Two Mythical Qilins on Display in Kinmen

I have been unexpectedly occupied since praising Yeh's Fermented Eggs. So for today, I will keep it simple and share four photos of artistic creations on display at the Historical Folk Museum in Kinmen.

The qilin (麒麟) sculptures made during the time of the Xuande Emperor, who ruled from 1425 to 1435, were two of my favorites at the museum.

Sculpture of a qilin ridden by a "golden boy": 七寶銅麒麟 - 金童

Sculpture of a qilin ridden by a fairy: 七寶銅麒麟 - 仙女

Another set of sculptures at the museum, these made recently by children, provided an unexpected variation on the imaginary creature theme.

Perhaps in 600 years they too will be displayed as examples of ancient art.

Promoting a New Ceramics Center in Xiamen with a Snowman and a Ghost

I previously didn't offer any explanation for a nativity scene in Xiamen which included a snowy Disney character. But, as usual, context matters, so now I will share some.

There were two related displays at the Zhongshan Road Pedestrian Street. Neither had a similar Christian theme.

Long story short, they were all part of a promotion for the grand opening of the Shunmei Ceramic Cultural Center.

According to the Shunmei Group's website, the company has passed a "factory audit of Disney". The website currently features some Frozen-themed items.

Olaf's presence in the nativity scene now seems less mysterious — same with the Snow White and the Seven Dwarves' and even the non-Disney minion's presence in the first photo above.

A Shunmei post in Chinese provides some examples of the items which would be available for purchase at the Shunmei Ceramic Cultural Center. It also has an advertisement for the grand opening which includes part of an iconic scene from the movie Ghost.

This raises obvious questions such as "Where is Olaf?" and "Are they making a ceramic minion?"

This is yet another example where digging deeper raised more questions than it answered. But at least some were answered. Maybe.

Contemporary Street Art in Jieyang

The Name for an Unusual Building in Shenzhen

Yesterday's post included a photo of a building in Shenzhen with an unusual design.

I didn't worry about identifying the building when I took the photo two weeks ago. I expected it would be easy to figure out later online. But the best I could do last night in a short amount of time was find the building on Baidu Map's street view where it is covered by scaffolding. No name appeared for the building, and an image search of the photo proved fruitless.

While at the nearby Dongmen Pedestrian Street area today, I unexpectedly caught a glimpse of the building down an alley. Feeling inspired, I decided to identify it the old fashioned way and made my way to a passageway where I could cross Shennan East Road underground while perusing the items sold by various hawkers. Upon arriving at the building, I considered what appeared to be a bovine-inspired sculpture next to the building's main entrance.

I walked into the main lobby, and a security guard soon approached. Perhaps he was from the nearby Shenzhen Security Service Company.

The seemingly nervous security guard answered a few questions before he stopped to salute an older man walking by. The man had a puzzled expression when he looked at me. Probably to nobody's surprise, we both refrained from any saluting.

After leaving the building, I pondered a nearby Land Rover advertisement with a snow covered scene.

Although Shenzhen has experienced unusually cold weather recently, snowy roads are rarely a worry. It snowed in Guangzhou, not far away to the north, yesterday for the first time in 50 years (added note: parts of Shenzhen reportedly saw snow as well).

Anyway, the building under question holds the Ruihe R & D Center and is creatively named the Ruihe Building (瑞和大厦). According to Reuters:

SHENZHEN RUIHE CONSTRUCTION DECORATION CO., LTD. is principally engaged in the design and construction of building decoration projects. The Company provides decoration and construction services for shopping malls, hotels, hospitals, curtain, subways, finance, office buildings and theaters, among others. The Company operates its businesses in domestic markets.

And now one loose end is tied up.

Two More Shanghai Scenes

I was tempted to included two more photos in the previous post "Twenty Shanghai Scenes Not Featuring Luxury Malls or Skyscrapers", but they didn't quite fit the theme which emerged. So I will share them separately here.

One photo captures a portion of a destination especially popular for tourists and shoppers: the Nanjing Road Pedestrian Street.

The other photo includes tall buildings in the background.

In front of the buildings is a collaborative creation (link in Chinese) by Yu Jiyong (余积勇) and Shen Tingting (沈婷婷): the May Thirtieth Movement Monument in People's Park.

The locations where these photos were taken are just minutes away from each other by foot. And I have stories for both. Another day . . .

Two Mobile Moments on Stringless Sculptures in Changsha

Earlier this year at pedestrian street in Changsha I considered "the competing interests between those who wish to use a suitable sculpture for an extended period of time as a place to sit with others who desire to use it more fleetingly for photos". When I stopped by a shopping center during a recent day in Changsha, I saw people using two previously-noticed sculptures with stringless string instruments for the former purpose.

In both cases, not only was someone taking advantage of a place to sit but their attention was focused on a mobile phone – a theme for some future posts about Changsha.

Imitated Art: Giant Abstract Flamingos in Chicago and Zhuhai

Dali L. Yang, Professor in the Department of Political Science at the University of Chicago, recently tweeted a photo of a sculpture by the American artist Alexander Calder (1898-1976).

Chicago in a rainy Saturday evening pic.twitter.com/UbGeX5z2G3

— Dali L. Yang (@Dali_Yang) October 25, 2015

The Chicago Public Art Program's description of the "Flamingo" emphasizes how the sculpture fits in with its surrounding environment and offers an immersive experience:

Alexander Calder’s abstract stabile anchors the large rectangular plaza bordered by three Bauhaus style federal buildings designed by Mies van der Rohe. The sculpture’s vivid color and curvilinear form contrast dramatically with the angular steel and glass surroundings. However, Flamingo is constructed from similar materials and shares certain design principles with the architecture, thereby achieving successful integration within the plaza. Despite its monumental proportions, the open design allows the viewer to walk under and through the sculpture, leading one to perceive it in relation to human scale.

Seven years ago, David Mendell for the Chicago Tribune shared how the cost for a needed renovation at the time may have been justifiable simply in terms of attracting tourists:

Art lovers and conservationists maintain the expenditures are essential, and economical, if Chicago is to continue drawing tourists who want to view public art.

"These works really show the commitment Chicago has to promoting (the city's) cultural landscape in the last half of the 20th Century," said Victor Simmons, director of education for the Chicago Architecture Foundation. "It would be a great loss if those two contemporary works were allowed to disappear."

Fortunately, Calder's work didn't disappear. Two months ago, I felt inspired to take a photo similar to Yang's:

Perhaps too similar. Unfortunately, I haven't been to Chicago in years. Instead, I took the photo in China — more specifically, at the Huafa Mall in Zhuhai, Guangdong.

No Bauhaus-style federal buildings border the mall's plaza, and some differences exist between the Zhuhai sculpture and Calder's. But it is hard to believe the striking resemblance is a coincidence, and the Calder Foundation makes no mention of this work.

Photo by Min Lee of Calder's "Flamingo" in Chicago taken from a more a easily comparable viewpoint

There have been times when an example of "China copied!", often a justifiable claim, struck me as being no more a copy than examples in the West which were not similarly called out. Many of the most celebrated artists have used others' ideas and material to one degree or another. The line between imitation and similar-in-style can be fuzzy. Some of Calder's own works made me immediately think of earlier artists. And the more I compared photos of the sculptures in Zhuhai and Chicago the more differences I noticed. Revisiting both in person may uncover more.

Nonetheless, I strongly lean towards calling the Zhuhai sculpture an imitation. At best, it seems to be rather near that fuzzy boundary. It would be interesting to know whether the differences are primarily a result of artistic considerations, a desire to technically avoid the "copy" label, or failing to perfectly copy Calder's sculpture.

Whatever the artistic, ethical, and legal issues, though, there is a positive side to apparent imitations like the one in Zhuhai. For example, relatively few people in Zhuhai will ever have the opportunity to visit Chicago or support its tourism industry. At least they can now better experience something similar to its art, if not its deep-dish pizzas and hot dogs. From this perspective, it could be argued it would be better if the Zhuhai sculpture were an exact copy.

Regardless, clearly crediting the original, which I didn't see in Zhuhai, would improve things — perhaps something to the effect of:

Variation on Alexander Calder's sculpture "Flamingo" in Chicago, USA.

Not only could it increase people's art appreciation and knowledge, but it could also help avoid a potentially face-losing situation in which someone proudly identifies the sculpture as an example of Zhuhai originality.

In his thoughts about another Chicago sculpture with a twin in China, Jonathan Jones, who writes on art for the Guardian, had this to say about creativity and Chinese art:

The creative individual has been at heart of Chinese art for a long time. Painters and poets of the Song dynasty, during the 12th century, were celebrated as distinctive creators at a time when European art embodied the labour of anonymous artisans and scribes.

There’s no reason to think that China placed a low value on the creative individual – until the 20th century, that is. . . .

The Cultural Revolution undoubtedly attacked the idea that individual creativity should be celebrated or protected.

Yet despite any lasting negatives effects resulting from events of the previous century, creativity exists in China today.

Even if China feels artistic imitations are justifiable, not openly identifying them as such detracts from the work of artists all over the world. And in a special way it hurts Chinese artists who create original work in the 21st century. An environment exists where it is all too easy to think "this might be an imitation".

Nobody is now wondering if Calder copied a sculpture in Zhuhai.

Deep Thoughts From Today in Zhuhai: Part II

Deep Thoughts From Today in Zhuhai: Part I

Beads of Light in Zhongshan

A view of an artistic structure near an apartment complex in Zhongshan, Guangdong:

A sign nearby identified it as "光立忘". I am hesitant to translate titles of art, but for purposes here I will go with "Light Immediately Forgotten". Happy to hear other suggestions.  I share the photo because it made me think of a more obviously personal installation work by Hwang Buh-Ching I saw in Taipei.

Variations on British and American Themes: More Motorbikes in Shanghai

I previously noted that the Union Jack designs common on motorbikes in Chinese cities such as Shanghai and Changsha show varying degrees of faithfulness to the flag of the U.K. For example, the front of one motorbike I saw in Shanghai was missing about half of the blue coloring normally found on the flag.

Sometimes the design takes an even greater leap.

The prevalence of the Union Jack design on motorbikes likely increases the chance someone would appreciate the resemblance. And the Union Jack sticker on the front of the motorbike especially suggests it isn't a coincidence.

Another motorbike I saw displayed a design which was more subtly reminiscent of the flag of the U.S. than other designs.

Whatever the degree of similarity, questions can be asked about the designers' and owners' intents and how the designs are perceived. I will later touch on these questions in regards to a similar trend in clothing, where I have seen an even greater range of designs possibly inspired by the flags of the U.K. and the U.S.

Strangling Pink Ribbons and Vigorous Elves Appear on Graduation Day in China

Although People's Daily got it wrong in connecting No-Bra day to health risks, at least the Communist Party’s flagship newspaper has drawn a bit of attention to breast cancer prevention elsewhere. For example, in one series of related photos People's Daily explained:

Recently, several college graduates wearing pink ribbons took photos in Shandong University to advocate the "International activity of breast cancer prevention" and commemorate their university lives.

The details of how the graduates advocated the cause raise some questions though. Here is one of the photos:

I would like to explain the symbolism, other than the color of the cloth, in the scene and how it relates to breast cancer awareness.

However, I cannot.

For some useful context, though, People's Daily once again comes to the rescue. Here is a photo from another series, this one titled "Creative graduation caps of ‘vigorous elves’":

I would like to explain the symbolism in the scene and how it relates to, well, anything.

However, once again, I cannot.

But People's Daily does offer this explanation:

Graduates from Nanjing University of the Arts pose for a group of creative graduation photos in their ballet costume on June 30, 2015. The history of the university can be traced back to the year of 1912.

I would like to explain why the date of the university's founding was mentioned.

However, yet again, I cannot.

More relevant here is that both sets of photos are examples of a common practice in China — students finding fun ways to make graduation photos more creative and memorable. And in this respect, it is hard to argue with the results of either photo.

I would like to explain why such photos receive the amount and type of attention they do from the People's Daily.

I have some guesses, however . . .

Dharma Art in Fuzhou

Today's piece of contemporary art comes from the Museum of Fujian Intangible Cultural Heritages in Fuzhou.

According to the museum, the artist is Chilong Ho (河志隆), and the piece is titled "Dharma Pot" (达摩尊).

Changsha Graffiti

Bowless and Stringless Statues in Changsha

Since I broached the topic of string players yesterday, it is an opportune time to mention two statues of string players I have seen in Changsha.

The much larger statue is titled "Liuyang River" and was erected at Furong Square in 2002.

The second statue is at the back of the Kaifu Wanda Plaza shopping center.

I didn't see a name for it.

Both statues caught my eye since the violinists are missing their bows, which would make it rather hard for them to make music given their arm positions. Additionally, the larger violin had no strings and the smaller violin had broken strings. That said, just being statues is a rather significant obstacle to overcome in itself. I can't rule out artistic motivations, but I assume the bows are missing for pragmatic reasons. It doesn't feel the same without a bow though.

Also behind Kaifu Wanda Plaza is a statue sculpture of a stringless harp.

It shows signs it once had strings or something to represent strings. Given the number of people interested in having themselves photographed interacting with it and the nearby violinist statue, I can't say I am surprised by their current state.


Added note: No, the man in the chair is not posing for a photograph. He is simply taking advantage of a place to sit — a common sight for the times I have passed by.

A Monster in Shenzhen

Part of a promotion at the COCO Park shopping center in Futian District, Shenzhen

A Feline Minibus in Hong Kong

It isn't a Catbus from My Neighbor Totoro but instead a minibus in Hong Kong with a veterinarian ad:

Trams in Hong Kong aren't the only form of transportation offering a platform for creative advertising.

Fang Tang's Caricature World at the Zhongshan Cartoon Museum

The Zhongshan Cartoon Museum (中山漫画馆)

The Zhongshan Cartoon Museum (website in Chinese) opened just over two years ago at scenic Yixian Lake Park in Zhongshan, Guangdong. The Chinese characters "漫画" (mànhuà) in the museum's name are translated into English as "cartoon". But in a different context on a sign introducing a collection of pieces by Fang Tang (方唐), the characters are translated as "caricature", which captures the spirit of his work displayed there.

Fang Tang, formerly known as Chen Shubin, was born in Zhongshan in 1938 and has achieved national recognition (source in Chinese). According to the Zhongshan Daily Overseas Edition, Fang donated a number of his pieces to the museum because he felt it was a better option than them becoming "rubbish" after he dies. As a whole, I considered Fang's works to be the most striking examples in the museum, in large part due to the topics they covered.

Below are photographs of six examples of his work along with their titles. I would typically take a pass on translating artwork titles, especially without consulting the artist. However, for the sake of providing some context, I gave it a shot, erring on the simplistic side. Titles in the original Chinese are included as well, and dates are listed when possible.

With the exception of "Henpecked Disease", I would not have been surprised to see the below examples as editorial cartoons in an American publication, although a slightly different meaning could have been intended or interpreted in some cases. The pieces provide a taste not only of what Fang wanted to creatively express but also of what he has been allowed to express in China.

Sign introducing the collection

Security — 安全 (2003)

Give a Bit of Oil — 给点油吧 (1981)

Recollecting — 回想 (1986)

Henpecked Disease — 惧内症 (1985)

Worship — 崇拜

Conviction — 信仰

What to Do About China's New Year Yang?

Confusion surrounds the identity of this year's Chinese zodiac symbol. Chris Buckley succinctly explained why:

The reason is that the word for the eighth animal in the Chinese zodiac’s 12-year cycle of creatures, yang in Mandarin, does not make the distinction found in English between goats and sheep and other members of the caprinae subfamily. Without further qualifiers, yang might mean any such hoofed animal that eats grass and bleats. And so Chinese news media outlets have butted heads for days on what to call this year in English, recruiting experts to pass judgment.

Some claim the answer can be found in which animal was bred or eaten first in China. I am not clear what that logic says about other Zodiac creatures such as the monkey or dragon.

Others believe the answer depends on region:

Fang Binggui, a folklorist based in southeast China's Fuzhou City, says the image of the zodiac Yang is open to regional interpretation. "People depict the zodiac animal based on the most common Yang in their region. So it's often sheep in the north while goats in the south."

Fang's explanation matches up with another north-south regional difference: the Japanese zodiac specifies the animal to be a sheep while the Vietnamese zodiac specifies the animal to be a goat.

Based on what I have seen during the past month, though, it doesn't appear there is universal agreement on what to use even within individual cities in southern China. While not necessarily representative, photos I took in four Chinese cities — Chongqing in the southwest and Macau, Zhuhai, and Zhongshan in the southeast — at least provide a taste of the variety which can be found there. The photos include Lunar New Year displays, signs, or artwork I happened to notice, most often in shopping areas, public squares, or parks. After the photos, I will share brief thoughts on how I will be handling the zodiacal challenge.

Sometimes the choice of animal is expressed in English. Some of the animals are easy to identify. Other are more challenging. One has wings.

A bit of the new year spirit in Chongqing:

Alongside the Jiefangbei Pedestrian Street

A pedestrian bridge in Yangjiaping

Inside the SML Central Square shopping center

Outside the Sunshine Mall

Above the Guanyinqiao Pedestrian Street

Door at Shenghui Plaza

At Haitang Yanyu Park

Also at Haitang Yanyu Park

Across the street from the Chongqing Zoo

Inside the SM City shopping mall

Inside the Starlight 68 Plaza shopping mall

Macau:

In Taipa Village

Also in Taipa Village

Inside the Shoppes at Venetian

At Largo do Senado (Senate Square)

At the Portas do Cerco (border crossing point with Zhuhai)

A lobby inside the Galaxy Macau resort

In Coloane Village

Also in Coloane Village

Zhuhai:

In front of Gongbei Port (border crossing point with Macau)

At the New Yuan Ming Palace

Also at the New Yuan Ming Palace

At the underground Port Plaza shopping center

Inside the Vanguard supermarket in Gongbei

In Zhongshan:

Outside Yu Yip Plaza

Outside of the Central Power Plaza shopping mall

My take? If people are using all these different animals in China, and they all count as yangs, why not just go along with it? The trick then is what to say in English. Perhaps it is time, as the earlier sentence suggests, for another loanword in English — "yang". Yes, there is already "yin and yang", but English is comfortable with homonyms, and it would help address English's "trade imbalance" with loanwords.

But if I have to choose an animal more specific than all yangs, although I am tempted by the Tibetan antelope, I have decided to go with the goat if for no other reason than I have seen several live goats recently.

Goat near a familiar-looking statue at Foreigner's Street in Chongqing

Goats at the New Yuan Ming Palace in Zhuhai

Now I just need to figure out which type of goat.