Paper Example on Revolutionary Ink: The Paintings of Wu Guanzhong

Introduction

Wu Guanzhong was a Chinese man who ventured into artwork that was known for landscapes which portrayed to combine Eastern ink and traditional techniques which were much connected in the massive political oppression in the period of cultural revolution. In the image, Guanzhong art is made to be enmeshed in an old house that looks like it lacked maintenance as it has tree trunks that have grown from the home. The building portrays poverty that was created due to political oppression throughout China.

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The art portrays the rite of mourning and consolation of the bereaved. Also, it serves as preliminary canonization which was enacted by China's ranking art for the saints who had departed. The building shows that the owner of the house had passed and that the building was left alone. The provocation that lies in the image is connected to whether the people still living could find the evolution of ideology. There was also a dramatic change in history regarding the unexpected coupling of events of the desperate people who lacked attention in the city.

Guanzhong had spoken about the tough choice of returning home. For that matter, the image portrays the innate reasons that made him fear going back home. For instance, the image shows that 'home' was not a place to live anymore due to deteriorated conditions around the place, the political system was shaking and that living conditions were no longer fit for human life. As it can be seen, the image shows that the building was entirely in a mess since trunks of trees had grown past the rooftop and even dried up. The generation that was left at home is portrayed to be no more. The art was a revolutionary one that aimed at setting the steps for the country people to reconsider the history of the past saints and lousy living conditions. However, the art proclaims that the struggle to initiate change was not a one-man struggle, but it needed more people in the society and who could be reached by footages of the art.

Poverty and savages are the reason why the art was made. Wu was concerned about the state of Beijing as he compared it to the past. According to the art, Wu was thinking about the background life that was in Beijing before he departed and the kind of life that he could experience when he had to go back. He was expressing his concern about the state of the city regarding political oppression that brought about the change. Since 1946, Wu was taking his studies in Europe and was away from Beijing for some time. The war was still ongoing. In Europe, he experienced different cultures that made him recognize that his home country was at a mess as the war deteriorated the lifestyle that his parents and other innocent people were living before the war started.

Conclusion

Wu was excited by the new People's Republic of China thus he had to draw the art to act a whistle for demand to change as the problems were caused by the war that was happening due to the inconsiderate government. Wu was excited to be back to his home country, but he was concerned about how life could be as he compared the present experience to the life he had in Europe and the former life before the war started as shown in the art.