linglingsmisadventures asked:

Hi I'm an African-American that will be traveling to China next month, more specifically Beijing. I know African -Americans are not common in China. Will I experience prejudice because of this? I'm not sure what to expect because I am black. Do you have any advice? Xie xie !

this is honestly probably better answered by someone who is black but i have anecdotal stories from my friend who is black and traveled there with some of her black friends and she said that, more than anything, the locals were just super curious about them, stared at them a lot, and wanted to take photos with them. i don’t know how much overt hostility you’ll experience as opposed to people being very curious and possibly crossing boundaries. but again as someone who is not black i can’t tell you anything from personal experience. i’m sure our followers have stories or know of others who you can speak to.



The Six Principles of Chinese Painting

In the 6th century CE, Chinese art historian and critic Xie He devised a set of rules for analyzing and critiquing art. In order, they are:

  1. Spirit Resonance, also known as Chi or Energy - This is by far the most important of the rules, but it is also the most difficult to define. Spirit Resonance is the energy that flows from the painter to the brush - it is the vitality or life that seems to take over a work of art and propel it into the imagination of the viewer. Xie He said that if the painting has no Spirit Resonance, there is no need to look further. [Pictured here is the 13th century C.E. art piece Nine Dragons by painter Chen Rong.]
  2. Bone Structure/Method - This refers to the way the painter uses the brush. It is the line work used by the painter, as well as the personal style or handwriting of the painter. In Xie He’s day, calligraphy was inseparable from painting, so Bone Structure also refers to the calligraphy of the painter. [Pictured here is a section of the 4th century C.E. piece Intelligent Ladies by Gu Kaizhi.]
  3. Correspondence to the Object - A relatively simple rule, this means that the subject of the painting must look like what it is trying to represent. A person in a painting should resemble a person in real life, a tree should resemble a tree, etc. [Pictured here is Peaches and a Dove, by Emperor Huizong in the 12th century C.E. The painting is an example of the literal style of Chinese painting, a style marked by intense correspondence to the object.]
  4. Suitability to Type Regarding Color - The choice of color for the piece must be appropriate for what the piece is trying to convey. This includes the layering of color as well as the tone and value of the piece. A piece does not necessarily have to have color or have realistic color. Rather, the choice of color simply needs to be appropriate. [Pictured here is a detailed image of a larger painting, Grand Scenery, by Song Dynasty artist Wang Xi. Notice that the blues and greens of the painting are more fantasy than reality, but they are an appropriate choice as they emphasize the height, distance, and coldness of the mountains.]
  5. Division and Planning (Composition) - Division and Planning refers to the way in which objects are arranged the space of the painting. The placement of objects in a painting should give some sense of depth, or the object’s relationship to one another. The size and placement of the objects can also give a sense of the hierarchical nature of a piece (larger objects in the center of the piece are more important than smaller objects to the side). [Pictured here is Six Persimmons, a piece by 13th century artist Mu Qi. Six Persimmons is an example of the spontaneous style, and despite its simplicity it is considered one of the most important works of Chinese art of all time, mostly due to the arrangement of objects in space.]
  6. Transmission by Copying - Artists should copy from real life and older works. In Chinese tradition, motifs and styles are repeated from years past, and it is considered honorable to seek inspiration from past works. Artists often seek to emulate the styles of old masters, an example of the Chinese taste for archaism. [Pictured above is another work of Gu Kaizhi! It’s a section of the handscroll entitled Admonitions of the Intructress to the Court Ladies.]

After the part above…..
Announcer: “Is Han Geng and Siwon’s relationship different from others? The answer is…YES!” [Titanic clip from Full House plays on screen]


I decided to name my Wu Xing High snake guy Xie, I’ve been fiddling with his clothes a bit too, as the first few outfits (aside from school uniform) were too dull aha ha. He would wear a lot of green, plum and maroon, sometimes with patterns, and would prefer longer sleeves and scarves as he’s COLD-BLOODED.

Xie’s often sleepy and very languid in his mannerisms; he either spends all of his time sleeping in the sun or drinking coffee and reading. He seems mysterious to other students but it’s mostly because he hides away a lot!! However he’s kind and talkative (especially about books!!) and blushes really easily. uwu

He’d be awful in classes, as he’d accidentally fall asleep all the time (except in any athletic subjects where he would sneak away to nap on purpose)…..


Before landing in Tokyo a few hours ago, I had a short layover in Beijing, China. It was an interesting experience to say the least. Flying in and out of Beijing was like entering a black vortex - literally. The stories of smog blanketing the city are not myths - the gray material was so thick you couldn’t see more than half a kilometer in any direction. Juxtaposing this dismal atmosphere was the massive and beautiful Beijing airport, which was improved for the 2008 summer olympics. This bipolarity created an odd and unnerving feeling deep down and I was pretty relieved to hop on my second flight to Tokyo. It didn’t help that the Chinese immigration and customs officers were quite militant and insisted on slamming their stamps insanely hard onto everyone’s passports. Lots of Tokyo photos on the way, this place is awesome!

// ErikRojasVisual.com