The relationship between the society, artists and their work between 1900 and 1945

Many artists and movements during this period were involved in radical politics and/or social experiments. Discuss how these concerns may have been manifested in their artworks.

Sample Answer

The period between 1900 and 1945 marked a tremendous mark in the history of this world. From world wars experienced that caused many causalities and destruction of properties. It’ s in this period that the world came together to reason on stopping another heavy bloodshed that graced the world during the first world war. The period also marked intense agitation from all parts of the world agitating for freedom, equality and independence or sovereignty as in Asia and Africa. Therefore, the artist being endowed with artistic prowess and wit reflected on these occurrences to champion the grievances of their society. It is this premise that my discussion will be based forthwith.

Zhuang Zi is a renowned Taoist rationalist who presented an alternate perspective about the world and affected numerous scholars during the Warring States time frame. One point of view of Zhuang Zi's convictions can be portrayed in his "Hypothesis of Big and Small". In this part of thought, Zhuang Zi centers around the effect of the relativity of existence on human observations. He asserts that the world will be experienced contrastingly for each being: spatially, the world may appear to be little or enormous relying upon the focal point one is glancing through, and transiently, life may appear to be short or long, likewise relying upon the viewpoint one is glancing through. Fundamentally, in view of this unavoidable relativity, Zhuang Zi contends that people live in a universe of subjective principles, and accepts that there is no "right" point of view, and that all viewpoints are substantial and equivalent. Moreover, Zhuang Zi upheld joyful meandering, and instructed to follow "the Great Way" just by clinging to nature. Through Chapters 1 and 17, Zhuang Zi utilizes the thought of all shapes and sizes to clarify his daoist reasoning.

Zhuang Zi opens up the principal section of his works by presenting the Peng fledgling. The content depicts the Peng feathered creature's pretentious nearness, and cases that it is "gigantic… its width ought to be a few thousand li… his wings resemble mists everywhere throughout the sky" (Chapter 1). Zhuang Zi then compares three moderately little flying animals with the Peng fowl: a cicada, a turtle dove, and a quail. The three little animals, knowing about the Peng feathered creature's capacity to fly immense territories of land, inquires as to whether flying that far is important. The cicada and bird expresses that the most they have to fly is "similar to the elm or sapanwood tree" (Chapter 1), and the quail likewise includes that "the best sort of flying" (Chapter 1) is flying close to ten or twelve yards.

This symbolism of the Peng fowl and the three little animals outline Zhuang Zi's conviction that all points of view are equivalent. The Peng feathered creature and the three little animals obviously have incomprehensibly various capacities regarding flying. The Peng winged creature, fabulous in size, can fly far separations while the cicada, bird, and quail are little and are constrained in where they can fly. In any case, Zhuang Zi never expresses that the manner in which the Peng flying creature flies is the manner in which flying ought to be institutionalized to. Besides, when the three animals are talking among themselves, they depict an extremely sure frame of mind. They "chuckle" (Chapter 1) at the Peng flying creature's extraordinary capacity, and even mocks it, regarding the Peng flying creature's capacity pointless. This affirms the possibility that there are alternate points of view and gauges one maintains; for this situation, the little animals accept that what they are fit for was sufficient, and that the Peng fowl's capacity was not required in their lives. Through this circumstance, Zhuang Zi shows that there is no unadulterated fact of the matter, as nature has set various ways for every animal. The Peng flying creature is abled with its huge ability, however it doesn't imply that the capacities of the little flying animals are invalid. The cicada, pigeon, and quail are made contrastingly essentially, and can locate their own remarkable joys with what nature has enabled them to be. In total, in spite of the fact that the Peng feathered creature moderately is by all accounts ready to have more noteworthy capacities, Zhuang Zi contends through the points of view of the little animals to underscore that their perspective on the world is simply