Art has always been a vehicle through which communities have explored, affirmed, or questioned their long-standing cultural practices and beliefs. During the dynastic eras of 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 Jidaigeiki 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, which comprised 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 prime example of how literature formalized these conventions; it uses poetry to exemplify values like loyalty and filial devotion (Lewis 2001). This stands in stark contrast to the traditions of Chinese writing, which frequently employs allegory as a means of concealing its criticism.

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. A more straightforward method is commonly taken in Jidaigeki cinema, which reflects a Japan that has seen the collapse of its traditional traditions. On the other hand, Chinese literature is characterized by a more subtle approach to the incorporation of criticism into narratives that profess to support Confucian ideas. Harakiri, for instance, uses Tsugumo's story to challenge the very basis of mediaeval Japan's social order. It does this by revealing the weaknesses in the honor code that prized appearances over truth. Furthermore, Japanese film, and Jidaigeki in particular, address the shortcomings of tradition in a more open and forthright manner, which suggests that the cultural aftermath of World War II had created a climate that was more amenable to overt criticism (Richie, 2005; Mellen, 2019). This stands in stark contrast to the traditions of Chinese writing, which frequently employs allegory as a means of concealing its criticism.

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.