Chinese Artist Cong Yunfeng’s Powerful Response to Controversial British Museum Exhibition

Chinese contemporary artist, Cong Yunfeng, has become the center of attention recently due to his impactful mural artworks, which serve as a response to the highly debated exhibition, “China’s Hidden Century,” showcased at the British Museum. This exhibition drew controversy due to the display of Chinese relics looted during the Qing Dynasty, sparking heated discussions online, especially among Chinese citizens.

The buzz surrounding the exhibition is evident with its wide social media coverage. The topic became trending on Chinese platforms like Sina Weibo and Xiaohongshu, with millions discussing the matter. Many netizens voiced their distress, stating how painful it is to see China’s rich history displayed in a foreign institution, with some questioning when these artifacts would be returned to their rightful homeland.

The British Museum, on its official website, describes the artifacts as exquisite and beautiful, with items ranging from cloisonné vases presented to British royalty to a silk robe belonging to Empress Dowager Cixi. The display even includes the original “The Treaty of Nanjing.” However, one of the most discussed pieces exclusive to the exhibition is a 1876 portrait of lady Li. Many argue that this portrayal is a product of Western stereotypes and misinterpretations of Chinese aesthetics.

Amidst this backdrop of debate, Cong Yunfeng’s work emerged as a symbolic representation of China’s sentiments. Having witnessed many Chinese artifacts during a previous visit to the British Museum, Yunfeng felt a surge of emotions. These feelings led him to create a modified version of the historical Dunhuang mural, “Conversion of the Five Hundred Bandits.” His artistic rendition cleverly blends Western and Buddhist elements, capturing the essence of suppression, exile, and sight restoration.

Yunfeng’s artistry doesn’t end there. His mural, divided into six sections, seamlessly incorporates both Buddhist scriptures and Western classical references. One notable headline from his work, “Violence is the midwife of everyone old society pregnant with a new one,” originates from “Das Kapital.” This mural, part of the larger “Wall-facing Project,” received much appreciation when displayed at the Asian Girls Club of Brick Lane.

Furthermore, Yunfeng emphasizes the potential of the wall as a living canvas that can interact with people. This belief was further illustrated in another artwork titled “Playing Pipa Behind the Back.” Inspired by a Tang Dynasty mural, this piece represents a harmonious dialogue and connection across different timelines and cultures.

In continuation of his efforts to reinvigorate traditional Chinese culture, Yunfeng hinted at a forthcoming “wall-breaking Project.” He aspires to shift the spatial and temporal dimensions of frescoes, giving them renewed meaning.

Born in 1990, Yunfeng’s journey with art began as a toddler, making his first marks on a wall. After graduating from the Central Academy of Fine Arts, his passion for murals took him to the Prince’s Foundation School of Traditional Arts, UK. Today, through his creations, he desires to increase appreciation for China’s deeply-rooted culture and its significance in today’s world.

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