Comparing Lu Chao's Column And Where !

Juneburg “June” Iparis, of Marie Lu’s Legend, and Faith Connors, of Mirror’s Edge, share and contrast in many characteristics when you compare their origin and importance to their respective series. The two individuals are inhabiting their own dystopian world which are ruled by powerful regimes. Faith from Mirror’s Edge went through having her mom being killed in a “peaceful protest” gone wrong campaigning to overthrow the looming regime, after the tragedy she ran away and lived her days as a thief on the city streets. On the other side of the spectrum, June was born into her world’s most dominant regime and a well-off family, but when her parents were suddenly killed in a car crash, her brother, Metias took the responsibility of looking after her. However, when Metias is murdered, she then finds a secret behind her brother’s death which leads her to betray her nation.

Many of Tao Qian’s poems illustrate a life of farming and drinking wine, encompassing themes that urge its audience to remove themselves from official life, move to the countryside, and take up a cultivated life of drinking wine, writing poetry, and avoiding the complicated aspects of life such as working in high society. Earlier scholars believed that Tao was “neither Confucian nor this-worldly, neither egocentric nor defiant, neither gallant nor stubborn, Tao is contented, free from the unnatural, he has got all Nature can offer” (Lu 2017). It is evident in Tao Qian’s poetry that he utilized nature as a means to escape what reality had to offer, corruption and political instability, as opposed to his own idea of utopia or a simple, easy life in recluse.

At the Detroit Institute of Arts, Mexican artist Diego Rivera murals are displayed all over the walls. His brilliance and talent is captured on the east wall of the gallery, where five separate photos hang for all eyes to view. The wall is filled with bright and beautiful photos sharing a unique special story. In the top left and right corner of the east wall, heavier women with big round eyes, sit in the nude with their arms filled with grain and fruits. While in the middle of the wall is a long rectangle painting of a small white baby nestled and cradled in the centre of a plant, being surrounded by two plowshares. Diego Rivera paintings represent beginnings and new life. In addition the sunrise shines on the east wall to help show his

While physical isolation allows customs and practices that are far more violent and brutal in “Blind Mountain,” in “The Isle of Wang’an,” isolation seems to romanticize and ameliorate every

The idea of mixed race, culture, heritage has been a subject for many discussions and debates regarding its communication through art. How the artist themselves relate to this idea and how or why they use specific art pieces to portray their idea is very interesting. Viewers who do not share the same upbringing or lifestyle may find it harder to understand such pieces if it is only characterized as being artworks of Asian Americans. Questions such as who is Asian American or what is an Asian American start to emerge amongst audience like that. However, two Asian American artists: Roger Shimomura and Kip Fulbeck – both men who are clearly of different generations

Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her

Any art medium can be utilized to tell a story or evoke emotion in a viewer. Artistry is unique in that it is purely visual and can be left to interpretation if the artist chooses to stay ambiguous in the message they are trying to convey. As an artist, I am always trying to analyze the meanings behind famous works of art, whether those meanings happen to be incidental or purposeful. So, when contemporary artist, Enrique Chagoya expressed his adoration for the social commentary expressed in Francisco Goya’s Los Caprichos sketches, I was intrigued.

‘Rasen Kaigan is all work completed in the wake of the disastrous tsunami of 2011 that led to the nuclear disaster at Fukushima. She employs a dazzling, fresh, dynamic style, photographing at night or dusk with blown out flash, cross-processing and double exposures conveying a palpable energy and a sense of chaos.’ What first attracted me to Leiko Shiga’s work was her use of lighting and color. Her phantom like style transmits the viewer to another realm. The presentation of these dark spaces being selectively lit omits the feeling of intrusion. I relate this space to a state of mind, like snapshots of memories of people and places, slowing fading in and out of recognition.

Only with such a foundation for their own lives can they then communicate on meaningful terms with one another. Lu Xun envisions a world where people are united in a collective hope (100). By resisting the spiritual poverty of society through hope, alienation can be

Zhang Zeduan’s masterpiece depicts the landscape of his hometown, Kaifeng and the life of its people during the Song dynasty. Nearly 500 years later, Qiu Ying portrayed his hometown Suzhou in a similar way, but in his version, the scenes are different to the original version. Compared to Zhang, Qiu Ying added more blue-and-green landscape patterns, and the feeling of the artisan is not strong in this work. The most important thing is that both artists show different visual perspectives of the culture and customs of the city.

Kramer’s influences include Brazilian Popular Arts, woodblock prints and early 20th century German Expressionist painters, which have instilled in him a style with strong lines and stark contrasts, as if the illustrations were prints from woodcuts. His fascination with crowds has resulted in studies of the urban masses in different settings, for which he spent days on public transport, on the street, at popular festivals, protests, and other large gatherings of people. After long periods of scrutiny, he is able to fill large sheets of paper or other surfaces, by what he calls ‘free creation’ or ‘spontaneous art’, unloading all the information he had captured while he was fully immersed in the experience, mixing in his own concoction of humour

The world as it is today places emphasis on accomplishment above all; to be happy is to be busy. In this pursuit of happiness one can easily miss the joy that is present in every moments, moments that pass them by incognito. This statement is reflected in the art of Wolfgang Laib, whose ability to isolate materials that comprise his art allows him to “reduce them to their purest essence”. The human psyche as it is requires context, meaning. When the average person comes across a sheet of pollen, their mind races from pollen to bees, from bees to hive. Laib’s piece Pollen from Hazelnut commands the viewers to simply view the pollen as it, void of context. When one looks at it, they are not made to see “a direct allusion to landscape”, but

Elise Lai (b.1987) is an artist based in Hong Kong. Her works are about the mode of living, using and embracing the given and the prevailing elements of the surroundings in everyday life in the forms of painting, photography, video and mixed media. In a general sense, they are a kind of distant intimacy in the everyday banal routine of the perceived environment, personal habits and mundane chores. She is interested in the residues of everyday life, always wondering what is left behind after these experiences have taken place — the emotional and physical changes to the perceived environment, the feelings which remain, the material effects like the lingering smells etc., and see what these residues can be, what they can suggest and evoke. She

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.

Yi-Fu Tuan discussed “Place ' as a location created by human experiences (Tuan, 2001). Whereas ‘space’ may have no human connection, a ‘place’ carries meanings given by humans. It can be any size - a city, neighbourhood or a