Throughout centuries, art forms have served as mediums through which societies have investigated, reinforced, or challenged the cultural norms and traditions that they have established. During China's dynastic periods, literature often represented the teachings of Confucianism, Taoism, and Buddhism. These ideas helped shape the country's morals and social norms at the time. The themes of loyalty, filial devotion, and societal harmony were frequently highlighted in these works, which became vehicles of moral teaching as well as social commentary. In a similar vein the samurai mentality and the strict rules of bushido are explored in Japanese period films, especially those belonging to the Jidaigeki genre, which offer a stylized but critical depiction of the feudal eras. In both of these traditions, art serves not only as a mirror of cultural values but also as a powerful forum for examining and reforming those values. They shed light on the complex dynamic that exists between modernity and tradition, thereby influencing and reflecting the dynamic cultural identities that are constantly emerging

Poetry and prose written throughout the Chinese dynasties 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 (Wang 1989). However, it is Masaki Kobayashi's "Harakiri" that delivers a searing indictment of Japan's feudal past. In the film, traditional samurai who are typically seen as exemplary examples of morality are instead shown to be fragile and flawed (Prince 1991).

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.