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One Hundred Years: History of the Chinese in America

From Wikipedia, the free encyclopedia

One Hundred Years: History of the Chinese in America
ArtistJames Leong
Year1952
TypeEgg tempera and casein on masonite
Dimensions154 cm × 533.4 cm (60 in × 210 in)
LocationChinese Historical Society of America, San Francisco, California

One Hundred Years: History of the Chinese in America is a 1952 mural painting by James Leong.

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Transcription

Hi, I’m John Green, this is Crash Course: World History, and today we’re going to talk about China, which these days is discussed almost constantly on television and in newspapers—wait, are they still a thing? So, we used to print information on thinly sliced trees and then you would pay someone to take these thinly sliced trees and throw them onto your front lawn, and that’s how we received information. No one thought this was weird, by the way. [music intro] [music intro] [music intro] [music intro] [music intro] [music intro] Right but anyway you hear a lot about how China is going to overtake the U.S. and bury us under a pile of inexpensive electronics, but I don’t to address those address those fears today. Instead, I want to talk about how the way you tell a story shapes the story. China was really the first modern state--by which I mean it had a centralized government and a corps of bureaucrats who could execute the wishes of that government. And it lasted, in pretty much the same form, until 150 BCE to 1911 CE, which is technically known as a long-ass time. The Chinese were also among the first people to write history. In fact, one of the Confucian Classics is called the Shujing, or Classic of History. This is great for us, because we can now see the things that the Chinese recorded as they were happening, but it is also problematic because of the way the story is told. So even Me From The Past with his five minutes of World History knows that Chinese History is conveniently divided into periods called Dynasties. Mr. Green, I didn’t even say anything. That doesn’t seem very fair- Sshh! What makes a dynasty a dynasty is that it’s ruled by a king, or as the Chinese know him, an emperor, who comes from a continuous ruling family. As long as that family produces emperors, and they are always dudes, and those emperors keep ruling, the dynasty gets to be a dynasty. So the dynasty can end for two reasons: either they run out of dudes (which never happened thanks to the hard work of many, many concubines), or the emperor is overthrown after a rebellion or a war. This is more or less what happened to all the dynasties, which makes it easy for me to go over to camera two and describe them in a single run-on sentence: Hi there-- --camera two. Leaving aside the Xia dynasty, which was sadly fictional, the first Chinese dynasty were the Shang, who were overthrown by the Zhou, which disintegrated into political chaos called the Warring States period, in which states warred over periods—oh, no, wait, it was a period in which states warred, which ended when the Qin emperor was able to extend his power over most of the heretofore warring states, but the Qin were replaced by the Han, which was the dynasty that really set the pattern for most of China’s history and lasted for almost 400 years after which China fell again into political chaos – which only means there was no dynasty that ruled over all of China – and out of this chaos rose the Sui, who were followed quickly by the Tang, who in turn were replaced, after a short period of no dynasty by the Song, who saw a huge growth in China’s commerce that was still not enough to prevent them from being conquered by the Yuan, who were both unpopular and unusual… because they were Mongols, which sparked rebellions resulting in the rise of the Ming, which was the dynasty that built the Great Wall and made amazing vases but didn’t save them from falling to the Manchus who founded a dynasty that was called the Qing, which was the last dynasty because in 1911 there was a rebellion like the ones in, say, America, France or Russia, and the whole dynastic system which at this point had lasted for a long-ass time came to an end. The concept of the Mandate of Heaven dates from the Zhou Dynasty, and current historians think that they created it to get rid of the Shang. Before the Zhou, China didn’t even have a concept of “Heaven” or T’ian, but they did have a “high god” called Shangdi. But the Zhou believed in T’ian, and they were eager to portray the idea of heaven as eternal so they ascribed the concept of the Mandate of Heaven back to a time even before the Shang, explaining that the Shang were able to conquer the Xia only because the Xia kings had lost the Mandate of Heaven. (This of course would have been impossible, partly because the Xia kings had no concept of “heaven”, and partly because, as previously noted, they didn’t exist, but let’s just leave that aside.) The Shujing is pretty specific about what caused the Xia kings to lose the Mandate, by the way, explaining: “The attack on Xia may be traced to the orgies in Ming Tiao.” Sadly the Shujing is woefully short on details of these orgies, but orgies are the kind of behavior that is not expected of a ruler, and thus Heaven saw fit to remove the Mandate, and therefore heaven saw fit to come in, remove the Mandate, and allow the Shang to take power. But then the Shang lost the Mandate. Why? Well, the last Shang emperor was reported to have roasted and eaten his opponents, which, you know, bit of a deal breaker as far as the Mandate of Heaven is concerned. Of course, that might not actually have happened, but it would explain why Heaven would allow the Zhou to come to power. So basically the fact that one dynasty falls and is replaced by another in a cycle that lasts for 3000 years is explained, in the eyes of early Chinese historians, by divine intervention based on whether the ruler behaves in a proper, upright manner. It’s an after-the fact analysis that has the virtue of being completely impossible to disprove, as well as offering a tidy explanation for some very messy political history. And even more importantly, it reinforces a vision of moral behavior that is a cornerstone of Confucianism, which I’ll get to momentarily. But first, let’s see an example of the mandate of heaven in action. The Qin dynasty on lasted only 38 years, but it is one of the most important dynasties in Chinese history, so important in fact that it gave the place its name, “Chin- uh.” [chalkboard joke] Hahahaha. Can I just tell you guys that we literally just spent 20 minutes on that shot. We shot it like 40 times. Stan, you are in love with puns. The accomplishment of the Qin was to re-unify China under a single emperor for the first time in 500 years, ending the warring states period. As you can imagine, the making of that particular omelette required the cracking of quite a few eggs, and the great Qin emperor Qin Shihuangdi, and his descendants developed a reputation for brutality that was justified. But it was also exaggerated for effect so that the successor dynasty, the Han, would look more legitimate in the eyes of Heaven. So when recounting the fall of the Qin, historians focused on how a bunch of murderous eunuchs turned the Qin emperors into puppets, not literal puppets, although that would have been awesome. And these crazy eunuchs like tricked emporers into committing suicide when they started thinking for themselves, et cetera. So the Mandate of Heaven turned away from these puppet emperors, which set up a nice contrast for historians of the early Han emperors, such as Wen, who came to power in 180 BCE and ruled benevolently, avoiding extravagance in his personal behavior and ruling largely according to Confucian principles. Under Wen, there were no more harsh punishments for criticizing the government, executions declined, and, most importantly for the Confucian scholars who were writing the history, the government stopped burning books. Thus, according to the ancient Chinese version of history, Emperor Wen, by behaving as a wise Confucian, maintains the Mandate of Heaven. So who is this Confucius I won’t shut up about? Let’s go to the Thought Bubble. Confucius was a minor official who lived during the Warring States period and developed a philosophical and political system he hoped would lead to a more stable state and society. He spent a great deal of his time trying to convince one of the powerful kings to embrace his system, but while none ever did, Confucius got the last laugh because his recipe for creating a functioning society was ultimately adopted and became the basis for Chinese government, education, and, well, most things. So Confucius was conservative. He argued that the key to bringing about a strong and peaceful state was to look to the past and the model of the sage emperors. By following their example of morally upright behavior, the Chinese emperor could bring order to China. Confucius idea of morally upright behavior boils down to a person’s knowing his or her place in a series of hierarchical relationships and acting accordingly. Everyone lives his life (or her life, but like most ancient philosophical traditions, women were marginalized) in relationship to other people, and is either a superior or an inferior. There are five key relationships—but the most important is the one between father and son, and one of the keys to understanding Confucius is filial piety, a son treating his father with reverential respect. The father is supposed to earn this respect by caring for the son and educating him, but this doesn’t mean that a son has the right to disrespect a neglectful father. Ideally, though, both father and son will act accordingly: The son will respect the father, and the father will act respectably. Ultimately the goal of both father and son is to be a “superior man” (chunzi in Chinese). If all men strive to be chunzi, the society as a whole will run smoothly. This idea applies especially to the emperor, who is like the father to the whole country. Oh, it’s time for the Open Letter? Alright. [scoots to throne] God, that’s good. But first, let’s see what’s in the Secret Compartment today. Oh, an iPhone? Stan, this doesn’t factor into Chinese history until much later. An Open Letter to the Xia Dynasty: Dear Xia Dynasty, Why you gotta be so fictional? You contain all of the most awesome emperors, including my favorite emperor of all time, Yu the Engineer. There are so many The Greats and The Terribles among royalty and so few The Engineers. We need more kings like Yu The Engineer: Peter The Mortgage Broker; Danica The Script Supervisor; Stan The Video Editing and Producer Guy. Those should be our kings! I freakin’ love you, Yu The Engineer. And the fact that you’re not real- it breaks my heart, in a way that could only be fixed by Yu The Engineer. The circularity actually reminds me of the Mandate of Heaven. Best wishes, John Green But back to the chunzi: So how do you know how to behave? Well, first you have to look to historical antecedents particularly the sage emperors. The study of history, as well as poetry and paintings in order to understand and appreciate beauty, is indispensable for a chunzi. The other important aspects to chunzi-ness are contained in the Confucian ideas of ren and li. Ren and Li are both incredibly complex concepts that are difficult to translate, but we’re going to do our best. Ren is usually translated as “propriety”. It means understanding and practicing proper behavior in every possible situation, which of course depends on who you’re interacting with, hence the importance of the five relationships. Li is usually translated as “ritual” and refers to rituals associated with Chinese religion, most of which involve the veneration of ancestors. Which brings us back, in a very roundabout way to the fundamental problem of how early Chinese historians wrote their history. Traditional Chinese historians were all trained in the Confucian classics, which emphasized the idea that good emperors behaved like good Confucians. Would-be historians had to know these Classics by heart and they’d imbibed their lessons, chief among which was the idea that in order to maintain the Mandate of Heaven, you had to behave properly and not engage in orgies or eat your enemies or eat your enemies while engaging in orgies. In this history the political fortunes of a dynasty ultimately rest on one man and his actions, whether he behaves properly. The Mandate of Heaven is remarkably flexible as an explanation of historical causation. It explains why, as dynasties fell, there are often terrible storms and floods and peasant uprisings... If the emperor had been behaving properly, none of that stuff would have happened. Now, a more modern historian might point out that the negative effects of terrible storms and floods, which includes peasant uprisings, sometimes lead to changes in leadership. But that would take the moral aspect out of history and it would also diminish the importance of Confucian scholars. Because the scholars can tell you that one of the best ways to learn how to be a good emperor, and thereby maintain the Mandate of Heaven is to read the Confucian Classics, which were written by scholars. In short, the complicated circularity of Chinese history is mirrored by the complicated circularity of the relationship between those who write it and those who make it. Which is something to think about no matter what history you’re learning, even if it’s from Crash Course. Next week we’ll talk about Alexander the Grape—really, Stan, for an entire episode? That seems excessive to me. They’re just like less sour, grapy-er lemonheads—ohh Alexander the GREAT. That makes more sense. Until then, thanks for watching. Crash Course is produced and Directed by Stan Muller. Our script supervisor is Danica Johnson. Our graphics team is Thought Bubble and the show is written by my high school history teacher Raoul Meyer and myself. Last week’s phrase of the week was "Right Here In River City". If you wanna guess at this week’s phrase or suggest future ones you may do so in comments where you can also ask questions about today’s video that'll be answered by our team of historians. Thanks for watching Crash Course and as we say in my hometown, don’t forget to be awesome.

Background and development

Map
Ping Yuen & CHSA
1
北平園, North Ping Yuen (838 Pacific)
2
西平園, West Ping Yuen (895 Pacific)
3
中平園, Central Ping Yuen (711 & 795 Pacific)
4
東平園, East Ping Yuen (655 Pacific)
5
Chinese Historical Society of America

H.K. Wong, a prominent businessman in San Francisco Chinatown, asked Leong to create a mural that would be representative of Chinese American history. This mural was to be placed at the then newly erected Ping Yuen Housing Project, the first federally funded housing project in Chinatown along Pacific Avenue near Stockton Street. At the time in the early 1950s, American troops were stationed in North Korea fighting against Chinese forces, and China turned into a Communist nation. Because of this, Asian Americans were constantly under scrutiny and looked at as suspect, dangerous, and communist. The San Francisco Chinatown community recognized the hypersensitivity of this time, and they believed that the mural would help create a better understanding of Chinese Americans and help outreach to a broader public who in turn could become educated about the Chinese American diaspora. Leong completed the mural in 1952.[1]: 7–8 

About the painting

One Hundred Years: History of the Chinese in America, enlargement as a temporary installation at the Chinatown station construction site (2012)

Painting style

Painted on seven masonite panels with egg tempera and casein, One Hundred Years: History of the Chinese in America stands at an impressive 5 by 17.5 ft (1.5 by 5.3 m). Leong used bold and vibrant colors on the mural and employed curves in order to provide a fluid transition from panel to panel. The symbolism in the mural also helps create flow and connectivity. The mountains, which represent the hope and promise of a new land, connect the first three panels, while the brick walls, which signify exclusion, link the last four panels together. Whether standing or kneeling, all the figures in the mural are active.

Themes and symbolism

The first panel depicts two rice paddy workers and a farmer carrying water, while the Great Wall of China stands in the background. Leong portrays these Cantonese workers, with broad noses and high cheekbones, bending over in order to accomplish their backbreaking labor. The imagery of the Great Wall represents the home country and origins of the Chinese people. The majestic dragon that snakes along the top of the first panel is representative of China—powerful, magical and eternal. This symbol of strength and longevity watches over the Cantonese workers, who struggle yet persevere throughout famine, flood and foreign conquerors.[2]

In the second panel, a Chinese man clad in a blue outfit points to the promise of America and the Gold Mountain. He leaves his wife and child behind. The red square of communism is looming in the background of the somber family.

The third panel depicts a man toiling on the Transcontinental Railroad while another man mines for gold. Here, the Chinese man has finally reached the Gold Mountain, located in the grassy hills of California. The railroad worker stands swinging a pickaxe. The clear display of his queue running down his back shows off his Chinese-ness and devotion to the emperor in China. Like his counterpart in the second panel, the railroad worker wears blue pants, but unlike the former’s thick cotton, the railroad man opts for America’s sturdy blue denim. A hybrid of long pigtails and blue jeans, this worker represents the transitioning of the Chinese in America.[2]

In the fourth panel, a woman in green is sitting and picking fish with her baby slung in a pouch around her back. Another woman in red stands beside her and is drying fish. This panel represents the coming of Chinese women to America. Some came as wives. Some were given false hopes of a better life and working conditions, but upon arrival were forced into domestic servitude or prostitution. These women were indentured for many years before they could pay off their passage over. One woman wears a jade green outfit for prosperity, while the other wears red for good fortune. The baby sits in a blue sling, the same denim blue as the railroad laborer. Rust red brick walls, encasing the women in this panel, depicts the exclusion, as well as protection, of Chinese men. Although the Chinese women go on to settle and create families, they do so within the confines of these red brick walls.[2]

The fifth panel shows a Chinese person dancing the traditional lion dance. The large lion’s head is proudly gleaming towards the audience in a burst of blues, pinks, and whites. With the celebration of Chinese New Year, the lion dance represents prosperity and the arrival of new jobs and new lives.[2]

A Chinese American soldier marches on in the sixth panel. A more somber panel than the former five panels in terms of color and character, this panel portrays the soldier staring downcast with a rifle slung around his back and an assortment of ribbons held in suspension to his left as he returns from World War II. When World War II first began, Chinese Americans enlisted in the Armed Services. The ribbons, which represent the Chinese American’s service in the Armed Forces, hang honorably in front of a white background and portray his success in fighting for a previously all-white America. The soldier walks and steps on paper names, symbolizing the American law of 1962 that allowed for Chinese Americans to remain as American citizens. The brick wall imagery from the fourth panel returns as the soldier marches past the restrictive wall that previously posed as an obstacle.[2]

Leong depicts an assimilated Chinese American family in the seventh and final panel–the father in suit and tie, the mother in traditional Chinese cheongsam, and the young boy in T-shirt and blue denim. The son happily clutches a baseball and mitt. The housing commission wanted the last panel to conclude with a Hollywood happy ending, and Leong succeeded in doing just that. Leong models the family after classic Hollywood cinema stars: the mother as Greer Garson and the father as a composite of Billy Batson and Captain Marvel. The young boy, on the other hand, was modeled after Russell Leong, who has gone on to serve as a professor of English and Asian American studies at the University of California, Los Angeles. This family fusion of Chinese and America stands on a brick pathway as the grand structure of Ping Yuen is set in the background. The brick, once representative of struggle and confinement, now is laid as the pathway to the future of the Chinese American family. Ping Yuen served as a steppingstone and symbol of hope for new Chinese immigrants to America. The housing structures’ bold blue pagoda roofs and red colonnades smile over the Chinese American family, while the golden sun provides a burst of warmth for the family’s happy ending.[2]

Reception

The Chinese community’s reception to One Hundred Years: History of the Chinese in America initially was controversial. Although many elements of the painting were historically correct, the Chinatown community rejected Leong’s mural.[3] While some believed the depiction of the characters in the mural to be too Chinese, others found the subjects to be too American.[1]: 8  The sad faces of the subjects, the Chinese men with queues, and the Chinese women picking shrimp with infants on their backs proved to be an all-too truthful look into the Chinese American past.[4] On the other hand, the non-Chinese community embraced the painting and saw the piece as a breakthrough of historical depiction. As Asian American awareness picked up in the 1960s at places like San Francisco State University, many saw Leong’s mural to be an example of "Uncle Tomming”, or the participation of the Chinese in their own oppression within America. Adding to the controversy at the height of the McCarthy era, the FBI, Kuomintang, and Chinese Communist Party suspected Leong to have hidden secret messages within his mural.[4][5]

No conspiracy was ever proven, but such aggressive political oppression and the backlash of the Chinese community further drove Leong’s motivations to continue his artwork outside of San Francisco. In 1978, Leong discovered that his painting had been moved to Ping Yuen’s recreational room, where it suffered under time and ignorance. The historic mural was propped up on chairs in the recreational room, children had hit ping-pong balls against it, and soda and food were spilled on the painting. Leong’s mural sat quietly in Ping Yuen’s recreational room until the late 1990s, when the Chinese Historical Society of America acquired the painting. In 2000, James Leong meticulously restored the painting to its previous vibrancy. As of November 13, 2001, One Hundred Years: History of the Chinese in America hangs in the Chinese Historical Society of America’s Museum and Learning Center.[2]

In 2012, a replica of the mural was installed on the Hogan & Vest building at 933–949 Stockton before it was demolished to make way for Chinatown station as part of the Central Subway project to extend Muni Metro to Chinatown.[6]

References

  1. ^ a b Leong, James (2006). Confronting My Roots. San Francisco: Valencia Printing. ISBN 1-885864-30-2.
  2. ^ a b c d e f g James Leong, Cicatrix and Other Childhood Tricks, unpublished autobiography
  3. ^ Chang, Momo (24 May 2006). "Controversial artist has solo exhibit". East Bay Times. Retrieved 17 July 2018.
  4. ^ a b "The International Examiner – James Leong: San Francisco's forgotten son returns home". Iexaminer.org. 2006-08-03. Retrieved 2012-06-14.
  5. ^ Poon, Irene (2001). Leading the Way: Asian American Artists of the Older Generation. Wenham: Gordon College. p. 26. ISBN 0-9707487-0-1. Retrieved 17 July 2018.
  6. ^ "Mural from CHSA Collection Featured at Central Subway Project Site" (Press release). Chinese Historical Society of America. 24 February 2012. Retrieved 14 December 2017.

External links

This page was last edited on 15 November 2023, at 01:31
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