Over the course of centuries, and across many different civilizations, art has always been a vehicle through which long-standing cultural practices and beliefs have explored, affirmed, or questioned. In dynastic China, the teachings of Buddhism, Taoism, and Confucianism were frequently depicted in the country's literary works. The morality and social conventions of the nation at the time were, in part, influenced by these views. These works, which became vehicles of moral instruction as well as social commentary, usually underlined the themes of loyalty, filial devotion, and communal harmony. In a similar vein, Japanese period cinema, particularly those of the Jidaigeki genre, provide that of a stylized but critical portrayal of the feudal ages, often delving into the samurai way of life as well as the rigid codes of bushido. Not only does art serve as a reflection of cultural values in both of these traditions, but it also functions as a means to examine and reevaluate such values. They illuminate the intricate relationship between tradition and modernity, which, in effect, influences and reflects the ever-evolving nature of cultural identities.

Chinese dynastic literature, comprising mostly of poetry and prose, usually reflected the prevailing social mores of the period, which were based on Confucian ideas that emphasized the importance of family, social rank, and devotion to the state. One of the Five Classics, "The Book of Songs" (Shijing), is a prime example of how literature formalized these conventions; it uses poetry to exemplify values like loyalty and filial devotion (Lewis 2001). Novels composed during the Ming and Qing periods expand upon these ideas, but they are often given in a more nuanced form in subsequent works. As an illustration, Cao Xueqin's "Dream of the Red Chamber" is a critique of societal expectations that is told through a narrative full of personal tragedies that show the human costs of inflexible social rules (Masaki 1962). The change in tone of the narrative highlights how Jidaigeki is able to simultaneously criticize and appreciate conventional conventions.

There is a complex relationship that exists between preserving cultural traditions and questioning them, and Jidaigeki and dynastic Chinese literature both give light on this dynamic. Jidaigeki cinema frequently takes a more direct approach, reflecting a Japan that has witnessed the collapse of its ancient systems. In this film, "Seven Samurai," directed by Akira Kurosawa, for instance, depicts a society that is in a state of instability. In the film, samurai, who are typically seen as exemplary examples of morality, are instead shown to be fragile and flawed (Prince 1991). However, it is Masaki Kobayashi's "Harakiri" that delivers a searing indictment of Japan's feudal past. In the film, traditional samurai principles are subverted, and the film reveals the hollowness of bushido when it is confronted with human misery. The story, which is propelled by Hanshiro Tsugumo's pursuit of justice, emphasizes how the societal structures that are preserved by the samurai ethos frequently overlook the wellbeing of individuals, thereby

criticism in allegory.

In reflecting on these art forms, it becomes clear how their respective societies navigated the tension between maintaining cultural norms and challenging them. Many works of dynastic Chinese literature defended Confucian principles while subtly criticizing societal hierarchies. Jidaigeki, a subgenre of Japanese historical cinema, reflects the postwar disillusionment of the country by openly criticizing conventional social ideals. They both show how art may reflect societal efforts to balance tradition and progress. These discussions have broadened my view to include the importance of each culture's historical context in shaping its presentation and interpretation of these issues, as well as the fine line that exists between preserving tradition and promoting artistic advancement. Overall, the learnings I have gained from these lessons have instilled in me a deeper appreciation for how art continuously shapes and reshapes our understanding of cultural identities and societal values, allowing for a more nuanced and open perspective on future discussions and dialogues on artistic evolution.