The Golden Age of Artistic Flourishing: Unveiling the Allure of Shunga

In the mesmerizing canvas of “SHUNGA” by the artist Cáo Khoa, a tapestry of vivid imagery unfolds, weaving together politics, culture, and desire. The painting, a visual symphony of Mao Zedong’s iconic Little Red Book, delectable food items, and vibrant young individuals fervently participating in “propaganda work,” transports the viewer into a realm where the boundaries between ideology and earthly pleasures blur.

As the eye traverses the scene, it encounters a compelling juxtaposition: the earnest engagement in political activism set against the backdrop of a tantalizing feast. Young men and women immerse themselves in the rhythmic beats of a large drum, surrounded by an array of props that accentuate the spectacle. At the forefront of this harmonious convergence, a girl leans back, her hand delicately covering her mouth, while the other confidently holds the Little Red Book. Her gesture, pointing towards the mischievously smiling portrait of Mao Zedong, suggests a narrative of orchestrated bliss—a scene seemingly approved and enjoyed by the revered leader himself.

This composition, a manifestation of “heavenly and earthly harmony,” echoes the wisdom of Confucius, who once remarked, “Food and love are the great desires that sustain people.” Within the frames of “SHUNGA,” the convergence of political fervor and the celebration of earthly desires takes center stage, inviting contemplation on the multifaceted nature of human desires and the intriguing interplay between ideology and the pursuit of pleasure.

In this artistic tableau, Cáo Khoa masterfully captures a moment that transcends temporal and cultural boundaries, inviting viewers to explore the nuances of desire, politics, and the intricate dance between the two. As we delve deeper into the layers of “SHUNGA,” we find ourselves on the threshold of an era where artistic expression becomes a gateway to understanding the complexities of the human experience during what could be considered a golden age of artistic flourishing.

For over a decade since 1966, there has been a struggle for political power in China, known as the “Cultural Revolution,” in which even the masses eagerly participated. The whole country fell into extreme political movements, the food shortage crisis, the country was impoverished, and the people were silenced. In that context, artist Cáo Khoa depicted strong and resilient individuals surviving in the Cultural Revolution through the genre of Xuân Cung Hoạ painting with a rebellious spirit, as a way of critiquing the “Great Criticism.” These artworks introduced the Xuân Cung Hoạ of the Cultural Revolution as a folk painting, while also looking back at a dark period in China, regarding educated youth and artists being sent to the countryside. These works have been exhibited nationwide since 1980. Cáo Khoa has also had solo exhibitions in Seoul (South Korea), Tokyo (Japan), the United States, Canada, and the Central Art Museum in Moscow. His works are widely collected, including by the British Museum.

Artist Cáo Khoa (born in 1956 in Hefei, Anhui Province) was once a Red Guard and educated youth sent to the countryside, giving him profound experience with reform. After the Cultural Revolution, Cáo Khoa graduated from China’s Art Academy in Nanjing, majoring in Chinese painting. He is currently the Deputy Principal of the Kim Lăng Fine Arts Academy and the Director of the Jiangsu Provincial Fine Arts Association. He is also a special artist of the Nanjing Museum and a special calligrapher of the Chinese Painting Institute and the Chinese Calligraphy Research Institute.

“The Cultural Revolution is a rare catastrophe in the history of human civilization. In reality, this movement is not an ideological system, but a struggle for power. As time goes by, the authorities have taken advantage of collective silence to create collective amnesia. The famous writer Ba Jin once proposed the establishment of a Museum of the Cultural Revolution to warn future generations. The renowned writer Thiểm Tây wrote the novel “Giả Bình Ao” based on the context of the Cultural Revolution, with the purpose of not letting future generations forget this destruction of human civilization. I have chosen to record those rebellious individuals, the Red Guards, Worker-Peasant-Soldiers, and Propaganda Teams at that time, in the form of Xuân Cung Hoạ paintings, which can be seen as a museum of customs on paper.”