis 2005). Every part of the image that is created has its own innate interest, and yet it all comes together and works well as a whole (Morton and Lewis 2005). It is clear that landscape painting was a cherished and important art form in Song Dynasty culture.