Stochastic approximation and its applications hanfu chen

May 14, 2025

Stochastic approximation and its applications hanfu chen

What started with a 2003 internet sensation grew into a massive movement – Hanfu is booming on Weibo and beyond. It’s been nearly two decades since the Chinese traditional clothing trend named Hanfu 汉服 first became noticeable as a popular social phenomenon in mainland China. Throughout the years, Hanfu has gone from a fashion style to a full-fledged movement that is flourishing on Chinese social media. Koen van der Lijn reports. This is a collaboration between What’s on Weibo and Things That Talk (follow on Insta @thingsthattalk). This last Christmas, Hanfu was once again a trending topic on Weibo. Enthusiasts of the traditional Chinese clothing trend posed online in their Christmas inspired Chinese clothing. It was yet another development in the Hanfu Movement, which has been a hot topic with hundreds of hashtags and thousands of pictures, videos, and stories on Weibo, with the official Weibo Hanfu @微博汉服 account boasting a whopping 1.8 million followers and a Weibo ‘supertopic’ on Hanfu being joined by nearly half a million fans. When objects meet social media, two websites meet as well. “You can also wear Hanfu during Christmas,” post and images by @弥秋君 on Weibo. Xu Jiao, being 23 years of age, is part of Generation Z (mid-1990s – early 2010s), who are adept users of social media and make up the mass of Hanfu enthusiasts. One example of the manifold of Hanfu content on Weibo is a video recently posted by Chinese actress Xu Jiao (徐娇). However, it is not just a form of cosplay or a new clothing style. Though Hanfu enthusiasts seldomly go out on the streets whilst wearing the clothing style,1 Hanfu sales have been increasing a lot over the past few years.2 Possibly linked to the popularity of Chinese costume dramas, many Chinese youth have started to wear Hanfu in the past two decades. It was November 2003 when Wang Letian walked the streets of Zhengzhou in Hanfu. Besides online discussions, an article was also written about Wang Letian’s bold move in the Singaporean newspaper Lianhe Zaobao 联合早报, helping spread word about the young man’s actions. Now, roughly twenty years later, the wearing of Hanfu has developed into a true movement, with many young Chinese participating in the wearing of the traditional Chinese dress. Especially on college campuses, the trend is very much alive. This moment was seen as the start of the Hanfu Movement. In its most basic idea, the Hanfu Movement can be described as a social movement that supports the wearing of Han Chinese ethnic clothing. The emphasis on the Han ethnicity is of importance here. Han Chinese make up the vast majority of the population in China, accounting for more than 90% of China’s total population. However, aspects famous outside China for being typically Chinese, such as the queue, are actually of Manchu origin. The Manchus are an ethnic group from Northeastern China, showing cultural similarities to the Mongols, who ruled China’s last dynasty, the Qing dynasty (1644-1912). Their clothing style has influenced foreign perceptions of China, due to the fact that the Manchus were the ruling class in the last Chinese imperial dynasty. Hence the emphasis on the Han ethnicity. Mi Qiujun discusses an important aspect of the Hanfu movement. Showing clips of herself wearing Hanfu in Egypt, the United States, France, and Japan, she tells how she became determined to make people around the globe understand China’s traditional culture after her clothing being wrongly identified as a Japanese kimono at her first stop in Nepal. Hanfu enthusiasts feel that their ethnic clothing is not understood well enough by others, and showing the rest of the world their clothing is a true mission. It is worth noting that some scholars have disputed the existence of a uniform Hanfu throughout Chinese history.5 Instead, Hanfu is seen to have been popularised by students through the internet, without strong knowledge of Han Chinese clothing traditions.6 This makes it difficult to assess what does and what does not count as Hanfu. Hanfu enthusiasts have found themselves in online quarrellings about what can be defined as Hanfu, and what cannot be defined as Hanfu. In November 2020, for instance, Chinese netizens found themselves in an online discussion with their Korean neighbours. That month, Chinese actor Xu Kai (许凯) posted a photo of himself in traditional costume from the set of the Chinese drama titled Royal Feast (尚食), which is set in the Ming Dynasty. Online quarrelings have therefore become part of the Hanfu Movement. Girl dressed in Hanfu while visiting the Forbidden City. Photo by Manya Koetse. These kinds of discussions also show another side of the Hanfu Movement. ‘Uncivilised practices’ in contemporary Chinese society are attributed to the Manchus. This rhetoric reinforces the belief of Han supremacy, which has existed long before the invention of the internet, where the ‘civilized’ Han Chinese believe themselves to be superior to the ‘uncivilized’ barbarians, such as the Manchus. This foreign influence is often linked back to the Manchus once again. These hardcore Han nationalists are but a small part of the movement. The Hanfu Movement encompasses a large and diverse group of people, who all share a certain belief that Hanfu should gain more appreciation in China and abroad. Moreover, they believe it to be important to make others, both in and outside China, gain a deeper understanding of Han Chinese ethnic culture. Hanfu is more than a fad. “(…) Xu Jiao speaks for Hanfu! “I am so thankful we have you! I really like your work and your attitude towards Hanfu! What connects most Hanfu enthusiasts then? Hanfu enthusiasts take pride in wearing Hanfu, and they wear Hanfu simply because they like wearing it. It is a subculture, it is a style, and for Xu Jiao and many others, it is their mission. Koen van der Lijn (China Studies, BA) is a ResMa student Asian Studies at Leiden University focused on Chinese history and its international relations. He is a student ambassador at Things That Talk. A story focused on the background of the Hanfu Movement and objects associated with this movement has previously been published on Things that Talk, go check it out! 1 Buckley, Chris, and Katrina Northrop. 2 Zhou Xing 周兴. Things That Talk is an educational digital project where staff and students produce narratives and metadata about objects in Leiden collections and beyond. 4 Cui Chentao 崔晨涛. 3 Cui Chentao 崔晨涛. Oakland, California: University of California Press. 6 Zhang Xian 张跣. 5 Carrico, Kevin. 2017. The Great Han: Race, Nationalism, and Tradition in China Today. 9 Carrico, Kevin. 2017. “Imaginary Communities: Fantasy and Failure in Nationalist Identification,” in The Great Han: Race, Nationalism, and Tradition in China Today, chapter 1. Oakland, California: University of California Press. 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. 2021 Whatsonweibo. All rights reserved. Things That Talk – Exploring humanities through the life of objects. Things That Talk is an educational digital project where staff and students produce narratives and metadata about objects in Leiden collections and beyond. The lady in Manya’s photo is wearing Manchu style. 7 Carrico, Kevin. 2017. “Imaginary Communities: Fantasy and Failure in Nationalist Identification,” in The Great Han: Race, Nationalism, and Tradition in China Today, chapter 1. Oakland, California: University of California Press. Your email address will not be published. Qian Xuesen is a renowned Chinese scientist whose life shares remarkable parallels with Oppenheimer’s. They shared the same campus, lived in the same era, and both played pivotal roles in shaping modern history while navigating the intricate interplay between science and politics. With the release of the “Oppenheimer” movie in China, the renowned Chinese scientist Qian Xuesen is being compared to the American J. Robert Oppenheimer. In late August, the highly anticipated U.S. There is one Chinese scientist whose life shares remarkable parallels with Oppenheimer’s. This is aerospace engineer and cyberneticist Qian Xuesen (钱学森, 1911-2009). Like Oppenheimer, he pursued his postgraduate studies overseas, taught at Caltech, and played a pivotal role during World War II for the US. Besides igniting discussions about the life of this prominent scientist, the film has also reignited domestic media and public interest in Chinese scientists connected to Oppenheimer and nuclear physics. Qian Xuesen is so widely recognized in China that whenever I introduce myself there, I often clarify my last name by saying, “it’s the same Qian as Qian Xuesen’s,” to ensure that people get my name. The era of McCarthyism in the United States cast a shadow over Qian’s career, and, similar to Oppenheimer, he was branded as a “communist suspect.” Eventually, these political pressures forced him to return to China. Some Chinese blogs recently compared the academic paths and scholarly contributions of the two scientists, while others highlighted the similarities in their political challenges, including the revocation of their security clearances. Although Qian’s return to China made his later life different from Oppenheimer’s, both scientists lived their lives navigating the complex dynamics between science and politics. Qian Xuesen (钱学森, also written as Hsue-Shen Tsien), often referred to as the “father of China’s missile and space program,” was born in Shanghai in 1911,1 a pivotal year marked by a historic revolution that brought an end to the imperial dynasty and gave rise to the Republic of China. Much like Oppenheimer, who pursued further studies at Cambridge after completing his undergraduate education, Qian embarked on a journey to the United States following his bachelor’s studies at National Chiao Tung University (now Shanghai Jiao Tong University). Here, we provide a brief overview of the life and accomplishments of Qian Xuesen. He spent a year at Tsinghua University in preparation for his departure. The year was 1935, during the eighth year of the Chinese Civil War and the fourth year of Japan’s invasion of China, setting the backdrop for his academic pursuits in a turbulent era. One year after arriving in the U.S., Qian earned his master’s degree in aeronautical engineering from the Massachusetts Institute of Technology (MIT). Three years later, in 1939, the 27-year-old Qian Xuesen completed his PhD at the California Institute of Technology (Caltech), the very institution where Oppenheimer had been welcomed in 1927. In 1943, Qian solidified his position in academia as an associate professor at Caltech. Qian in his office at Caltech (image source). When World War II began, while Oppenheimer was overseeing the Manhattan Project’s efforts to assist the U.S. While at Caltech, Qian helped found NASA’s Jet Propulsion Laboratory. He served on the U.S. Qian actively supported the U.S. ’s Scientific Advisory Board and attained the rank of lieutenant colonel. The first meeting of the US Department of the Air Force Scientific Advisory Board in 1946. The predecessor, the Scientific Advisory Group, was founded in 1944 to evaluate the aeronautical programs and facilities of the Axis powers of World War II. After the war, Qian went to teach at MIT and returned to Caltech as a full-time professor in 1949. During that same year, Mao Zedong proclaimed the establishment of the People’s Republic of China (PRC). Just one year later, the newly-formed nation became involved in the Korean War, and China fought a bloody battle against the United States. Qian can be seen standing in the back, the second on the left (image source). Robert Oppenheimer and Qian Xuesen both had an interest in Communism even prior to World War II, attending communist gatherings and showing sympathy towards the Communist cause. Qian and Oppenheimer may have briefly met each other through their shared involvement in communist activities. However, it was only after the war that their political leanings became a focal point for the FBI. Just as the FBI accused Oppenheimer of being an agent of the Soviet Union, they quickly labeled Qian as a subversive communist, largely due to his Chinese heritage. While the government did not succeed in proving that Qian had communist ties with China during that period, they did ultimately succeed in portraying Qian as a communist affiliated with China a decade later. It was during this tumultuous period that the FBI officially accused Qian of communist sympathies in 1950, leading to the revocation of his security clearance despite objections from Qian’s colleagues. In 1950, the Korean War erupted, with the People’s Republic of China (PRC) joining North Korea in the conflict against South Korea, which received support from the United States. Four years later, in 1954, Robert Oppenheimer went through a similar process. After losing his security clearance, Qian began to pack up, saying he wanted to visit his aging parents back home. The 1950’s security hearing of Qian (second left). Federal agents seized his luggage, which they claimed contained classified materials, and arrested him on suspicion of subversive activity. Five years later, in 1955, two years after the end of the Korean War, Qian was sent home to China as part of an apparent exchange for 11 American airmen who had been captured during the war. Although Qian denied any Communist leanings and rejected the accusation, he was detained by the government in California and spent the next five years under house arrest. A letter from the US Immigration and Naturalization Service to Qian Xuesen, dated August 4, 1955, in which he was notified he was allowed to leave the US. The original copy is owned by Qian Xuesen Library of Shanghai Jiao Tong University, where the photo was taken. Wherever he goes, he equals five divisions.” He also stated: “It was the stupidest thing this country ever did. Dan Kimball, who was the Secretary of the US Navy at the time, expressed his regret about Qian’s departure, reportedly stating, “I’d rather shoot him dead than let him leave America. After his return to China, Qian did indeed assume a pivotal role in enhancing China’s military capabilities, cheongsam top 3xx possibly surpassing the potency of five divisions. The China that Qian Xuesen had left behind was an entirely different China than the one he returned to. Kimball may have foreseen the unfolding events accurately. Within less than a month of his arrival, Qian was welcomed by the then Vice Prime Minister Chen Yi, and just four months later, he had the honor of meeting Chairman Mao himself. China, although having relatively few experts in the field, was embracing new possibilities and technologies related to rocketry and space exploration. Qian and Mao (image source). He not only assumed leadership but also earned the distinguished title of the “father” of the Chinese missile program, instrumental in equipping China with Dongfeng ballistic missiles, Silkworm anti-ship missiles, and Long March space rockets. In China, Qian began a remarkably successful career in rocket science, with great support from the state. Additionally, his efforts laid the foundation for China’s contemporary surveillance system. By now, Qian has become somewhat of a folk hero. China: driven by unwavering patriotism, he willingly abandoned his overseas success, surmounted formidable challenges, and dedicated himself to his motherland. Throughout his lifetime, Qian received numerous state medals in recognition of his work, establishing him as a nationally celebrated intellectual. His tale of returning to China despite being thwarted by the U.S. On September 3rd of this year, a new “Qian Xuesen School” was established in Wenzhou, Zhejiang Province, becoming the sixth high school bearing the scientist’s name since the founding of the first one only a year ago. In 2017, the play “Qian Xuesen” was performed at Qian’s alma mater, Shanghai Jiaotong University. Qian Xuesen’s legacy extends well beyond educational institutions. Qian Xuesen remains a celebrated figure. His name frequently appears in the media, including online articles, books, and other publications. There is the Qian Xuesen Library and a museum in Shanghai, containing over 70,000 artefacts related to him. As is often the case when people are turned into heroes, some part of the stories are left behind while others are highlighted. The Communist Party of China hailed Qian as a folk hero, aligning with their vision of a strong, patriotic nation. This holds true for both Robert Oppenheimer and Qian Xuesen. In contrast, some international media have depicted Qian as a “political opportunist” who returned to China due to disillusionment with the U.S., also highlighting his criticism of “revisionist” colleagues during the Cultural Revolution and his denunciation of the 1989 student demonstrations. Unlike the image of a resolute loyalist favored by the Chinese public, Qian’s political ideology was, in fact, not consistently aligned, and there were instances where he may have prioritized opportunity over loyalty at different stages of his life. Many Chinese narratives avoid the debate over whether Qian’s return was linked to problems and accusations in the U.S., rather than genuine loyalty to his homeland. Qian also did not necessarily aspire to be a “flawless hero.” Upon returning to China, he declined all offers to have his biography written for him and refrained from sharing personal information with the media. Consequently, very little is known about his personal life, leaving many questions about the motivations driving him, and his true political inclinations. The marriage photo of Qian and Jiang. She was of Chinese-Japanese mixed race and was the daughter of a prominent military strategist associated with Chiang Kai-shek. Jiang Ying was also an accomplished opera singer and later became a professor of music and opera at the Central Conservatory of Music in Beijing. Just as with Qian, there remain numerous unanswered questions surrounding Oppenheimer, including the extent of his communist sympathies and whether these sympathies indirectly assisted the Soviet Union during the Cold War. Perhaps both scientists never imagined they would face these questions when they first decided to study physics. After all, they were scientists, not the heroes that some narratives portray them to be. 2The Chinese character 钱 is typically romanized as “Qian” in Pinyin. 1 Some sources claim that Qian was born in Hangzhou, while others say he was born in Shanghai with ancestral roots in Hangzhou. Monk, Ray. 2013. Robert Oppenheimer: A Life inside the Center, First American Edition. However, “Tsien” is a romanization in Wu Chinese, which corresponds to the dialect spoken in the region where Qian Xuesen and his family have ancestral roots. Perrett, Bradley, and James R. Asker. Get the story behind the hashtag. First-time commenters, please be patient – we will have to manually approve your comment before it appears. Spotted a mistake or want to add something? Please let us know in comments below or email us. Renowned Chinese artist and the creator of the ‘Blue Rabbit’ zodiac stamp Huang Yongyu has passed away at the age of 98. “I’m not afraid to die. 2023 Whatsonweibo. All rights reserved. Born in 1924, Huang endured war and hardship, yet never lost his zest for life. The famous Chinese painter, satirical poet, and cartoonist Huang Yongyu has passed away. When his creativity was hindered and his work was suppressed during politically tumultuous times, he remained resilient and increased “the fun of living” by making his world more colorful. He was a youthful optimist at old age, and will now be remembered as an immortal legend. 160 million views by Wednesday evening. Huang was a member of the China National Academy of Painting (中国国家画院) as well as a Professor at the Central Academy of Fine Arts (中央美术学院). The renowned Chinese painter and stamp designer Huang Yongyu (黄永玉) passed away on June 13 at the age of 98. His departure garnered significant attention on Chinese social media platforms this week. The monkey stamp designed by Huang Yongyu has become a cherished collector’s item, even outside of China. Huang Yongyu is widely recognized in China for his notable contribution to stamp design, particularly for his iconic creation of the monkey stamp in 1980. Although he designed a second monkey stamp in 2016, the 1980 stamp holds significant historical importance as it marked the commencement of China Post’s annual tradition of releasing zodiac stamps, which have since become highly regarded and collectible items. Huang Yongyu’s latest most famous stamp was this year’s China Post zodiac stamp. On online marketplaces like eBay, individual stamps from this series are being sold for approximately $2000 these days. Others thought it looked “evil” or “monster-like.” There were also those who wondered if the blue rabbit looked so wild because it just caught Covid. Huang’s (in)famous blue rabbit stamp. Some thought the red-eyed blue rabbit looked like a rat. In light of the controversy, Huang Yongyu spoke about the stamps in a livestream in January of 2023. The 98-year-old artist claimed he had simply drawn the rabbit to spread joy and celebrate the new year, stating, “Painting a rabbit stamp is a happy thing. Nevertheless, many people lined up at post offices for the stamps and they immediately sold out. Those defending Huang emphasized how it was precisely his playful, light, and unique approach to art that has made Huang’s work so famous. Everyone could draw my rabbit. Huang Yongyu was born on August 9, 1924, in Hunan’s Chengde as a native of the Tujia ethnic group. His grandfather, Huang Jingming (黄镜铭), worked for Xiong Xiling (熊希齡), who would become the Premier of the Republic of China. He was born into an extraordinary family. Huang’s father studied music and art and was good at drawing and playing the accordion. His mother graduated from the Second Provincial Normal School and was the first woman in her county to cut her hair short and wear a short skirt (CCTV). His first cousin and lifelong friend was the famous Chinese novelist Shen Congwen (沈从文). Born in times of unrest and poverty, Huang never went to college and was sent away to live with relatives at the age of 13. His father would die shortly after, depriving him of a final goodbye. Huang started working in various places and regions, from porcelain workshops in Dehua to artisans’ spaces in Quanzhou. At the age of 16, Huang was already earning a living as a painter and woodcutter, showcasing his talents and setting the foundation for his future artistic pursuits. When he was 22, Huang married his first girlfriend Zhang Meixi (张梅溪), a general’s daughter, with whom he shared a love for animals. In his twenties, Huang Yongyu emerged as a sought-after artist in Hong Kong, where he had relocated in 1948 to evade persecution for his left-wing activities. He confessed his love for her when they both found themselves in a bomb shelter after an air-raid alarm. Accompanied by his wife and their 7-month-old child, Huang took on a teaching position at the esteemed Central Academy of Fine Arts (中央美术学院). Despite achieving success there, he heeded Shen Congwen’s advice in 1953 and moved to Beijing. The couple raised all kinds of animals at their Beijing home, from dogs and owls to turkeys and sika deers, and even monkeys and bears (Baike). Throughout Huang’s career, animals played a significant role, not only reflecting his youthful spirit but also serving as vehicles for conveying satirical messages. In one of his famous works, a grey mouse is accompanied by the phrase ‘I’m ugly, but my mum likes me’ (‘我丑，但我妈喜欢’), reinforcing the notion that regardless of our outward appearance or circumstances, we remain beloved children in the eyes of our mothers. One recurring motif in his artwork was the incorporation of mice. As a teacher, Huang liked to keep his lessons open-minded and he, who refused to join the Party himself, stressed the importance of art over politics. By 1962, creativity in the classroom was limited and there were far more restrictions to what could and could not be created, said, and taught. Huang Yongyu’s winking owl, 1973, via Wikiart. In 1963, Huang was sent to the countryside as part of the “Four Cleanups” movement (四清运动, 1963-1966). Although Huang cooperated with the requirement to attend political meetings and do farm work, he distanced himself from attempts to reform his thinking. Huang’s work was declared to be counter-revolutionary, and he was denounced and severely beaten. Three years later, at the beginning of the Cultural Revolution, many Chinese major artists, including Huang, were detained in makeshift jails called ‘niupeng‘ (牛棚), cowsheds. After his release, Huang and his family were relocated to a cramped room on the outskirts of Beijing. The authorities, thinking they could thwart his artistic pursuits, provided him with a shed that had only one window, which faced a neighbor’s wall. Instead, he ingeniously utilized vibrant pigments that shone brightly even in the dimly lit space. However, this limitation didn’t deter Huang. During this time, he also decided to make himself an “extra window” by creating an oil painting titled “Eternal Window” (永远的窗户). In 1973, during the peak of the Cultural Revolution, Huang painted his famous winking owl. Later on in his career, however, Huang would continue to paint owls. The painting was seen as a display of animosity towards the regime, and Huang got in trouble for it. This approach can be loosely compared to George Orwell’s famous novel Animal Farm. According to art scholar Shelly Drake Hawks, Huang Yongyu employed animals in his artwork to satirize the realities of life under socialism. Like Picasso, Huang embraced a colorful life, adopted an innovative approach to art, and challenged artistic norms. However, Huang’s artistic style, vibrant personal life, and boundary-pushing work ethic also draw parallels to Picasso. Huang Yongyu will be remembered in China with love and affection for numerous reasons. One things that is certainly admirable is how he was able to maintain a youthful and joyful attitude after suffering many hardships and losing so many friends. Whether it is his distinctive artwork, his mischievous smile and trademark pipe, his unwavering determination to follow his own path despite the authorities’ expectations, or his enduring love for his wife of over 75 years, there are countless aspects to appreciate and admire about Huang. Old age did not hold him back. At the age of 70, his paintings sold for millions. “An intriguing soul. Too wonderful to describe,” one Weibo commenter wrote about Huang, sharing pictures of Huang Yongyu’s “Scenes of Pooping” (出恭图) work. At the age of 82, he stirred controversy in Hong Kong with his “Adam and Eve” sculpture featuring male and female genitalia, leading to complaints from some viewers. When he was in his eighties, he was featured on the cover of Esquire (时尚先生) magazine. When confronted with the backlash, Huang answered, “I just wanted to have a taste of being sued, and see how the government would react” (Ora Ora). I’m guessing the 98-year-old Huang loved the controversy. In his nineties, he started driving a Ferrari. “It’s good to work diligently. Your work may be meaningful. Huang kept working and creating until the end of his life. Don’t insist on life being particularly meaningful. Maybe it won’t be. Huang did not dread the end of his life. “Hometown Scenery” or rather “Hunan Scenery” (湘西风景) by Huang. “My old friends have all died, I’m the only one left,” he said at the age of 95. He wrote his will early and decided he wanted a memorial service for himself before his final departure. He stated: “I don’t fear death at all. “Quickly come praise me, while I’m still alive,” he said, envisioning himself reclining on a chair in the center of the room, “listening to how everyone applauds me” (CCTV, Sohu). Huang also was not sentimental about what should happen to his ashes. I always joke that when I die, you should tickle me first and see if I’ll smile” (“对死我是一点也不畏惧，我开玩笑，我等死了之后先胳肢我一下，看我笑不笑”). In a 2019 article in Guangming Daily, it was revealed that he suggested to his wife the idea of pouring his ashes into the toilet and flushing them away with the water. However, his wife playfully retorted, saying, “No, that won’t do. Nevertheless, his wife expressed opposition to this idea, citing concerns that it would cause people to vomit and curse him indefinitely. In response, Huang declared, “Then let’s forget about my ashes. ‘You’ve consumed Huang Yongyu’s ashes! But she also opposed of that idea, saying that they would vomit and curse him forever. Huang will surely be missed. If you miss me after I’m gone, just look up at the sky and the clouds.” Eventually, his wife would pass away before him, in 2020, at the age of 98, having spent 77 years together with Huang. Not just by the loved ones he leaves behind, but also by millions of his fans and admirers in China and beyond. Others honor Huang by sharing some of his famous quotes, such as, “Sincerity is more important than skill, which is why birds will always sing better than humans” (“真挚比技巧重要，所以鸟总比人唱得好”). “We will cherish your memory, Mr. Huang,” one Weibo blogger wrote. He is now a fascinating soul. Among thousands of other comments, another social media user bid farewell to Huang Yongyu: “Our fascinating Master has transcended. Andrews, Julia Frances. 1994. Painters and Politics in the People’s Republic of China, 1949-1979. Berkley: University of California Press. Chen Hongbiao 陈洪标. Get the story behind the hashtag. Hawks, Shelley Drake. 2017. The Art of Resistance Painting by Candlelight in Mao’s China. Matthysen, Mieke. 2021. Ignorance is Bliss: The Chinese Art of Not Knowing. Seattle: University of Washington Press. 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. What’s on Weibo is run by Manya Koetse (@manyapan), offering independent analysis of social trends in China for over a decade. 2023 Whatsonweibo. All rights reserved. Subscribe to gain access to all content and get the Weibo Watch newsletter. Beyond the Box Office: What’s Behind Ne Zha 2’s Success? “Black Myth: Wukong”: From Gaming Screens to the CMG Spring Festival Gala? Would you like to become a contributor, or do you have any tips or suggestions? Get in touch here!