The Tulou

Chinese Traditional Architecture: The Tulou

Tulou, mainly distributed in the mountainous areas of South China’s Fujian province, is a unique type of rural dwellings of the Hakka people. These odd-looking structures were mostly built between the 12th and the 20th centuries, primarily aimed at defending against the bandits and robbers. Usually a tulou is made into a vast, enclosed and fortified earth building, capable of housing up to 80 families living a communal life.

Although most tulou were of earthen construction, the definition “tulou” is a broadly descriptive label for a building type and does not indicate construction type. Some were constructed out of cut granite or had substantial walls of fired brick. Most large-scale tulou seen today were built of a composite of earth, sand, and lime known as sanhetu rather than just earth. The tulou is often three to four stories high. Often they would store food on the higher floors.

The noted Fujian Tulou, designated as UNESCO World Heritage site in 2008, is a small and specialized subgroup of tulou, known for their unique shape, large scale, and ingenious structure. There are more than 20,000 tulou in southern Fujian.

Han Meilin

Han Meilin, “General Guan Yu”, Jingzhou, China

A colossal statue standing 58 meters (190 ft) tall and weighing over 1,320 tonnes has been unveiled in Jingzhou, China. The incredible statue depicts Guan Yu, a prominent historical figure in Chinese history that was a famous general during the Three Kingdoms period. The general was later deified in Chinese culture and is reverently referred to as Guan Gong or Guan Di and has come to symbolize brotherhood, integrity, loyalty and righteousness.

The statue was designed by Han Meilin who is known for his designs of the 2008 Beijing Olympics mascots. The legendary figure (48 m tall) stands atop a 10-meter tall pedestal that has been designed to look like an ancient warship. Inside the statue, visitors can explore an 8,000 sq m museum.

In his right hand, Guan Yu is seen holding his famous “Green Dragon Crescent Blade”, an axe-like weapon that weighs over 136 tonnes. Over 4,000 strips of bronze have been glued to the sculpture, which serves as the centrepiece for Jinghzhou’s Guan Yu Park.

Hu Tianbao

The Vision of the Concupiscence of Men: Seen by Tu’er Shen

According to “What the Master Would Not Discuss (Chinese: 子不語)”, a book written by Yuan Mei during the Qing dynasty, Tu’er Shen was a man called Hu Tianbao. Hu was originally a man who fell in love with a very handsome imperial inspector of Fujian Province. One day he was caught peeping on the inspector through a bathroom wall, at which point he confessed his reluctant affections for the other man.

The imperial inspector had Hu Tianbao sentenced to death by beating. One month after Hu Tianbao’s death, he is said to have appeared to a man from his hometown in a dream, claiming that since his crime was one of love, the underworld officials decided to right the injustice by appointing him the god and safeguarder of homosexual affections.

After his dream the man erected a shrine to Hu Tianbao, which became very popular in Fujian, so much so that in late Qing times, the cult of Hu Tianbao was targeted for extermination by the Qing government.

Ai Weiwei

Ai Weiwei, “Grapes”, Details, Qing Dynasty Stools, 2011, Collection of Larry Warsh, New York

By reassembling Qing Dynasty furniture, which was constructed by traditional joinery techniques without glue or nails, Ai transforms the meaning and function of these cultural artefacts. Here he reconfigures a collection of wooden stools into a group resembling an organically formed cluster of grapes. The arrangement serves as a metaphor for the relationship between the individual and the collective, signifying the deferral of personal interests to those of the community and state characteristic of China’s socialist history.

The linked structure of Grapes also recalls the idea of networks and communication, which are recurrent motifs in the Ai work. Manufactured by skilled craftsmen, this type of three-legged stool was used for centuries in China by all kinds of people – the rich and the poor, in towns and in the country. Every family had one, and they were passed on through many generations.

Gao Zhouyue

Born in 1995, Gao Zhouyue is a Chinese artist who is often places his painting’s models against religious backgrounds, a trait he developed from his study of European murals. He is a graduate of the Central Academy of Fine Arts, considered to be China’s foremost art academy. Gao’s paintings are often mixed-media with glass, seashells, and gold foil used as accents in the work. 

Homosexuality is legal in China and authorities removed it from an official list of mental disorders in 2001. However, LBGTQ people still face prejudices and discrimination from both the public and the government. There are no anti-discrimination protections established in China’s laws for LBGTQ people Although Taiwan made same-sex marriages legal in 2019, Beijing, which considers Taiwan a separatist province, is unlikely to follow suit on the mainland in the foreseeable future.

Among the many studies on homosexuality and homoeroticism in China’s history, a 1992 study entitled “Passions of the Cut Sleeve: The Male Homosexual Tradition in China”, written by Bret Hinsch and published by the Cambridge University Press, was one that showed that homosexuality was regarded as a normal facet of life in China, prior to the emergence of Western influence from 1840 onwards. Opposition to homosexuality, according to the same study, did not become firmly established in China until the Westernization efforts of the late Qing Dynasty and its successor, the Chinese Republic, which was established in 1912.

The Qing Dynasty, the last dynasty of Imperial China, was established in 1636 and ruled the empire beginning in 1644. Beginning in 1655, the Qing courts began to use the term ji jian, meaning sodomy, to apply to homosexual intercourse. Strict obedience to the social order, which referred to relationships between husband  and wife, was emphasized. In 1740, an anti-homosexual decree, which made voluntarily homosexual intercourse between adults illegal, was spread throughout the empire. Although the effectiveness of this proclamation is unknown, it was the first time homosexuality was subject to legal prosecution in China; the punishment, actually the lightest in the Qing legal system, was a month in prison and one hundred heavy blows with a bamboo rod.

In 1912, the Qing Dynasty was toppled after a decade of agitation, revolts and uprisings. The explicit prohibition of ji jian was abolished by the succeeding provinces. However, through the Westernization efforts of the now established Republic of China, intolerance of those gay or lesbian and the idea of heteronormativity became more mainstream. During Mao Zedong’s control of China, homosexuality became in essence invisible in the country and, with the Cultural Revolution, from 1966 to 1976, homosexuals became heavily persecuted. 

In 1997, all references to homosexuality in China’s criminal law were removed, The Chinese Society of Psychiatry, the largest organization of Chinese psychiatrists, declassified homosexuality as a mental disorder in 2001; however, it still claims that a person could be conflicted or suffering from mental problems due to their sexuality. China’s National Health and Family Planning Commission, the government branch that controls all regulations of health care services, has yet to change its regulations in psychiatric facilities and textbooks; so these facilities and textbooks still consider homosexuality a mental disorder, and facilities still offer conversion therapy treatments. Transgender identity is still classified as a disorder despite laws allowing legal gender changes.

Huang Gang

Paintings by Huang Gang

Huang Gang, the well-known Chinese contemporary artist, was born in Beijing in 1961. He graduated from China Central Academy of Art and Design in 1984 and attained a Master Degree in 1991. Huang Gang creates art in a new approach with his unique style, He has achieved world-wide recognition and been praised in the highest terms by audiences from a variety of nations and cultural backgrounds.

Instead of plane visual hierarchy, Huang Gang’s paintings contain intrinsic logicality through massive stacking techniques. His creative process consists of deconstructing and then re-constructing the original elements, such as traditional Tibetan woodblocks, Sutra manuscripts, Tibetan trunks made of yak fur, and traditional Chinese lacquer, which conveys a rich cultural quality and emits great spiritual power.

Thanks to http://antonioedsoncadengue.tumblr.com for posting art by this artist. A good blog to follow.

Pixiu Dragons

Pixiu Dragons, Jade, China

Pixiu (also called Tianlu or Bixie) is one of the five auspicious animals of traditional Chinese culture (the other four are the dragon, phoenix, turtle and kylin). The Chinese people call it “fortune beast.” This lion-looking beast has the head of dragon, the body of a horse and the legs of a kylin and is able to fly. The Pixiu is both ferocious and powerful so it works as a security guard of Heaven, resisting demons and ghosts. Just like the dragon and the kylin, the Pixiu brings happiness good luck for people and has an exorcising function. What is different from the kylin is that the Pixiu is a ferocious animal and has strong will in protecting its master.

Phallic Totems

Phallic Totems,  Xiuyan Jade Carvings, China, Date Unknown, Each is Unique

The phrase “palad khik” means “honorable surrogate penis”. These amulets range from a few inches to several feet long in length. They originated in India and relate to the Hindu god Shiva, whois usually represented by the Shiva Linga. The amulets were brought to Southeast Asia via the Cham people and remained in the area ever since.

The palad khik can be made from wood, metal, bone, horn or ivory, and they are created by monks who specialize in them. Engraving the sacred inscriptions is an important ritual and can take many days to complete. The amulets must be empowered by the repetition of incantations, which Thais call ‘Kata Bucha’, derived from the Devanagari ‘ghata pooja’. The incantations depend on the creator’s lineage in each school of traditional non-Buddhist animist magic.