Essay Example on the Art of China: Ancient Traditions to Modern Era

The artwork is one of the oldest activity in china, based on visual art. More of Chinese artistic works are based on Chinese heritage and Chinese culture. Most of these arts usually depict the history of china, up to the modern era, since china has a rich history classified by ruling dynasties of different emperors. Early arts included sculptures and pottery and later, ceramics, carved lacquer evolved. With time, the tradition of paintings using ink washed emerged and was practiced by painters such as court painters and scholar-officials. This clearly outlines a continuity of tradition and a gradual change up to the recovery of classical styles after the collapse of western. In the 19th century, western art practice increased enhancing china's participation in contemporary artwork. Traditional paintings in china comprised of similar techniques as Chinese calligraphy. They were carried out using brushes dipped in inks, black or colored ink. Paintings were done on sheets, lacquerware, or walls. These painting arts involved two techniques, the gong-bi and ink, and wash paintings. Gong-bi technique involved the use of detailed brushstrokes to ensure a precisely well detailed fine painting art which would be highly colored. Due to its fineness, it was done by royal court artists (Andrews 561). Ink and wash painting technique was also referred to as brush painting was practiced by scholar-official class in china. It was a freehand style that involved the use of black or colored ink without oil. Nevertheless, landscape painting was recognized as the most precise form of painting in china. The gradual change in artwork involved the emergence of an oil painting. For instance, "The Founding Ceremony of the Nation" painting by the Chinese artist Dong Xiwen is an oil painting that outlines a depiction of Mao Zedong and other Communist officials inaugurating the People's Republic of China. The painting is comprehensively discussed below.

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"The Founding Ceremony of the Nation" is an oil painting that was painted in 1953 by a Chinese artist known as Dong Xiwen. The painting is also known as "The Founding of the Nation" and comprises of a depiction of the inauguration of the People's Republic of China on October 1, 1949, by Mao Zedong and other communist officials at Tiananmen Square. The painting is one of the most recognized and celebrated art by Chinese official art. However, the painting has been revised several times to accommodate additional changes that occurred, for example, the fall from power and rehabilitation of some leaders that were depicted in the painting.

Dong Xiwen, born in 1914 attended Huilan High School and later joined Suzhou Art Institute and Hangzhou National Art Institute. After graduation, he taught Central Academy of Fine Arts and later in 1949 participated in painting at Tiananmen where he presented his first portrait of Mao Zedong. He then joined the communist party and painted his best-recognized art, "The Founding Ceremony of the Nation." As an expert in portraiture his art, "The Founding Ceremony of the Nation" was an oil painting which comprised of realism western techniques that were from renaissance and traditional Chinese paintings ornamental tastes (Andrews 568). However, his artistic works were later influenced by trends in politics depicted in the art.

"The Founding Ceremony of the Nation" is an important and ionic artistic work that is famous to all the people of China. It is a painting that plays a significant role in depicting the political aspect of communism in china across all generations after the period the communists took over power in China in the mid-nineteenth century. Due to the subject matter presented in the painting, it remains to be an important artwork that cannot be assumed despite the fact that it is not accurately depicted. The painting is famously recognized in china as it is kept on the walls of many families and in museums. The painting is taken as a patriotic symbol of the 1st October 1949 ceremony of founding of the country that took place in Tiananmen Square. However, the creativity and political process that is associated with the painting remains a mystery. In addition, the several changes that took place in the painting after its creation presents more questions on its subject matter. These changes oversaw the painting over of other characters due to the changes in the political climate. Some sensitive figures in the painting were washed off and new ones introduced to present a more politically correct founding of the country. The painting presents images of Chairman Mao, appearing on the center, taller than other officials on the art. He is depicted to be making the announcement about the founding of the People's Republic of China. On the left side, the painting presents the country's leaders listening attentively to Chairman Mao's speech. The painting is relatively clear, such that the faces of the leaders can be recognized from their faces and their number, (eleven) as they stand with pride to hear the speech. The downside of Tiananmen Square is a crowd gathered to celebrate and listen to Chairman Mao speech. The people stand to celebrate with red flags as they immerse themselves under the blue sky for an enjoyable festival of the founding of their country.

Dong was selected by the Chinese Revolutionary Museum as a professor in Central Academy of Art to capture history, of which he was maximally devoted to and was grateful for the opportunity. Therefore, he sketched and painted the artwork within three months. However, his depiction is taken to be unrealistic. This is because the painting did not include a red pillar on the right side of Chairman Mao. The red pillar seemed to be omitted to give enough room for the blue sky and Tiananmen Square. Nevertheless, the people of china were contented with the omission and rarely criticized Dong as they considered the importance of the bigger purpose of the painting. For instance, after the consultation with a famous Chinese architect Liang Sicheng, he stated, "The omitted pillar is a huge mistake architecturally, but an equal success art wise" (Fong 272). Therefore, Dong decided to give a depiction of leaders and Chairman Mao on the left and the people on the right and considered the two parties as to the major parties of the subject matter. Another significant depiction of the painting was the height of Chairman Mao. This was also supported by many artists who visited Dong and advised him to break the law of perspective. Those were the two major aspects of concern that resulted from the painting. After the completion, it was posted on People's Daily. In addition, the painting was released in papers and posters by the Peoples Fine Arts Publishers and was included in elementary school textbooks.

Nevertheless, there were several revisions and changes to the painting. For instance, Dong was asked to revise the painting and exclude the vice president Gao Gang who was depicted at the far right in the painting in the group of leaders after he had been removed from his leadership position for conspiratorial acts and later committed suicide. Later, Dong was requested to make changes by removing the former Chairman and head of state, Liu Shaoqi, despite the fact that he was dead. People viewed it as politically incorrect to have a leader who held right-wing viewpoints as among the founder fathers of the country. The final changes involved the removal of Lin Boqu, who was the former secretary-general. Criticism of his removal was that he had in the revolutionary days' opposed marriage of Mao with Jiang Qing. However, it was a student of Dong who made the last changes since Dong was unwell and could not make the changes, who later died in 1973. When the Cultural Revolution ended in 1976, further historical changes to enhance more accuracy of the painting were strongly opposed by Dongs family. The painting was then thought to be politically correct for exhibition in the Revolutionary Museum. However, the painting was permitted to be revised into its original state after the Cultural Revolution. The changes that were made on the painting gives a reflection on the political influences on the painting. Up to date, the National Museum has both the original and the replica paintings.

The significant features of the painting include Chairman Mao Zedong, his fellow leaders, Liu Shaoqi, Zhu De, Zhou Enlai, Gao Gang, Lin Boqu, and others, lanterns, red banners, and Chinese people in celebration mood. The painting has been recognized as one of the greatest oil painting in china. In relation to the subject matter, these features represent specific aspects of the celebration of the founding of the nation. The image depicts the setup of the ceremony that took place on 1st October 1949. The image of Chairman Mao represents the Chairman of communists, as the overall leader as he gave a speech after the founding of the People's Republic of China. The people on the left side of Chairman Mao were his associate leaders, his fellow founders of the nation. The images of these leaders are precisely clear such that they are recognizable from their faces. However, three of these leaders were excluded from the painting and replaced with different people. This was in accordance with the political views of the people of China (Andrews 582). The red banners represent the founding of the nation and a symbol of prosperity in the country of China. The painting also depicts a crowd of people standing on the Tiananmen Square in celebration mood. These represent the people of china celebrating the founding of their country as they listen to the speech of their supreme ruler, Chairman Mao, in the company of his fellow founders, father founders of the republic of china. The clear blue sky represents a perfect weather condition for the ceremony. Nonetheless, there were numerous changes in the painting in relation to the different political views resulting in the elimination of figures of three leaders from the painting.

The painting plays an important function in the history of the republic of china. The artwork epitomizes the tension that exists between the art and the politics in the People's Republic of China. The painting, "The Founding Ceremony of the Nation" serves to depict the inauguration ceremony of the People's Republic of China. It presents an image of the physical set up of the ceremony. Therefore, it helps to maintain the political history of china in an artistic method so as the historical image of the ceremony can be passed from one generation to another (Fong 263). More so, the painting plays an important role in depicting the country's founding fathers. From the images, the leaders can be easily identified. This enhances the preservation of the key leaders who were the founders of the People's Republic of China. In addition, the painting gives a depiction of the atmosphere and the happiness of the people celebrating the founding of their country as they raise banners in the air. Therefore, the fainting serves to preserve the political history of the country of China.

The technique and style applied by Dong was a folk art style. Despite being trained in western painting, Dong preferred Folk-art style in his painting "The Founding of the Nation." He used bright contrasting colors, a methodology that had become popular in China. This was in relation to his statement that the Chinese liked bright, intense colors. Dong avoided his western painting style and sought to satisfy Chinese preferences and aesthetic tastes and therefore made the painting in bright colors. He set the tone of his artwork by using vermilion color for large areas, carpets, and lanterns. The flags, banners, blooming flowers, and the blue and white sky in the painting enhanced a happy and joyful atmosphere that gave a depiction of the founding of a national ceremony....