In his article “Cranes above Kaifeng: The Auspicious Image at the Court of Huizong”, Peter Sturman focuses on the “Auspicious Cranes” picture to argue that there exists a connection between style and function in Huizong paintings. The author believes that the key to studying the rationale of Huizong art is hidden in the political agenda. In the following paper, Sturman’s argument in his article will be evaluated in terms of its thematic content and logical organization. Overall, after addressing the article under consideration, a conclusion can be made that Sturman’s finding regarding “Auspicious Cranes” and its significance for the depiction of hidden practices in the political life of China during the rule of the Song dynasty are relevant; besides, among the strong features of his argument, its cohesiveness, cohesion, and a well-elaborated logic should be mentioned.
First, speaking about the subject of Sturman’s article, it is important to note that it is closely connected with the studies of “Auspicious Cranes” from Huizong paintings. The point of the author’s focus is concentrated around his endeavor to prove that the key rationale of “Auspicious Cranes” is in its hidden political implications that can be seen in the connection between its content and logical organization. In this article, the author wishes to discover, whether the artist aimed to describe a real event in “Auspicious Cranes” or whether he tried to depict a concealed phenomenon in the political life of China during the rule of the Song dynasty. Sturman seeks to prove that the picture he aims to evaluate is more than a portrayal of a usual event in the Song royal court, which took place in 1112. The writer formulates the above-mentioned intentions of his in the thesis statement that can be found at the very end of the introductory section.
Next, evaluating the organization of the argument in the article, it is important to note that it is cohesive and coherent. Besides, it features a well-elaborated logic. Particularly, the readers may see this in the consequence of the questions that Sturman addresses. Initially, he speaks about the auspicious phenomena at Huizong’s court. Then, he shifts to examining varied art forms and their main peculiarities at Huizong’s court. After this, he examines the auspicious patina of Huizong’s court. Eventually, the audience may find the conclusions made by the author in the final subheading, describing images of reality in Huizong’s paintings.
Further, addressing the evidence that Sturman uses in his article, it is important to note that they are abundant, trustworthy, and come from the most diversified sources. Particularly, the writer makes connections with plentiful academic sources, where well-respected scholars make their conclusions regarding Huizong’s art. He also uses reasoning-based arguments to confirm his conclusions. In addition, Sturman finds support for his suppositions in ancient Chinese literature, which used to be popular during the period when the “Auspicious Cranes” picture was created. Finally, the author makes a foundation for his conclusions using demonstrating a variety of historical evidence concerning the life of the Chinese royal family and grand people in the XII century.
In the final part of his article, Sturman makes his conclusion that the “Auspicious Cranes” painting is hardly a depiction of a real event that took place at Huizong’s court. He states that it is simply a depiction of reality that aims to uncover the hidden political implications. To make his conclusion more eloquent to the public, Sturman even finds it relevant to say that the picture unintentionally lies when it shows the sky and the cranes in this way. The author states that the reality, shown in the picture is nothing more than fiction, based on presumption. The author’s assumptions regarding the hidden political implication in Chinese art in the initial part of the article are reflected in his conclusions. Here, it is also important to note that Sturman hardly demonstrates a biased attitude in this article, which can be proved by the fact that he does not aim to deliberately choose only the sources that support his claims. In some statements that Sturman addresses, the audience may see different opinions, but remarkable is the fact that the author knows how to sum them up to find common sense.
In conclusion, it should be stated that the article under consideration can be evaluated as an excellent piece of scholarly writing on the subject of Chinese art. The argument, developed by the author in the article, demonstrates a well-elaborated logic, and excellent cohesiveness and cohesion. The assessment of a variety of evidence from different sources used by Sturman in his paper shows that the significance of “Auspicious Cranes” panting for the depiction of hidden practices in the political life of China during the rule of the Song dynasty is considerable. Besides, the author’s conclusion that “Auspicious Cranes” is a demonstration of fiction, based on presumption appears to be relevant. Finally, Sturman’s article adds to the readers’ understanding and knowledge of the subjects using explaining the real intentions of Chinese artists, who worked during the Song dynasty.