Throughout the course of history and across a vast variety of civilizations, art has always been utilized as a means to examine, validate, or criticize long-standing cultural practices and beliefs. During the dynastic eras of China, a great number of literary pieces contain teachings and practices derived from that of Confucianism, Taoism, and Buddhism beliefs. As time went on, the ideas and viewpoints conveyed in these works shaped the nation's morals and social mores. It was common practice for these works, which functioned as forums for societal criticism and moral instruction, to place an emphasis on the principles of loyalty, filial piety, and community peace. Similarly, Jidaigeiki-style Japanese period films provide a critical yet stylized light on the feudal period. Among the topics that were explored in these films include the samurai way of life and the rigorous norms of bushido. The art of these two traditions not only reflects cultural standards, but it provides for an opportunity to investigate and reevaluate the ideals that exist in these traditions. In addition to shedding insight on the complex relationship that exists between tradition and modernity, they also have the ability to influence and reflect the dynamic that drives the formation 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 (Wang 1989). The change in tone of the narrative highlights how Jidaigeiki is able to simultaneously criticize and appreciate conventional conventions.

There is a complex relationship that exists between preserving cultural traditions and questioning them, and Jidaigeiki and dynastic Chinese literature both give light on this dynamic. Jidaigeiki filmmaking, which is characterized by its more direct approach, is a reflection of Japan that has witnessed the collapse of its traditional systems. The Chinese literary tradition, on the other hand, subtly integrates criticism into narratives that, on the surface, appear to support Confucian principles. "Harakiri," for instance, makes use of Tsugumo's story in order to call into question the fundamental foundation upon which the social order of medieval Japan was constructed. The shortcomings of the honor code, which places a high value on outward appearances than it does on internal consistency, are brought to light in this manner. It has been said that, during this time, Japan's post-World War II cultural climate was more receptive to openly challenging conventional norms and values (Richie, 2005; Mellen, 2019). This, in effect, stands in stark

contrast to the traditions of Chinese writing, which frequently employs allegory as a means of concealing its criticism.

Examining these many artistic expressions more closely will help one understand how various civilizations dealt with the challenge of upholding cultural standards while also experimenting with new ones. There are many literary works from the Chinese Dynastic era that subtly challenge social injustices while nevertheless upholding Confucian principles. Conversely, the jidai-geki subgenre of historical films, which openly criticizes the then-dominant traditional social conventions, captures the disillusionment that Japan felt following the war. These are some instances of how art could capture the attempts society tries to strike a balance between tradition and modernity. Through these conversations, I have learned the significance of the historical background of each culture in influencing the expression and interpretation of these issues as well as the thin line that needs to be walked between honoring tradition and promoting artistic development. The knowledge I have gained from these lessons also enables me to approach future conversations about the evolution of art with a more educated and receptive mind.