xiao rongsheng quotation

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This exhibition, composed of sketches of famous paintings, presents the process in which the “Red Classics” oil paintings came into being from 1950s to the late 1970s. Their creators—Cai Liang, Lin Gang, Pang Tao, Quan Shanshi, Song Ren, Su Gaoli, Sun Cixi, Tang Xiaohe, Wang Shenglie, Xiao Feng, Yin Rongsheng, and Zhan Jianjun—were born more or less in the 1920s–1940s. Within the history of Chinese oil painting, they could be called the generation that bridged the present with an older generation of painters like Xu Beihong and Lin Fengmian, as well as the generation slightly later, which includes Wu Zuoren, Ai Zhongxin, Dong Xiwen and Wang Shikuo. They were a generation of artists and art educators who promoted and, indeed, truly rooted oil painting in China with creative methods derived from Soviet Socialist Realism. Unlike their predecessors, their professional training was completed in the academic environment after liberation in 1949; some, like Lin Gang, Xiao Feng and Quan Shanshi, were even sent by the state in the ’50s and ’60s to study in a few key Soviet art academies. There was also the “Maksimov Training Course” at the Central Academy of Fine Art, with students like Zhan Jianjun. (1) Their work, therefore, reflected the official system relatively strongly.

The exhibition contains works that display heroic acts by the Communists against the Japanese invasion, like “Eight Heroines” (by Wang Shenglie; sketch created in 1957), as well as works that expressed a certain humanism, like “Dr. Bethune” (by Xiao Feng and Song Ren; color sketch completed in 1974). But the majority of the works— especially those created during the Cultural Revolution —portray great leaders and key revolutionary scenes, like “Joining of the Three Main Forces of the Red Army” at Jingangshan (by Cai Liang and Zhang Zini) and “Chairman Mao at the Peasant Movement Institute” (by Zhan Jianjun; color sketch on canvas; created in 1961 at the invitation of the Museum of the Chinese Revolution).

Yet what is most worth savoring are still the differences between the sketches and the final versions. One example is Tang Xiaohe’s sketch for “Strive Forward in Winds and Tides” (1971), a propaganda oil painting completed during the Cultural Revolution. Chairman Mao loved swimming, and on May 31, 1956, he swam across the Yangtze in Wuhan for the first time (and left behind a famous poem as well). Thereafter, many cities along the Yangtze also held swimming events across the river. On July 16, 1966, an elderly Mao again swam in the Yangtze, leaving behind that classic photograph—the portrait of the leader swimming amid the currents being especially pregnant with meaning as having happened a mere two months before the Cultural Revolution broke out. (4) Later, July 16 was designed—for a while—as “National Swimming Day”. At one point, large numbers of prints, stamps, songs and so forth emerged with the theme of “striving forward with Chairman Mao in winds and tides”, while as the initial work in this vein, Tang Xiaohe’s propaganda painting was widely republished in important publications like the People’s Daily and People’s Liberation Daily; it was also turned into an important political propaganda poster. More importantly, the theme of these works incorporated the idea of “nurturing successors to the Revolution” (5) in order to convey the overall idea that the Cultural Revolution was a mass movement that would be passed on, one generation after the other.

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Superoxide radicals combined with NO produce peroxynitrite, which results in myocardial dysfunction (57). Liao et al. (24) found that luteolin down-regulates the expression of inducible nitric oxide synthase (NOS), but had no effect on the expression levels of endothelial NOS (eNOS) and neuronal NOS. However, in a rat model of diabetes, eNOS was activated by luteolin to diminish oxidative stress induced by MIRI (32, 33). Xiao et al. (32) suggested that luteolin could activate eNOS to trigger antioxidative effects mediated by nuclear factor E2-associated factor 2 (Nrf2), which attenuated MIRI in diabetic rats. Moreover, the anti-oxidative effect was abolished by the NOS inhibitor L-NAME and the Nrf2 inhibitor brusatol. Nrf2, as the key molecule in redox balance, initiates the transcription of downstream antioxidant enzymes (58). The antioxidative function of Nrf2 was also improved by luteolin-mediated activation of the PI3K/Akt pathway. With a similar mechanism, Zhang et al. (36) revealed that luteolin attenuated oxidative injury through the PI3K/Akt pathway. ROS activation of members of the MAPK family was inhibited by luteolin to reduce MIRI (32, 36). In addition, luteolin enhanced the expression of the antioxidant protein peroxiredoxin II (30).

32. Xiao C, Xia M-L, Wang J, Zhou X-R, Lou Y-Y, Tang L-H, et al.. Luteolin Attenuates Cardiac Ischemia/Reperfusion Injury in Diabetic Rats by Modulating Nrf2 Antioxidative Function. Oxid Med Cell Longev. (2019) 2019:2719252. 10.1155/2019/2719252 PubMed] [CrossRef]

34. Yang J-T, Wang J, Zhou X-R, Xiao C, Lou Y-Y, Tang L-H, et al.. Luteolin alleviates cardiac ischemia/reperfusion injury in the hypercholesterolemic rat via activating Akt/Nrf2 signaling. Naunyn-Schmiedebergs Archives of Pharmacology. (2018) 391:719–28. 10.1007/s00210-018-1496-2 [PubMed] [CrossRef]

39. Zhou XR, Ru XC, Xiao C, Pan J, Lou YY, Tang LH, et al.. Sestrin2 is involved in the Nrf2-regulated antioxidative signaling pathway in luteolin-induced prevention of the diabetic rat heart from ischemia/reperfusion injury. Food Funct. (2021) 12:3562–71. 10.1039/d0fo02942d [PubMed] [CrossRef]

In Bai Wei"s Breaking out of the Tower of Ghosts, a different kind of family tragedy bears witness to the tyranny of Chinese cannibalism. In the play, a cruel landlord cum opium dealer, Master Rongsheng, is about to marry Yuelin, a servant girl whom Rongsheng bought years before and adopted later as his foster daughter. This plan is under way despite the fact that Rongsheng has seven concubines and Yuelin has fallen in love with Rongsheng"s own son, Qiaoming. In the meantime, Rongsheng has to cope with his rebellious tenants, whose recent riots have been reinforced by the support of local revolutionaries. The plot is further compounded by the appearance of a woman revolutionary named Xiao Sen, who was once impregnated by Rongsheng. On a visit to the mansion of Rongsheng, Xiao Sen is shocked to discover that Yuelin is her long-lost illegitimate daughter, and so the real father of Yuelin is none other than Rongsheng!

The play"s central symbolism develops around the so-called tower of ghosts (youling ta), referring to the site of an old tower taken by Master Rongsheng from a widow. The site has since been deserted amid rumors that it is haunted by ghosts; the only building that remains in the vicinity is a small house, used by Rongsheng to cage women who dare to defy his lust. Shrouded in a deadly atmosphere, the tower site may be a "living hell" where many young females have been tortured. The tower of ghosts also reminds us of the famous essay by Lu Xun, "Lun leifeng ta de daodiao" (On the collapse of the Leifeng Tower, 1926).[39] As the legend goes, the monk Fahai incarcerated the beautiful White Snake under the formidable Leifeng Tower for good—an eternal condemnation of the snake for having fallen in love with a human. The collapse of the tower, after having stood for hundreds of years, represents for Lu Xun a belated natural justice overthrowing the punishment meted out by a male-centered justice system.

Bai Wei makes clear reference to the collapse of Leifeng Tower in her play and adds to it an ironic, bitter note. Although the tower of ghosts no longer physically exists, the old, male power still rules women by invoking the coercive system of the tower. At one point in the play, Bai Wei has one woman servant articulate the fact that the tower site is not haunted by ghosts; it is Master Rongsheng who fakes ghostly sounds from time to time to sustain the old, terrifying myth. Moreover, Bai Wei suggests that the "ghosts" of the tower not only persecute women but also their own young, male descendants. Hence, "the tower of ghosts is referred to by the young master as the [patriarchal tyranny of the] old master. Master Rong-sheng may not look like a ghost, but in view of the way he oppresses his young male descendants, isn"t he comparable to the Leifeng Tower that crushed the White Snake spirit?"[40]

The archvillain of the play, Master Rongsheng is described as a fiendish landlord, an unscrupulous merchant, a heartless father, and a sex maniac. His evil forces have undermined the political, economic, ethical, and sexual foundations of Chinese society and could let it fall into anarchy at any time. Yet before his final moment comes, Master Rongsheng manages to hold on to his power, as a pillar of his society. As the play develops, when Master Rongsheng"s son, Qiaoming, comes forward to challenge his father"s wish to marry Yuelin, the father takes out his pistol and slays his son. Not content with that, Rongsheng goes on to trap the leader of the rioting tenants, jailing him under the false charge of being the murderer, and to kill an old servant, who at the last minute reveals that he has been Rong-sheng"s best friend and romantic rival.

For Bai Wei, crime on such a horrific scale goes beyond the control of imaginable legality. It can only be put down by even more outrageous deeds of violence. In the final moment of the play, when the woman revolutionary Xiao Sen returns and reveals to Master Rongsheng that she was the girl once seduced by him and that Yuelin is their daughter out of wedlock, Rongsheng, in fury, shoots at her. To protect her mother, Yuelin rushes to Xiao Sen with another pistol, which happens to be close to hand, and fires back at her father; father/rapist and daughter/victim

Critics in the Communist camp have praised Breaking out of the Tower of Ghosts as a model drama for women"s liberation. The theme of class struggle has been high-lighted in view of the deadly conflict between the landlord and the proletariat, father and children, man and woman.[42] A feminist of the fundamentalist persuasion would praise the play for its focus on misandry and its celebration of sisterhood and mother-daughter coalition.[43] These critics may have underestimated the (self-) destructive power embedded in the play. Close reading shows that in Bai Wei"s world, revolutionary leaders turn out to be either burdened by their dark past or disabled by unforeseeable contingencies. The woman revolutionary Xiao Sen has been so busy with her adventures that she has had no time for the baby, which she left in the hands of cruel and rapacious foster parents; hence the daughter"s protest that she never had a real mother. The peasant protest does triumph in the end, but only as the result of landlord Rongsheng"s death at the hands of his own daughter. Moreover, Yuelin is never portrayed as a feminist heroine; she appears instead as a girl troubled by a chronic, manic-depressive syndrome, and the root of her psychological instability is traced to her being deserted by her mother. Whereas the incestuous conjugation between father and daughter is stopped by the timely death of the father, the much-expected reunion between mother and daughter comes only at the cost of the daughter"s life. Finally, Yuelin is presented as having fallen in love with her own half brother, so that if she had had her (unnatural) way, she would still have committed incest.

There are, nevertheless, moments in which tears and blood are called on, only to confuse an issue instead of settle one. These moments give rise to the theoretical double bind in legal or ethical disputes. In Paoxiao lede tudi (The roaring earth, 1931) by Jiang Guangci (1901–31), for example, the young leftist revolutionary, Li Jie, is forced to make a painful decision as his comrades propose to burn down the properties of local landlord families. As a leader of the local proletariat organization, Li Jie is obliged to see to the implementation of this plan. He is, however, beset by several worries. Li happens to be the son of the richest landlord in town; should the peasants" riot take place in the proposed form of burning and looting, it would mean a total devastation of the Li family estate. Moreover, even though he could not care less about his father"s life and fortune, Li is worried about the well-being of his bedridden mother and his younger sister, still a mere child. Should these two females be sacrificed to the cause of justice as part of the peasant rebellion?

This psychological reeducation of the peasants is closely related to the so-called violence of language imposed on them. Tang Xiaobing has argued, with Zhou Libo"s Hurricane as an example, that the function of language in Communist literature at this time has been reduced to the most primitive level, which can "make sense" only in recourse to the invocation of physical scars.[76] Tang sees a dangerous reduction of a symbolic system of linguistic signs to that of bodily spectacle.[77]

7. Liu Zaifu, "Zhongguo xiandai xiaoshuo de zhengzhishi xiezuo: cong ‘Chuncan’ dao Taiyang zhaozai Sanggan heshang" (The politics of writing in modern Chinese literature: From "Spring Silkworms" to The Sun Shines over the Sanggan River), in Fangzhu zhushen: Wenlun tigang he wenxueshe chongping (Exiling gods: Outlines of literary theory and rereadings of literary history) (Hong Kong: Tiandi tushu gongsi, 1994), 133–34, 140.

22. It was the second of Li Boyuan"s novels serialized in his magazine Xiuxiang xiaoshuo (Illustrated fiction). The novel comprises forty-three chapters; like most of other novels by Li Boyuan, it remains incomplete. Li died when he had finished chapter 39. Chapters 40 to 42 were added by his friend, the novelist Wu Jianren. The last chapter is said to have been written by Ouyang Juyuan, Li"s friend and the assistant editor of Illustrated Fiction. The novel was not published in book form till 1956 in Shanghai, under the auspices of the well-known scholar Zhao Jingshen.

30. David Derwei Wang, "Lu Xun, Shen Congwen, and Decapitation," in Politics, Ideology, and Literary Discourse in Modern China: Theoretical Interventions and Cultural Critique, ed. Liu Kang and Tang Xiaobing (Durham: Duke University Press, 1993), 174–87.

47. Jiang Guangci, Paoxiao de tudi (The roaring earth), vol. 2 of Jiang Guangci wenji (Selected works of Jiang Guangci) (Shanghai: Shanghai wenyi chubanshe, 1982), 374.

62. See Huang Ziping"s succinct discussion in "Bing de yinyu yu wenxue shengchan: Ding Ling de ‘Zai yiyuan zhong’ ji qita" (The metaphor of illness and literary production: Ding Ling"s "In the Hospital" and other works), in Zai jiedu: Dazhong wenyi yu yishi xingtai (Rereading: Mass literature and ideology), ed. Tang Xiaobing (Hong Kong: Oxford University Press, 1993), 51–67.

73. Zhou Libo, Baofeng zouyu (Hurricane) (Changsha: Hunan renmin chubanshe, 1983), 174. See Tang Xiaobing"s discussion in "Baoli de bianzheng fa" (The dialectic of violence), in Zai Jiedu: Dazhong wenyi yu yishi xingtai (Rereading: Mass literature and ideology), ed. Tang Xiaobing (Hong Kong: Oxford University Press, 1993), 122.