China

Lawyers, media organisations, human rights NGOs, and unions have been lining up recently to warn us of a serious threat facing civil liberties in Australia. It comes in the form of Malcolm Turnbull’s new national security laws, which, in the name of combating foreign influence, would criminalise anyone who simply ‘receives ...

For upward of a decade, Hugh White has been sounding a warning: that Australia’s long-standing policy of relying on the United States as guarantor of our security in Asia was approaching its use-by date. As a conspicuous relic of European colonial expansion, Australia has always viewed with trepidation the ...

Anger and indignation seem to dominate headlines around the world these days. Angry citizens are found in every corner rallying against social injustice and global warming. Angry politicians in the West call for new walls, impervious to the plight of refugees and threatening a new round of trade wars. In stark contrast, China’s ...

In his searching introduction to this immense volume, the editor, Harvard scholar David Der-Wei Wang, refers to the ‘architectonics of temporalities’ by which the project re-maps and re-chronicles Chinese literary history. A New Literary History of Modern China follows the model of the provocatively kaleidoscopic slice ...

In 1989, as the Chinese Communist Party came to terms with the ongoing significance of religion in post-Mao China, they needed a new formula to explain its survival. Religion was, they said, a long-term phenomenon. It had a mass base; it had national dimensions, in that some of China’s nationalities identified strongly with ...

In Charles Simić’s book about Joseph Cornell’s assemblages, Dime-Store Alchemy (1992), he quotes his own translation of Croatian poet Slavko Mihalić to describe Cornell’s sculpture ‘Deserted Perch, 1949’, noting ‘the very tiny crack in which another world begins and ends’. Simićmarvels at this ‘Illusionist art ... sleight of hand’.

In the absorbing introduction to the stories in Bapo, Nicholas Jose describes bāpò as ‘an unusual kind of Chinese painting that tricks the eye into thinking it sees a collage of fragments’. Under the disguise of collection and assembly, the painter’s hand creates a trompe-l’œil of torn, burnt, pasted fragments. Jose describes his version as assemblage, and like Cornell, who reinvented discarded scraps and oddments, he finds in bāpò an ‘aesthetic of illusion and salvage, of creative retrieval’.

For countries, and none so important to Australia, have a political system as opaque as that of China. This is deliberate; since the turmoil of the Cultural Revolution, the Communist Party of China (CPC) has striven to make turnovers in its leadership as bland as possible. But the elevation of the country’s current ‘Fifth Generation’ Leadership was actually full of drama. The New Emperors, written by Kerry Brown, director of the China Studies Centre at the University of Sydney, tells us why.

I dealt with China for most of the ten years I worked for the British Foreign Office from 1998. The one conclusion I drew from my experience over those years was that it didn’t take much to stumble into complexity. Britain and China have a vast historic hinterland. In 1839, British forces inflicted the first Opium War on China, and British politicians enforced the unequal treaties which ushered in what some Chinese call to this day ‘the century of humiliation’. In the hundred years that followed, Britain continued meddling and became involved in issues from Tibet to Hong Kong, building up a fund of resentment on the Chinese side that continues to pay back returns to the current day.

China’s extraordinary economic and cultural ascent during the past two decades has generated significant international interest in Chinese contemporary art, especially in photography now widely promoted in the West as ‘Chinese new art’. Since it was first introduced to China in the 1840s, photography has languished somewhat, overshadowed by the traditional arts of brush painting, calligraphy, and ceramics, which have for centuries defined ‘Chinese art’. Historically, photography (and film) in China have been relegated to the status of reportage or propaganda, used by the state to instruct, indoctrinate, and unify its people.