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Chinese 3D Street Artist Qi Xinghua Brings Concrete to Life : “A City Needs Its Tattoos”

Chinese 3D artist Qi Xinghua (齐兴华) uses his skills to turn bleak walls in Chinese cities into stunning works of art – he brings concrete to life. But his street art often does not last, as Qi faces different forces that work against him and his work. On social media platform Weibo, Qi’s fans can admire his art online, even if it has already disappeared from the streets.

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Chinese 3D artist Qi Xinghua (齐兴华) uses his skills to turn bleak walls in Chinese cities into stunning works of art – he brings concrete to life. But his street art often does not last, as Qi faces different forces that work against him and his work. On social media platform Weibo, Qi’s fans can admire his art online, even if it has already disappeared from the streets.

“The crocodile is gone again,” – Chinese artist Qi Xinghua posted on his Weibo account on August 25. Earlier this summer, he had transformed the dilapidated part of a Beijing brick wall into a cheeky crocodile, writing: “Beijing has a well-known red brick wall that’s broken. It looks like a scar. I used the nighttime to make it more beautiful. I hope to show that what’s broken can also be interesting. A city needs its tattoos.” But now, the crocodile is gone – the painting’s layer smashed into pieces.

crocodile

On Sina Weibo, painter Qi Xinghua (@齐兴华) describes himself as “China’s first 3D artist” (“中国首位3D画艺术家”). The artist was born in Heilongjiang in 1982. He was inspired by western 3D sidewalk chalk artists, and soon developed an interest to do the same. He enrolled in the Central Academy of Fine Arts, and started focusing on multi-dimensional art in 2002.

 

“Nature confronts me with a difficult problem, and I offer her a humorous solution”.”

 

Since he fully dedicated himself to his 3D art work in 2010, Qi has become a much-praised artist and a four-time Guinness World record holder for making the world’s largest 3D paintings. He is renowned for his incredible designs that can be mind-blowing, often leaving people wondering what is real and what is fantasy.

It is especially because of his record-winning work ‘The Lion’s Gate Gorge’ (狮门峡谷) that Qi received much media attention, with the 3D effect being so strong that some people who stood on the painting even became dizzy.

According to Qi, he uses a technique called ‘reverse version’ or ‘inverse-perspective’. As he told China.org: “From our normal vision, nearby objects are big and far away ones are small. I use the opposite method to make far away objects big and close objects small. In this way, a two-dimensional painting turns three-dimensional.”

Picture1 The Lion’s Gate Gorge (狮门峡谷) by Qi Xinghua; the world’s largest 3D (anamorphic) painting on display  in Guangzhou.

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waterfall‘The Waterfall’ by Qi Xinghua is a depiction of a waterfall in a busy street, that seems to be protruding from the center.

Apart from working on his grand 3D projects, Qi also works on his street art with which he creatively turns bleak walls in the urban scenery into pieces of art, bringing messages of happiness, humour, and love of life.

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For example, Qi has turned the holes in the wall of a deserted basement into Baymax from Disney’s Big Zero.
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Or he placed two pandas on two sides of a dilapidated brick wall.
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Sometimes Qi gives his work original names, such as the project (image below) that is titled “Sharp Items will Hurt Grandpa’s Hand (尖锐物品会划伤爷爷的手)”.

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Throughout the years, Qi Xinghuai has attracted many fans with his wall paintings. Apart from the 172,000+ followers he has on his Weibo account, many admirers also go around the city to seek for his work. Qi receives many invitations to decorate walls in different places. “I like this recreation of old walls”, Qi says on Weibo: “It is like a cooperation with nature. Nature confronts me with a difficult problem, and I offer her a humorous solution”.

 

“Seize the moment and pose with my work before it’s gone.”

 

On Weibo, Qi shares his working process with his followers. Either with paint or chalk, Qi adjusts his work to the place it is located. “I found this wall today,” he recently wrote on his account: “And I got excited. I used the shape of the wall’s broken parts to paint a face.” He then shared the results with his fans.

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Qi says he wants to “beautify the scars of the city” by focusing on broken walls and dilapidated parts of different cities within China.

“Seize the moment and pose with my work before it’s gone,” Qi tells his social media followers, who also send in their own pictures with Qi’s different pieces, from Beijing to Nanjing and elsewhere.

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Despite his popularity, however, the humor and beauty of Qi’s wall paintings usually do not last long, as Qi faces forces from within local communities and governments that work against his work and destroy it.

 

“It’s not the seed that’s lacking, it’s the soil.”

 

“I have been reported again,” Qi writes. Besides the recent removal of Qi’s crocodile, many other works have also been removed. The pandas, for example, have been “redecorated” with local advertisements. Another work titled “Sweetie, your bite is hurting daddy” (“宝贝,你咬疼爸爸了”), which depicts a baby lion biting the back of a father lion (Father and Son Lion), has been covered with paint and graffiti.

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Besides people covering his work with their own advertisements or graffiti, Qi also faces the opposition of local land owners or city regulators. While finishing the crocodile, Qi posted on Weibo one picture of a police car and another one of himself running away from his work. Although he did not mention how and why the crocodile was destroyed, a picture of him sitting among the smashes of the painting suggests that it has been removed with force.

Qi

“Why am I reported? Nobody cares about people posting advertisements on walls, nobody fixes the walls that are broken. It grieves me. Tell me what city would like it, and I will come and paint,” Qi wrote on July 22. Faced with setbacks of him being reported and his paintings being removed, Qi recently also wrote that “perhaps it is not the seed that is lacking, but the soil”.

It might need more time before a relatively new phenomenon like street art will be accepted and accommodated by Chinese municipalities and citizens alike. In Shanghai and Shenzhen, efforts to regulate street performers were only introduced as recent as 2014. As for 3D and graffiti artists, their legitimate existence still relies on consensus between the artist, their local municipality and the residents, as there are currently no clear regulations. As The Diplomat wrote in 2015, China strictly controls graffiti that signals political dissent, but sometimes promotes graffiti that beautifies the city. But in the present situation, Qi’s work will keep on facing an uncertain future.

On Weibo, many netizens are hopeful about the future of street art. “It takes time to obtain rich soil,” one netizen writes: “It might be slow, but it will come.”

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In the meantime, Qi Xinghuai refuses to give up his street art activities. After the disappearance of his Father and Son Lion work, Qi wrote on Weibo: “I want to revive them, let them appear on the street again, with undestroyable spirit.”

-By Diandian Guo and Manya Koetse

©2016 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Diandian Guo is a China-born Master student of transdisciplinary and global society, politics & culture at the University of Groningen with a special interest for new media in China. She has a BA in International Relations from Beijing Foreign Language University, and is specialized in China's cultural memory.

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China Celebs

Chinese Social Media Users Stand up Against Body Shaming

Manya Koetse

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Recent photos of famous actress Gong Li that showed her curvier figure have gone viral on Sina Weibo, receiving over 850 million clicks. With Gong Li’s weight gain becoming all the talk on Weibo, the public’s focus on her appearance has sparked an online wave of body positivity posts, with web users rejecting the all-too-common phenomenon of body shaming on Chinese social media.

First, there was the ‘A4 Waist‘ hype, then there was the ‘iPhone6 Legs‘ trend, the ‘belly button backhand,’ and the online challenge of putting coins in your collarbone to show off how thin you are (锁骨放硬币). Over the past five years, China has seen multiple social media trends that propagated a thin figure as the ruling beauty standard.

But now a different kind of trend is hitting Weibo’s hotlists: one that rejects body shaming and promotes the acceptance of a greater diversity in body sizes and shapes in China.

On August 26, Weibo user @_HYIII_ from Shanghai posted several pictures, writing:

Reject body shaming! Why should we all have the same figure? Tall or short, thin or fat, all have their own characteristics. Embrace yourself, and show off your own unique beauty!

The post was soon shared over 900 times, receiving more than 32,000 likes, with the “body shame” phrase soon reaching the top keyword trending list of Sina Weibo.

 

Gong Li Weight Gain

 

The body positivity post by ‘_HYIII_’ is going viral on the same day that the apparent weight gain of Chinese actress Gong Li (巩俐) is attracting major attention on Chinese social media platforms such as Weibo and Douyin.

The 54-year-old actress, who is known for starring in famous movies such as Farewell My Concubine, To Live, and Memoirs of a Geisha, was spotted taking a walk with her husband in France on August 24. The photos went viral, with media outlets such as Sina Entertainment noting how Gong Li had become “much rounder” and had put on some “happy fat” (幸福肥).

By now, the hashtag page “Gong Li’s Figure” (#巩俐身材#) has received more than 850 million (!) views on Weibo, with thousands of people commenting on the appearance of the actress. In the comment sections, there were many who lashed out against the focus on Gong Li’s weight gain.

“She just has a regular female body shape. Stop using ‘white / skinny / young’ as the main beauty standard to assess other people,” one commenter said, with another person writing: “Why do you all keep focusing on her figure, did she steal your rice and eat it?!”

 

“Why do you all keep focusing on her figure, did she steal your rice and eat it?”

 

Some people suggested that the COVID19 pandemic might have to do with Gong Li’s weight gain, with others writing: “If she is healthy is what matters, skinny or fat is not the way to assess her beauty.”

What stands out from the discussions flooding social media at this time, is that a majority of web users seem to be fed up with the fact that a skinny body is the common standard of women’s beauty in China today – and that accomplished and talented women such as Gong Li are still judged by the size of their waist.

 

Say No to Body Shaming

 

In light of the controversy surrounding Gong Li’s recent photos and the following discussions, posts on ‘body shaming’ (身材羞辱) are now flooding Weibo, with many Weibo users calling on people to “reject body shaming” (拒绝#body shame#) and to stop imposing strict beauty standards upon Chinese women.

The pressure to be thin, whether it comes from the media or from others within one’s social circle, is very real and can seriously affect one’s self-esteem. Various studies have found an association between body dissatisfaction and social pressure to be thin and body shaming in Chinese adolescents and young adults (Yan et al 2018).

The main message in this recent Weibo grassroots campaign against body shaming, is that there are many ways in which women can be beautiful and that their beauty should not be merely defined by limited views on the ideal weight, height, or skin color.

Over the past decades, women’s beauty ideals have undergone drastic changes in China, where there has been a traditional preference for “round faces” and “plump bodies.” In today’s society, thin bodies, sharp faces, and a pointy chin are usually regarded as the standard of female ideal beauty (Jung 2018, 68). China’s most popular photo apps, such as Meitu or Pitu, often also include features to make one’s face pointier or one’s legs more skinny.

This is not the first time Weibo sees a growing trend of women opposing strict beauty standards. Although the word ‘body shaming’ has not often been included in previous trends, there have been major trends of women opposing popular skinny challenges and even one social media campaign in which young women showed their hairy armpits to trigger discussions on China’s female aesthetics.

Especially in times of a pandemic, many netizens now stress the importance of health: “Skinny or fat, it really doesn’t matter how much you weigh, as long as you’re healthy – that’s what counts.”

Also read:

 

By Manya Koetse

 

References

Jung, Jaehee. 2018. “Young Women’s Perceptions of Traditional and Contemporary Female Beauty Ideals in China.” Family and Consumer Sciences Research Journal 47 (1): 56-72.

Yan, Hanyi ; Wu, Yingru ; Oniffrey, Theresa ; Brinkley, Jason ; Zhang, Rui ; Zhang, Xinge ; Wang, Yueqiao ; Chen, Guoxun ; Li, Rui ; Moore, Justin. 2018. “Body Weight Misperception and Its Association with Unhealthy Eating Behaviors among Adolescents in China.” International Journal of Environmental Research and Public Health 15 (5): 936.

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China Arts & Entertainment

China’s New Hit Drama ‘Nothing But Thirty’ Thrives in the “She Era”

Chinese latest hit drama ‘Nothing but Thirty’ has 20 billion views on its Weibo hashtag page.

Yin Lin Tan

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China’s latest TV drama hit Nothing But Thirty is flooding Weibo discussions. With over 20 billion views on its hashtag page, the show is one of the most popular shows of the season and demonstrates that China’s ‘she era’ (ta shidai 她时代) dramas are all the rage. What’s on Weibo’s Yin Lin Tan explains.

“Have you heard of ‘independent at the age of thirty’ (sān shí ér lì 三十而立)?” Wang Manni asks, her hair pulled back neatly and white shirt cleanly pressed. “I hope that, before I’m thirty, I’ll be promoted to supervisor.”

Riding on the wave of female protagonist (‘heroine’ 大女主) shows that have been taking over China’s entertainment scene, Nothing But Thirty (三十而已) is a 43-episode drama by Dragon Television that follows the challenges of three different women who have reached the ever-important age of thirty.

In a society where women are often expected to be married by their late twenties, a show like this, which tackles women’s present-day struggles, both in their personal and professional lives, has resonated with many.

In fact, the show is so popular that at the time of writing, the show’s hashtag (“Nothing But Thirty”, #三十而已#) has over 20 billion (!) views on Weibo.

 

Depicting the struggles of China’s thirty-something women

 

Nothing But Thirty revolves around the lives of three female leads from different walks of life. Gu Jia (Tong Yao) is a capable businesswoman turned full-time housewife; Wang Manni (Jiang Shuying) is an independent, career-oriented sales assistant; and Zhong Xiaoqin (Mao Xiaotong) is your run-of-the-mill office lady.

For Gu Jia, the birth of her son was what truly transformed her into a full-fledged housewife. In many ways, she seems like a perfect wife and mother: well-educated, capable, and thoughtful. But, eventually, she too has to face life’s challenges.

Driven and hardworking, Wang Manni is confident in both her looks and abilities. Her immediate goal, at least at the start of the show, is to achieve professional success. Throughout the show, her resilience is put to the test, personally and professionally.

Zhong Xiaoqin is described by many netizens as the most “average” or “normal” character. She is kind-hearted -sometimes to the point of being a pushover -, and has spent years at the same company without rising the ranks. Though her story might seem mundane at first, this peace is disrupted when her marriage takes a turn for the worse.

 

A story that resonates with the masses

 

“The show attracted wide attention, and it strongly resonated with female audiences. Many thirty-something working women saw their own lives reflected in the show,” Xinhua recently wrote about the show.

Nothing but Thirty currently carries a 7.6 out of 10 rating on Douban, an online reviewing platform.

Though some reviewers criticized how the later episodes of the show were unnecessarily draggy, most praised it for its portrayal of strong female characters, good acting, and largely realistic depiction of women above the age of thirty.

“I saw myself, and also saw the friends beside me,” a reviewer notes.

In China, women are, more often than not, burdened with expectations of getting married and settling down by the time they are in their late twenties. If you’re single and thirty, that’s made even worse.

Those who fall into this category carry the derogatory label of “leftover women” (剩女), a term that reflects how single women above the age of thirty are seen as consolation prizes or even unwanted goods.

Thirty is thus an incredibly important number, especially for women — something that’s clearly reflected in the show’s concept trailer.

Aside from societal expectations of starting a family, some women now also take it upon themselves to build their careers. In fact, you can chase after professional success without burdening yourself with the idea that you must be married – a notion exemplified by the character of Wang Manni.

Nothing But Thirty also showcases the sheer diversity of experiences for women above thirty: you don’t have to be married, you don’t have to be super capable, and you don’t have to be thinking about having children. Each woman goes through her own unique struggles and isn’t necessarily endowed with the so-called “protagonist’s halo.”

Ultimately, the popularity of the show is driven by the three female leads and the actresses who bring these strong characters to life.

By telling a story that is relatable and touches on relevant social issues, namely on expectations of women in society, Nothing But Thirty was able to achieve widespread popularity and is adding another notch on the trend of China’s ta shidai (她时代) dramas. 

 

The rise of ta shidai shows

 

Ta shidai literally translates to “her era” or “the ‘she’ era.”

Ta shidai shows explore what it’s like to be a woman in China today. The female characters are diverse when it comes to both their backgrounds and character arcs; they might have different jobs, different levels of education, or different personalities. These shows mostly center around a strong female lead and/or a main cast that is primarily female.

More importantly, they often feature capable women and how these women overcame the odds to achieve success.

Recent shows like The Romance of Tiger and Rose (传闻中的陈芊芊) and Sisters Who Make Waves (乘风破浪的姐姐) also fall under this category, as do somewhat older hit shows such as Ode to Joy (欢乐颂) and Women in Beijing (北京女子图鉴).

The Romance of Tiger and Rose is set in a society in which women are in charge and men are subordinate, in a daring reversal of gender roles. Though the show has been criticized for using social issues to attract attention, it gained a decent following for tackling topics like gender inequality and women’s rights.

The Romance of Tiger and Rose (传闻中的陈芊芊)

A reality TV competition that swept the Chinese entertainment scene, Sisters Who Make Waves attempted to rebuke stereotypes of women over 30 as “leftover women.”

The show brought together female celebrities above the age of 30 (the oldest competitor was 52), and had them go through a series of challenges, culminating in a girl group formed by the final competitors.

Nothing But Thirty is just another example of a show that’s attempted to depict the realistic struggles of women in modern-day China.

More Chinese dramas that feature women — specifically, their struggles and the expectations that society places on them — are slated to be released in 2020.

Over the past few years, more attention has been focused on women’s rights in China. As feminism becomes an increasingly important topic of discussion in China, strongly facilitated by social media and not without controversy, companies are likely to hop on the bandwagon and continue producing shows that fall squarely in the ta shidai category, given the genre’s rising popularity.

Though we can’t expect every single show to perfectly, accurately, and realistically portray women’s struggles, the fact that more stories like these are being produced already helps bring such conversations into the mainstream. 

Hopefully, the trend of ta shidai shows is a sign that these issues won’t just be tackled on camera, but in real life as well. 

 
Read more about Chinese TV dramas here.
 

By Yin Lin Tan

 Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2020 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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