Yu-Tan+With+Basket--Shang+Ding

=Yu-Tan With Basket= []

**Identification**
Title: Yu-Tan With Basket Artist: Shang Ding Date: Unknown Period: Contemporary Country of Origin: United States Cultural/Ethnic Affiliation: Chinese Medium: Oil Painting Dimensions: 16" x 20" Museum/Collection: Unknown Accession Number: Unknown Current Location & Manner of Display: Unknown Provenance: Unknown

**Introduction**
This is a detailed analysis of an oil painting titled //Yu-Tan With Basket// by the Chinese-born contemporary artist, Shang Ding 尚丁 who now resides and works in the US. In this entry the painting is discussed in relation to the style of New Realism or Realistic Painting (现实主义绘画 Xinxianshi zhuyi huihua) that emerged in China in the late 1970s when Shang Ding first gained recognition for his oil paintings such as //Continue the Fight// (1974).

**Descriptive Analysis**
//Yu-Tan With Basket// is an oil painting on canvas that measures 16" x 20". The painting is of a slim young Asian woman shown from the waist up, wearing an open-necked white blouse with puffed sleeves and a straw sun hat decorated with a pink ribbon around the crown. Her dark hair is piled up inside the crown of the hat, leaving her neck bare. Her only adornment is a pair of heavy gold hoop earrings. She appears to be in mid-stride, with her face turned fully towards the viewer. Her eyes, however, look back over her right shoulder, in a moment of contemplation or reflection. Her left arm is completely hidden by the slight slant of her body. Her mouth is closed, lips pressed gently together, and she is not quite smiling. She has a woven basket slung over one shoulder on a long strap, and her right arm is raised, hand towards her throat, clutching the strap. Most of the basket is not visible to the viewer, as it is hanging outside the frame of the picture, and it appears to be empty. This is an outdoor scene with stands of trees behind her figure, and she is standing in a field of green and gold grasses. Blue sky and white clouds are visible through the gaps in the far tree line on what is clearly a sunny day. The lighting is very natural and realistic, with sunlight highlighting the brim of the hat, and subtle shadows in the folds of her blouse and across her face.

**Formal and Contextual Analysis**
The execution of this painting is in the style of New Realism, a movement that developed after the end of the [|Cultural Revolution]in 1976. During the period from 1949-1976, art in China was required to spread the message and goals of the Communist Party, and to glorify its leader, [|Mao Zedong]. Art was only a tool of the great propaganda machine that the Communist Party leaders worked tirelessly to maintain. Artists were required to paint workers, soldiers, and peasants, as they were considered to be the most worthwhile subject matter. The edict from the government was that art should be [|"red, bright, and shining"]. The production of art was intended strictly for the masses; independent, creative works other than those approved by the Communists were not allowed, as they would be individualistic in nature. For this reason, there was no portrait painting, and artists were forbidden to sign their works.

After Chairman Mao's death in 1976, the iron grip the Communist Party had maintained on the art world in China began to loosen. Up until that time, Mao's wife, [|Jiang Qing], was the controlling force of art, literature, and theatre. Her choices and opinions were considered absolute; for example, the operas she approved were the only operas performed in China, and attendance of these performances by the people was mandatory. As Becker (2006) wrote, "Mao's fourth wife, Jiang Qing, was a Shanghai starlet in the 1930's who later took charge of the arts in the Cultural Revolution, turned it into a propaganda tool, and destroyed the lives of all her old associates" (p. 59). When her power over Chinese culture weakened as the 1980's approached, the art world began to open up. Some artists began to paint in a new style of realism--not the Socialist Realism utilized for decades, but a fresh, humanistic approach, with everyday activities and ordinary people as subjects. This later became known as New Realism or Realistic Painting (现实主义绘画 Xinxianshi zhuyi huihua). Western art styles such as Photorealism and the work of artists from the West--like [|Andrew Wyeth]--had enormous impact as news of them filtered into China. Those Chinese artists who began to paint in the contemplative and often pensive style that Wyeth did so well, formed two main branches that became known as "Native Soil Realism" and "Scar Art". As explained by Wu Hung (2010), "Native Soil Art instead advocated realistic portrayals of ordinary people (albeit still in a romanticized manner)" ( p. 19). "Scar" Art got its name because it exposed the wounds--spiritual, emotional, and physical--created by the Cultural Revolution upon the Chinese people. Both types of realism were something quite different in content and purpose. One of the goals of the New Realists was to create works of art that were totally devoid of political content; this was a natural reaction to decades of having to produce political propaganda in the name of art.

Artist Shang Ding was born in Kunming, China, in 1954. He grew up in the last years of Mao Zedong's regime, literally coming of age during the Cultural Revolution. During the decade of the Revolution (1966-76), it was common for people to be beaten, imprisoned, or even killed if they were seen as a threat to the success of Chairman Mao's plan. Shang Ding's own parents were arrested for being counter-revolutionaries, primarily because of his father's career as a journalist. His parents were detained by the Communist government for 3 years, forcing their young son to live completely on his own. Realizing he had to provide for himself, at age 17 Shang Ding joined the army. His talent for drawing and painting, which had begun at a very young age, continued while he was in the army--often at night, by flashlight. While still in the army in the early 1970's, he painted haunting pictures of his comrades in arms as well as military life behind the scenes (see examples below). He was one of the very few artists who documented in a realistic manner the experience of ordinary soldiers in the Chinese Army; yet his work did not conflict with the required propaganda standards of the day. Eventually, his paintings began to be noticed. Success brought him to the attention of Mao Zedong's wife, Jiang Qing. She admired his talent greatly, and Shang Ding became a protege' of sorts, with her power and influence over art in China working in his favor to gain him a new level of fame. Because of this, he was welcomed at the Zhejiang Academy of Fine Arts, where he obtained his Master's Degree.

Within a short time of the death of Mao Zedong and the end of the Cultural Revolution, Jiang Qing and her cohorts (known as the "Gang of Four")were arrested, as the political winds in China were changing. Finally, art began to separate itself from the political platform of the Communist party. Shang Ding was there to experience the liberation and experimentation of art at this exciting time. By 1985, the New Wave had arrived---art in true avant garde mode, with an emphasis on surrealism. Chinese artists began to experiment with Western art concepts, and to be strongly influenced by Salvador Dali and Andy Warhol. Shang Ding was there to experience the liberation and experimentation of art at this exciting time. The government was at times tolerant, allowing some new directions in art, but at other times banning specific works and often forcibly shutting down independent exhibitions. Throughout the 1980's, Shang Ding participated in exhibitions at the Chinese National Art Museum, the Shanghai Art Museum, and the 1988 Asian Art Gallery Exhibition, to name a few. He was very active in the Chinese national art scene, but he dreamed of going to the West, longing to develop his work in complete freedom. In 1988 he met an American artist who invited him to the United States to live and work. To do so meant having to leave his wife and daughter behind, but he made the difficult decision to go, unable to pass up the opportunity to fulfill his dream. Eventually he was able to bring his family to the US, and they ultimately settled in California.

Over time, he gradually progressed into painting contemplative moments in the lives of common people//,// replacing images of soldiers with beautiful women and the natural world. In his painting //Yu-Tan With Basket//, Shang Ding depicts an unremarkable, ordinary scene of a young woman outdoors, carrying a basket over her shoulder. Her figure is centered on the canvas, with her clothing realistically rendered and obviously contemporary. The meadow and trees behind her are muted, and conveyed with a blurry soft-focus that seems almost impressionistic. The setting is a very pastoral one, with no buildings or commercialism anywhere. It is a quiet scene, with the viewer's eye drawn to the young woman's pensive and somewhat mysterious expression. Unlike many of his fellow post-Cultural Revolution artists, he does not include bitter and satirical "statements" about the Westernization of Chinese culture; or the commercialism that has invaded Chinese society, or political messages that protest Communist policies. Instead he paints everyday scenes like women and children bathing in a river, or a young girl picking out fabric at a market stall. The figures he paints are rendered very realistically, and often the settings these figures are placed in are natural ones, such as in a meadow or alongside a pond. Frequently, his subjects are shown in a contemplative or pensive mood, as they do mundane things like walk to the market, or rest after dancing. They seem to be in harmony with their environment instead of trying to conquer it. As Shang (2001) himself commented, "In realism, nature is the ultimate teacher, and in China it has been reality itself that has taught me the meaning of life" (p. 120).

In the 1990's, art in China continued to evolve, as movements like Cynical Realism and Political Pop-Art came in to vogue. As Li Xianting wrote in his essay in Primary Documents, "Cynical Realism focuses on the senseless reality of the self, whereas Political Pop directly portrays the reality of dissolved meanings" (p. 164). In response to the extremity of these trends, there was almost a backlash against the gaudy, commercial art produced at the time. The New Realists continue producing works with softer, more natural colors, and subject matter consisting of simple scenes of ordinary life.

Personal Interpretation
Although there is nothing overtly political about this painting, a look below the surface of the work is revealing. The fact that the subject is an individual--a specific young woman--would have been considered dangerously counter-revolutionary just 30 years ago. The depiction of such an unremarkable moment in an ordinary person's life would have been forbidden. Even the woman's pose and expression would have caused the painting to be banned, as the artist has not utilized any of the approved heroic poses or expressions the Communist government required in all works of art. The gentle, contemplative mood of the work would in itself be considered controversial, as there is no enthusiasm for, or glorification of, the Communist Party anywhere to be seen.

The fact that this is basically a portrait of one specific, living person, is in itself an act of rebellion against the old ways, when portrait painting was not allowed. Nor is there a single splash of red anywhere in the painting, which violates one of the most basic art rules enforced so completely during the Cultural Revolution. Now Shang Ding can sign his own paintings, and achieve fame for his talent, instead of being a nameless, faceless artist mass-producing works of art controlled by the government. In essence, almost everything about this graceful painting is actually shouting out against the rigidity of the past...the quiet, reflective moment he captured is actually protesting the old ways loudly. The viewer who is aware of the prohibitive atmosphere of the Cultural Revolution and the artists' enforced participation in the great Communist propaganda machine, will see much more in //Yu-Tan With Basket// than a simple scene in the countryside. The painting can be enjoyed for its beauty and the supreme skill of its creator, as well for the subtle commentary on the state of Chinese art for the last several decades.

[[image:http://shangdingstudio.com/PreviouslySold/images/middle_way.jpg caption="Middle Way-Oil on Canvas 42" x32"" link="http://shangdingstudio.com/PreviouslySold/images/middle_way.jpg"]]
Caption? and source???

Caption? and source???

Other Works **Evening at Liu Sha River**

**Elevator**

**April Breeze**

**References**
sources need to be annotated. There are more specific print sources available that can be related to the artist and his work Print Sources:

Becker, J. (2006//). Dragon rising//.Washington,D.C.: National Geographic Society

//Southwest Art//. (2000, December). The last artists of American shows?. //30//(7), 32.

Villani, J. (2001, November). Subtle balance. //Southwest Art, 31//(6), 120-121.

Wu, Hung. (2010). //Contemporary chinese art: Primary documents//.New York,NY: The MuseumofModernArt.

Online Sources:

AsiaSociety. (2008). Art and china’s revolution. Retrieved from http://sites.asiasociety.org/chinarevo/?p=10.

BBC History. (2011). Mao Zedong. Retrieved from http://www.bbc.co.uk/history/historic_figures/mao_zedong.shtml

Biography. (2011). Jiang qing biography. Retrieved from http://www.biography.com/people/jiang-qing-9354625

Chineseposters. (2011, September 30). The mao cult-part 2. Retrieved from http://chineseposters.net/themes/mao-cult-2.php

<span style="display: block; font-family: arial,helvetica,sans-serif; text-align: left;">Kolesnikov-Jessop, S. (2007, June, 8). Neo-realists start to earn praise at home. //The New// //York Times.// <span style="display: block; font-family: arial,helvetica,sans-serif; text-align: left;">Retrieved from http://www.nytimes.com/2007/06/08/arts/08iht-RCARchin.6055312.html.

<span style="display: block; font-family: arial,helvetica,sans-serif; text-align: left;">Teachartwiki. (n.d.). 1999.6.1—fang lijun. Retrieved from <span style="display: block; font-family: arial,helvetica,sans-serif; text-align: left;">http://teachartwiki.wikispaces.com/file/view/Lijun_1999.6.1_-_1.jpg

<span style="display: block; font-family: arial,helvetica,sans-serif; text-align: left;">Teachartwiki. (n.d.). The sweet embrace. Retrieved from <span style="display: block; font-family: arial,helvetica,sans-serif; text-align: left;">http://teachartwiki.wikispaces.com/The+Sweet+Embrace--Zhao+Bo <span style="display: block; font-family: arial,helvetica,sans-serif; text-align: left;">--- Title: A Second Look Grade Level: 6th-12th grades Time: 7 hour long periods Standards: __National Standards__ VA.5-8.1 Understanding and applying media, techniques, and processes. (4) VA.5-8.2 Using knowledge of structures and functions. (4) VA.5-8.3 Choosing and evaluating a range of subject matter, symbols, and ideas. (1,2,3, & 4) VA.5-8.5 Reflecting upon and assessing the characteristics and merits of their work and the work of others. (2 & 3) __Technology Standards__ NETS.3. Plan strategies to guide inquiry NETS.3. Locate, organize, analyze, evaluate, synthesize, and ethically use information from a variety of sources and media NETS.4. Plan and manage activities to develop a solution or complete a project NETS.4. Collect and analyze data to identify solutions and/or make informed decisions

Central Concepts: Historical - Art as Propaganda is art that is used to help the spreading of ideas, information, or rumor for the purpose of helping or injuring an institution, a cause, or a person. During the period from 1949-1976, art in China was required to spread the message and goals of the Communist Party, and to glorify its leader, Mao Zedong. Art was only a tool of the great propaganda machine that the Communist Party leaders worked tirelessly to maintain. After the Cultural Revolution art began to open up in mediums, techniques, and subject matter although it was not until the 90s and after that art in China really began to evolve.

Artists’ Purpose: To perpetuate the views of government as that government sees fit. Artists were required to paint workers, soldiers, and peasants, as they were considered to be the most worthwhile subject matter. The edict from the government was that art should be "red, bright, and shining". (1949-1976)

Purpose of Art: Was a way for the government to control the population and to further perpetuate what the government wanted people under that government to think. Despite that it may false and untrue to reality. During this time, the government led by Mao Zedong sought to modernize China across all aspects of society, a process that included suppressing or destroying much of traditional culture. The government also sought to create a new visual culture to communicate its goals and ideology to the Chinese people. Artists were encouraged to create art that reflected the revolutionary spirit of the time, in Mao’s words, to create art for the people. The impact of this directive on artists and art making was enormous. Oil painting in a socialist realist style replaced ink painting which had been one of the most revered art forms in China for over one thousand years, as the preferred painting style.

New Realism: An art style popular in China during the Cultural Revolution. It attempts to represent subject matter truthfully without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. (http://en.wikipedia.org/wiki/Realism_%28arts%29)

Lesson Activities Activity 1: Research and Comparison, 2 class periods Groups of 2-4 students research propaganda art. 1. The teacher provides a list of propaganda artworks for students to chose from. The artworks include; Students compile information comparing chosen artwork to Yu-Tan with Basket by Shang Ding by using Internet search and books. 2. Research and observations are discussed by group and the results are recorded. Maybe you can list questions of what makes the artworks that groups can focus on, such is this piece influential in art history? Or whatever other criteria you are thinking is relevant. Guide questions for students:
 * J. Howard Miller's "We Can Do It!" poster from 1943
 * J. M. Flagg's 1917 poster, "We want You.."
 * Unknown artist, Soviet Union, "Day after day, life becomes even happier!"
 * 1) What does your chosen artwork express?
 * 2) Where did your artwork originate?
 * 3) What style is the artwork? elements/principles of design?
 * 4) Are the artworks similar, different? How?

Activity 2: Assembling Presentation, 1 class period. This is a continuation of activity 1, students will create a PowerPoint presentation about the artwork they have previously researched. 1. Students compile information into PowerPoint presentation, which will include historical information on propaganda artwork, the culture and artist of the artworks, contrast and comparison of the artwork, and references of the resources used. 2. Students create a questionnaire of 3 questions that can be answered by their presentation. These will be handed out to other groups and completed and turned in during the presentations to assess student understanding of presentation content. Activity 3: PowerPoint Presentations, 1 class period. A continuation of the previous activities, the students will present their findings to the class. 1. Students present their PowerPoints and answer given questionnaires. 2. Questionnaires are collected after all presentations are completed.

Activity 4: Symbolism, 2.5 class periods Students will use the knowledge they have constructed in the first three activities about symbolism in propaganda art to create a self-portrait or their own character. 1. Art Materials and Techniques Students will choose their own materials (e.g., chalk, pastel, paint, or pencil, Photoshop etc.). Students should ask themselves what materials they can use to best represent their character when deciding their medium. Students should also consider different techniques and what could result from certain technique of the chosen medium. 2. Creating Propaganda Students will have to make up attributes for their character and decide how to best represent them in their propaganda artwork. Organization will be a crucial part of this step. Students should make a list and organize the attributes of their character so they represent it in the best way possible. 3. Student Reflection Students will write an explanation of their characters and works of art, while reflecting on their process, execution of the media, and overall result. Student Reflection Rubric: Artwork: ___ Artwork uses technique and mediums. (10 points)__ _ Artwork shows awareness of craftsmanship. (10 points) ___ Artwork expresses intentional purpose of Propaganda. (10 points)__

__Writing Skills:__ _ Student uses complete sentences. (10 points) ___ Student uses correct capitalization and punctuation. (10 points)__ _ Student includes details in reflection. (10 points)

Total out of 60 points ___

References: TeachartWiki.com A Teachers Guide to the Internet http://en.wikipedia.org/wiki/Realism_%28arts%29