Analysis Of Wen Zhengming's Garden Of The Unsuccessful Politician

In the following poem, “Which Plant Is Not Faded” and “Where Have All The Flowers Gone” we will be comparing and contrasting both of these poems throughout this essay. Furthermore, we will talk about the poem meaning and how it relates to the ancient Chinese. Secondly, we will explain the song and how it relates to the ancient Chinese. Ultimately, the differences and similarities of the song along with the poem.

In the poem Garden of My Childhood, poet Kuangchi Chang uses metaphor to help set his central idea into place. A metaphor helps the reader to understand what is said by comparing something to something else. When Chang compares China before the revolution, he compares the peace to an idyllic garden with a violent hoard approaching. This is a metaphor that describes how peaceful it was in China before Mao Dezong brought on the cultural revolution. The hoard approaching the garden would Dezong and his re-education plans for China. He then personifies the wind and sea by stating they beckon him to run. He then says "eons later" he arrives "worlds away" at his destination. He then says his "running is done" and claims he found another garden just

Secrets fill the garden. In Gail Tsukiyama’s novel “The Samurai’s Garden”, she uses metaphors to show the audience the garden and its’ curator in a mysterious light. Tsukiyama’s character Stephen gazes upon Matsu’s garden with wonder and amazement. He compares it to another world, “The garden is a world filled with secrets… Matsu’s garden whispers at you, never shouts; it leads you down a path hoping for more, as if everything is seen, yet hidden” (Samurai 31). Tsukiyama creates another world within the fences of the garden. She integrates the secrets of its’ caretaker into the aura of the garden. The metaphor to another world impacts the reader by allowing the reader to see the mystery and beauty that shrouds it. The cloak of beauty shows

"The garden is a world filled with secrets. Slowly, I see more each day. The black pines twist and turn to form graceful shapes, while the moss is a carpet of green that invites you to sit by the pond. Even the stone lanterns, which dimly light the way at night, allow you to see only so much. Matsu 's garden whispers at you, never shouts; it leads you down a path hoping for more, as if everything is seen, yet hidden. There 's a quiet beauty here I only hope I can capture on canvas." - Stephen at the beach house planning to paint Matsu 's garden, page 31

Kleiner, Fred S. Gardner's Art through the Ages: A Global History, Fourteenth Edition, Volume II.

In this selection of the book, Gitlin discusses a seventeenth-century Dutch painter by the name of Vermeer. Vermeer was known for being able to”fr[ee]ze instants, but instants that spoke of the relative constancy of the world in which his subjects lived” (Gitlin 558). People collected Vermeer’s paintings for display throughout their homes. Gitlin sees Vermeer as the seventeenth-century version of the media. In that time, the images painted were relative to the people’s era and private world. In today’s world Vermeer would be the equivalent to a celebrity photographer or movie director. If Vermeer, or any other artist of his time, were to see today’s households, they would find that the once private space inside the home is now much more dominated by images of the outside world than what would have been possible in the 1600’s.

Qin Shi Huangdi, the first Qin emperor, was a proactive and ambitious emperor who implemented a central bureaucratic system that oversaw the evolution and unification of China at the cost of public sentiment. The Qin Dynasty is considered among the most influential dynasties as it laid the foundation for the massive cultural and economic development of China that took place during the Han Dynasty, but it also failed to achieve many of its pro-commoner ideological goals. In fact, socioeconomic disparity was not alleviated and despite the notion of enriching the lives of the common people, it was under Qin rule in which public resentment of the authoritarian government peaked as there were countless peasant revolts against the iron-handed bureaucratic rule of China. Because a paranoid emperor alone wielded political clout and influence, the tumultuous few years of Qin reign was rife with paranoia and suspicion among the masses. Although the Qin Dynasty is seldom thought as possessing the same glaring discrepancy between ideology and state that the Communist regime in post-World War II China had despite the similarities, the failure of the flawless egalitarian state models in socioeconomic and political aspects during the Qin Dynasty mirrored the developments in early Communist China.

Mao Zedong’s rise to political power as chairmen of the Chinese Communist Party (CCP), was made possible by the failings of the GouMinDan (GMD). After the fall of the Qing dynasty, in 1911, China fell into disarray where warlords had power, rather than a national government. Sun Yat-sen began a nationalist group whose militaristic tacts allowed them to unite china under a singular party, the GMD. Despite many revolutionary promises very little positive changes were made by Chiang Kai-shek, who became leader of the GMD in 1925.However because of the party’s lack of political knowledge and poor socio-economic abilities the GMD’s rule was a failure. Mao used this to project his own ideology on China in the form of Maoism. Mao’s ability to take advantage of China’s bad situation allowed him to receive the support he required in order to rise to power.

eventually melded some styles to have the art and work in general brought to a

For this first paper assignment I have chosen to write my essay on The Funerary Model of a Pig Sty. This artwork takes place in Ancient China around c. 2nd century BCE. It was designed and used within the Han Dynasty early in China’s history. These clay models like the pig sty and other burial goods had a hand in furthering the development of Chinas cultural heritage and beliefs. Within this paper I will be discussing my chosen MIA artwork, works that are similar but different to this artwork, and also how all three works, although all different, have the same purpose for what they have been made for. Then finally touching on how the context of the piece can change based on its surroundings.

Beauty is an incredibly subjective thing; what might seem appealing to one’s eyes may be horrendously ugly in the eyes of another. However, the status of “beautiful” or “ugly” can be assigned rather objectively when art is examined from the perspectives of different philosophies. The beliefs and values of different philosophies can be used to find meaning and beauty in various art forms, allowing for a more straightforward determination of beauty. Because of the many layers of meaning most paintings entail, they are a perfect example of an art form that can be analyzed by numerous philosophical viewpoints to find meaning and beauty, and Ma Yuan’s painting Walking on a Mountain Path in Spring, which comes from the Song dynasty of Chinese and depicts a sole figure standing in a natural surrounding, is no exception. Ma Yuan’s painting is beautiful because it represents the ultimate achievements for the Buddhist, Daoist, and Confucian philosophies.

A garden that holds your secrets, that is a secret itself, holds a special spot in the book “The Secret Garden”. The garden is described as an overgrown hidden beauty that has not been seen for ten years. The woman who created the garden passed away because of an accident; in turn, her husband becomes bitter and wrathful. The door which led to the garden was locked and the key was buried while the orders were given for no one to enter the garden again. There’s more to the garden than just being hid away. The garden is a secret to some very important characters in this story, but why? Perhaps the overgrown secret may even have a secret of its own.

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.

The two housewives have a passionate love for gardening and bestow their love and appreciation towards their gardens. In the twentieth century, gardening was advocated as beneficial to one’s life and family. In the New England Quarterly, the journal, “Gardening as ‘Women’s Culture’ in Mary E. Wilkins Freeman’s Short Fiction,” states,“The time women spent in

In the 16-1800s having a garden was thought to be a necessity of life says Martha White in Traditional Home Remedies. (White 2000)