NOW IN 22 DIFFERENT LANGUAGES. CLICK ON THE LOWER LEFT HAND CORNER “TRANSLATE” TAB TO FIND YOURS!
By Jeff J. Brown
Pictured above: a montage of works by Chinese computer graphic artist “Crow and Unicorn”. He has a bright future, turning international diplomacy on its head, with his graphic honesty about the savagery and hypocrisy of Western empire.
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Note before starting: I dedicate this online art exhibition to Comrade Andre Vltchek. He truly understood the foundational importance of art as medium for anti-imperial revolution to succeed. We visited several art exhibits together in China. May he rest in peace.
In case you missed it, a huge diplomatic spat was recently caused by a computer graphic (CG) painting posted 30 November 2020, on Chinese spokesperson Lijian Zhao’s Twitter account, pictured below,
Where he said,
Shocked by murder of Afghan citizens and prisoners by Australian soldiers. We strongly condemn such acts and call holding them accountable.
I’m not going to get into the details here, because I want to introduce you to “Crow and Unicorn” (乌和麒麟), but imperial Aussie soldiers got exposed by a heroic whistleblower (https://twitter.com/OcastJournalist/status/1336494260732928002) exterminating Afghan citizens, in typical, savage, psychopathic fashion (https://www.wsws.org/en/articles/2020/11/26/wars-n26.html). Yet, as I wrote in unflinching details in The China Trilogy (see below or https://chinarising.puntopress.com/2018/06/30/praise-for-the-china-trilogy-the-votes-are-in-it-r-o-c-k-s-what-are-you-waiting-for/), every day across Western empire there is a My Lai genocide. It’s part and parcel of the colonial protocol (https://chinarising.puntopress.com/2018/03/17/wilfred-burchett-explains-why-like-all-good-fascists-every-day-is-my-lai-for-americans-china-rising-radio-sinoland-180319/).
Suddenly, the creator of the above image, Crow and Unicorn, who, before then was unknown outside China, became a cause célèbre overnight, in-country and around the world. It is my pleasure to help Crow and Unicorn become even more widely known, as the best artwork is always political and speaks truth to power, something I went whole hog on in my aforementioned China Trilogy, and when we lived in Shenzhen for three years (http://chinarising.puntopress.com/2016/04/18/the-southern-chinese-art-scene-with-revolutionary-socialist-characteristics-16-4-18/ and https://chinarising.puntopress.com/2019/02/25/the-amazing-1-5-kilometer-long-wall-of-outdoor-art-and-graffiti-in-shenzhen-china-rising-radio-sinoland-190225/).
Before exhibiting his paintings one by one, who is Crow and Unicorn? What do we know about him? After scouring the Chinese media, frankly not a lot. He is enjoying being semi-anonymous, but surely now that he is getting millions of hits on national social media, we will learn more details later.
Crow and Unicorn is the name of his CG company that he founded in 2009, and which he adopted as a nom de plume. He says that it has provided him with a small profit, yet a steady job. Here is his masthead on Weibo, which in China is kind of like a combination of Twitter and Facebook,
Painting #1: Elegy
He did not even post his first painting until 2013, called Elegy, depicting Native Americans hopelessly outgunned by the US’s genocidal holocaust (http://chinarising.puntopress.com/2018/01/06/slavs-and-the-yellow-peril-are-niggers-brutes-and-beasts-in-the-eyes-of-western-empire-china-rising-radio-sinoland/),
Elegy (2012), by Crow and Unicorn.
Nevertheless, we can see that he already had a keen sense of Western empire’s true colors.
Crow and Unicorn continues to coyly remain anonymous in TV interviews and with what he has divulged on Weibo. Nevertheless, we know he began painting seriously when he was 11, and now for 18 years. That would currently make him close to 30 years of age, so he was born in about 1990, meaning he was only twelve years old when he finished Elegy. How many Western painters do you know of any age, much less 12 years of age, with such an anti-colonialist understanding of history?
In China, Venezuela, Cuba, Iran, DPRK, Vietnam and all the other communist-socialist-anti-imperialist, yes, all the time. But after being “airbrushed” by Eurangloland’s Big Lie Propaganda Machine (BLPM) projectile vomit, 99% of Western mainstream art is soulless, masturbatory eye candy – only vacuous, mind-numbing entertainment is allowed. Crow and Unicorn knows better and proudly demurs.
At the end of November 2020, Crow and Unicorn excavated Elegy from the bottom of his Weibo account, having to remind his now million-plus fans that it had nothing to do with US Thanksgiving.
#2: Monument to Commemorate the 70th Anniversary of Resisting the US and Aiding the DPRK
In fact, he was relatively unknown in China until October, when he published, Monument to Commemorate the 70th Anniversary of Resisting the US and Aiding The DPRK,
Monument to Commemorate the 70th Anniversary of Resisting the US and Aiding the DPRK (2020), by Crow and Unicorn. Note, the statue’s Chinese nameplate says, The people’s heroes will always be remembered in glory.
For the uninformed, November 1950 was when the Chinese People’s Volunteer (CPV) Army crossed the Yalu River to the south and with the Korean People’s Army (KPA) and USSR rear guard support, kicked the living shit out of Douglas MacArthur and his war criminal, genocidal Five Eyes “United Nations” forces, which is why the West likes to call it the “Forgotten War” and wants to keep it that way. For the victors, it has been a huge, but somber celebration, given that the West exterminated about 30% of all Korean people – North and South – up to eight million citizens, while literally reducing the North to wall-to-wall rubble (https://www.claritypress.com/product/immovable-object-north-koreas-70-years-at-war-with-american-power/).
Thus, several war movies have come out, packing Chinese and North Korean theaters, including the Chinese Diamond River (金刚川). In this case, “Diamond” being the name for one of Buddha’s guardian deities and also the translation of Sanskritic Vajra, a mythical thunderbolt. It’s very appropriate, as MacArthur and Company got giant Vajras shoved in their collective asses and throats!
Here is what Crow and Unicorn say about his Monument,
This “Monument” is for the film “Diamond River”.
At the beginning, I prepared to shape the whole content of the film as a sculpture. Later, in the process of painting, I came to understand that what really shocked us was not only the war itself 70 years ago, but more about what the war brought to us today. Therefore, another dimension was added to the picture.
These days, I feel very happy to see so much attention and discussion on resisting the US and assisting the DPRK, as well as the continuous emergence of works with related themes. Almost everyone is discussing the topic of resisting the US and assisting the DPRK, which is unprecedented.
The development of many things is like this. From a certain turning point, more and more people pay attention to something, to more and more people discussing and exploring it, to more and more excellent literary and artistic works appearing. They say that people’s heroes are immortal. What is immortal? Only when heroes continue to live in films and TV programs as they do, and live in people’s memory, can they be regarded as immortal. This is also the responsibility that literary and artistic works should shoulder, and “Diamond River” is an opportunity to shoulder this responsibility.
Therefore, I encourage any work on the subject of resisting the United States and assisting North Korea, and I will definitely draw pictures when the upcoming films “The Coldest Gun” (最冷的枪) and “Nagasu Lake” (长津湖) are released.
A movie is never just a film, it can have advantages and disadvantages, mature and immature, more importantly, I hope everyone can pay attention to what the film discusses, so that this history will be remembered, and this Chinese spirit will be passed on from generation to generation.
Upon release of The Monument, Crow and Unicorn also revealed that his grandparents were all (Korean) volunteers and received patriotism education from their ancestors. When he was a child, his grandparents told him the story of “beating the American devil”, which made him develop a strong sense of patriotism from an early age. In his memory, his grandparents were always happy when the Chinese team won glory for the country at international sporting events, and there were more abundant meals at home, as a result. This patriotic upbringing is one reason he hopes to tell stories and convey emotions through pictures, describing himself as a “staunch nationalist”, whose work carries a clear message.
#3: Hong Kong
Earlier in June 2020, Crow and Unicorn released a painted he simply calls Hong Kong, presented below,
Hong Kong (2020), by Crow and Unicorn.
He started adding English captions to his work and this one tells the story,
On June 30, 2020, the Hong Kong National Security Law Went into Effect.
Without going into detail, you can read more here about what happened, something I’ve written much about (https://chinarising.puntopress.com/search/?q=hong%20kong).
You can decide for yourself, but I see Hong Kong skyscrapers in the background, with the national security law like a giant celebration-contained – or maybe vaccine-contained – supernova exploding to blow away the CIA/MI6 agent and all Eurangloland’s color revolution props, crashing to the lower left.
#4: False Gods
Crow and Unicorn has painted two more Hong Kong works. First is False Gods, whose English caption says,
You believe in a Pretender God.
In fact, at times, Crow and Unicorn has entitled it Pretender God.
False Gods (2019-2020), by Crow and Unicorn.
Here are online Chinese comments about False Gods,
“False Gods” is a work on the theme of the anti-establishment protest movement in Hong Kong, depicting an environment that looks like ruins. A group of protesters bow down to a blond-haired Statue of Liberty, which seems to be eating the heart of human beings in the center of the picture. It satirizes the blind obedience of the Hong Kong protesters and the hypocrisy of the United States in promoting the spirit of freedom.
I see the Statue of Liberty raising a Molotov cocktail, and being a cancerous outgrowth on the beating heart/soul of all the bloody spirits among the billions of Dreaded Others, who have been exterminated by the West throughout history, piled up into infinity in the back.
#5: Cannon Fodder
Close on the heels of False Gods is Cannon Fodder,
Cannon Fodder (2019-2020), by Crow and Unicorn.
Crow and Unicorn’s added English caption tells the story,
You’re just cannon fodder. Ignoble, stupid, poor “kids”.
Here are Chinese comments about Cannon Fodder, which I interpret amply for better meaning,
An innocent child is wearing a fox’s mask, thinking they are fooling the world. They are shooting a measly slingshot at a rushing, oncoming train – 5,000 years of Chines civilization -standing in the middle of the tracks to stop it. The child represents Hong Kong’s deceived youth, who are being manipulated by the West’s CIA/MI6 ongoing color revolution. The latter is represented by the adults wearing Guy Fawkes masks, who are carrying umbrellas, with their equally masked English Bulldogs – calling out the UK – all egging the child/Hong Kong to commit collective suicide. The umbrellas represent 2014’s eponymously named, Western manipulated color revolution protests. At the same time, with the “kids” italicized in the caption, Crow and Unicorn is sarcastically suggesting that they are old enough to know better.
#6: Chinese People’s Ten Biggest Traitors
Next is an incredibly erudite painting, displaying Crow and Unicorn’s excellent knowledge of modern Chinese history. He first published it in Chinese, with only the title, Chinese People’s Ten Biggest Traitors. Later, to avoid ambiguity, he went back and added their names, in ghost-like Mandarin script.
Chinese People’s Ten Biggest Traitors (2019-2020), by Crow and Unicorn.
They all come from China’s Republican period, starting in 1911 and through the Chinese Civil War, which did not end until communist liberation in 1949. They are,
Zhou Fohai (周佛海) was one of the original thirteen who attended the First Congress of the CPC (Communist Party of China), 1921 in Shanghai. He left the party in 1924. He became a follower of Wang Jingwei and joined Wang’s puppet government.
Chen Gongbo (陈公博) same as above except he left the CPC in 1922.
Wang Jingwei (汪精卫) was a national hero (for attempting to assassinate Prince Chun, regent and father of Puyi, the last emperor of China) and a longtime follower of Dr. Sun Yat-sen. He originally belonged to the left wing of the KMT and was thought to be Dr. Sun’s successor. He later gave in to Chiang Kai-shek and became a great prosecutor of the communists. Wang became China’s most famous Quisling when he led a puppet government for the Japanese occupation. How the great have fallen!
Chen Bijun (陈璧君) was the wife of Wang Jingwei. She refused to admit guilt and died in prison.
Liang Hongzhi (梁鸿志), an opportunist usually aligned with the warlords and Japan.
Wang Kemin (王克敏), same as above.
Wang Yitang (王揖唐), same as above.
Zhang Jinghui (张景惠), same as above.
Chu Minyi (褚民谊), an internationally educated Nationalist who joined KMT after the death of Dr. Sun. He was the brother-in-law of Wang Jingwei (his wife was Wang’s half-sister), unfortunately following Wang’s road to perdition.
Fu Xiaoan (傅筱庵), opportunist hopping beds from Shanghai banking to Beijing warlords, joining Wang Jingwei’s puppet government and playing double-spy. Got assassinated for his troubles.
I would like to thank author Wei Ling Chua (http://www.outcastjournalist.com) who sent me the name list, since the Chinese was too chicken-scratch for me to read clearly, and then author Peter Man (https://stone-man.weebly.com/), who further provided the brief history of each traitor and hyperlinks for further study.
Thank you, Comrades Chua and Man!
#7: Coronation (of the Jester)
The next painting is much more oblique in its meaning, and has been called simply Coronation or Coronation of the Jester. All we have to go on is Crow and Unicorn’s mysterious comment that this painting is dedicated to China’s most influential writer. Wow! Who could that be? Historically, at least in the modern sense, it would be Mao Zedong, today’s President Xi Jinping or Professor Jin Yinan. However, as we have seen, Crow and Unicorn has a delicious sense of sarcasm and biting satire. This work is clearly pointed in that direction, thereby signifying someone who is no friend of Free China.
It seems to me he is mocking some famous Chinese writer who has sold out to the West. The military man on the throne is the West. The writer jester has caused much harm/bloodshed, or has massacred the truth. With all the cameras behind, this denotes they were made famous as a result. The jester/author is getting a dog collar put on his neck for an imperial job well done.
Unless Crow and Unicorn shows his hand, we’ll probably never know, but it could be any number of scar literature writers based in the West, like Jung Chang, Li Zhisui or Frank Dikotter, all of whom I have written about (https://chinarising.puntopress.com/search/?q=scar%20literature).
Peter Man agreed with me, adding that
“Most Influential” could be ironic. The crown/collar suggests the writer, who kills the book with a dagger is a jester/liar (with the long nose), who has received an award. Perhaps it is Liu Xiaobo. But if the writer is still alive, then maybe Gao Xingjian. If the writer still lives in China, then I have no idea.
Thereafter, when reading the Chinese again, I realized that Crow and Unicorn could have meant,
China’s most influential writers
Meaning more than one – since in Mandarin, the is no plural form for nouns. Unless specified, it can be both! Thus, possibly the jester collectively represents all of Eurangloland’s many scar literature writers.
Coronation of the Jester (2019-2020), by Crow and Unicorn.
#8: Wrath of the King of Sleep
The next painting tells you all you need to know about US politics. Democrat Joseph Biden Tweedledee is no different than Republican Donald Trump Tweedledum. This one is entitled, Wrath of the King of Sleep, and in fact, Crow and Unicorn did three telescoping shots out to the full version,
Wrath of the King of Sleep (Series, 2020), by Crow and Unicorn.
Obviously, “King of Sleep” is a jab at Joe Biden’s manifest senility. As well, it doesn’t matter who is in power in the US, it’s the global capitalist, gangster bankster war party, whose leaders are demonic psychopaths. They control an army of imperial cannibal zombies, which is devouring humanity. The zombie on the left mid-perspective with the computer keyboard symbolizes the West’s BLPM techno-feudalism. Even the zombies could be all the Euranglolanders who are being killed by the World Economic Forum’s Covid-Great Reset plandemic (https://chinarising.puntopress.com/2020/11/30/covid-19-the-great-reset-is-the-book-by-world-economic-forum-wef-founder-klaus-schwab-that-foretells-your-short-and-long-term-future-huxley-and-orwell-could-have-never-imagined/ and https://chinarising.puntopress.com/2020/12/04/france-is-a-major-covid-great-reset-testing-ground-and-its-citizens-are-the-guinea-pigs-look-carefully-because-it-is-all-westerners-future-staring-you-in-the-face-china-rising-radio-sinola/).
The zombie in the front has two Chinese characters on its forehead. The second one doesn’t mean anything, but Wei Ling Chua thinks that it’s stylized for “知”. This makes then, “公知”，which literally means public intellectual. However, it is often use pejoratively for someone who doesn’t know their arse from a hole in the ground, yet acts like a big know-it-all. Where do you want to start? Take your pick.
#9: Respect Breathing
The next painting is pretty obvious, if you know about the death of George Floyd in the US earlier this year, who was choked to death in broad daylight in Minnesota, when a cop suffocated him with a knee to his neck for almost nine minutes. Crow and Unicorn has named it variously, but seems to have settled on Respect Breathing, with the English caption,
Floyds, can you breathe?
Respect Breathing (2020), by Crow and Unicorn.
What’s interesting is that Crow and Unicorn has made it a wide angle shot, overlooking the wider public. Thus, it can be taken as a metaphor for all of humanity needing to be treated with dignity and respect by their governments, especially since he wrote “Floyds”, plural, in the English caption.
#10: White House Painter
Crow and Unicorn created a brilliant, satirical work in White House Painter. It depicts US Secretary of State Mike Pompeo in the White House Oval Office, trying to cover up a massive coronavirus, by painting it with the Chinese flag, while the President is trying to hold off the press at the door, saying,
Come on Mike! I’m losing control!
It would appear Trump was helping Pompeo paint the coronavirus, since it looks like he set down the red paint pan on the floor, before facing the cameras.
On President Trump’s desk are two bottles of Clorox, taking a swipe at his claiming coronavirus could be killed by injecting disinfectants. It looks like Trump is trying to make face masks out of paper towels. The cardboard box with stars cut out of the sides is to paint the gold stars on the Chinese flag. The battery-operated Good Luck Cat, the kind that waves in rear car windows and Chinese shop fronts, is a droll touch.
White House Painter (2020), by Crow and Unicorn.
#11: Herd Immunity
Herd Immunity is a striking blend of historical Rome, with an imperial coliseum full of gladiators, who are sporting Medieval death masks. They are proceeding to kill innocent people, including an old man and a younger blond woman. All the sacrifices seen are Westerners. Look closely and that’s Boris Johnson in the foreground, who supposedly caught Covid-19. In that case, is he also on the dais with Trump and Canada’s Justin Trudeau, with their flags overhead? The three on the left are all giving the imperial “thumbs down” to order the gladiators to not spare their victims. Hard to say who the two female looking members are with them.
Above the towering, royal dais we mentioned the flags of Britain, the USA and Canada. There is a United Kingdom fascism flag draped below. Off to the left is another flag with fascist motifs. The standing leaders are surrounded by imperial, fascist symbols. The English caption reads,
Herd immunity – a massacre permitted by the state.
Herd Immunity (2020), by Crow and Unicorn.
#12: Peace Teacher
We now get to the celebrate painting Crow and Unicorn did the end of November 2020, concerning the Aussie massacre in Afghanistan, which he called Peace Teacher.
It depicts an Australian soldier kneeling with an Afghan child cradled in his arms. The child’s head is covered with part of the Australian flag. Below you can see one of their feet sticking out next to the symbolic, sacrificial lamb that they are holding in their arms. Notice what appears to be a demonic grin on the exterminator’s face, while he is slitting the child’s throat with a knife, as blood is starting to gush out.
In the background is the rest of the Australian flag, covering all the victims of the massacre. It looks like the Aussie flag is overwhelming Afghanistan, with the latter’s flag underneath almost devoured. Interestingly, the flag of Afghanistan is composed of puzzle pieces, maybe as an enigma that Western empire can’t figure out or put together, since the West has been invading and trying to occupy the country since Alexander in 4th century BC. This helps explain why the Afghan flag has three colors. Black depicts the country’s colonial past, red is the blood of those who fought for independence, and green is considered a future of hope and prosperity, and/or Islam.
The English caption reads,
Don’t be afraid, we are coming to bring you peace.
Peace Teacher (2020), by Crow and Unicorn.
Here is the background, from Chinese media,
Crow and Unicorn said in late November, he saw the overseas media coverage of the Australian troops in Afghanistan killing civilians,
Especially the cutthroat way they killed a 14-year-old Afghan boy, whose details gave me the shivers. I felt extremely fear and anger, this should not appear in the modern civilization of human society.
Australia has had troops in Afghanistan as part of a U.S.-led coalition since the overthrow of the Taliban in 2002. On November 19th the Australian Defence Force released a shocking report showing that 25 active and former special forces soldiers were involved in 23 unlawful killings in Afghanistan and covered up the crimes during their time in the country. In these incidents, a total of 39 innocent civilians and captives were killed and two others were ill-treated. The head of Australia’s defence forces, Angus Campbell, has apologised unreservedly to the Afghan people for the actions of his soldiers and apologised to the Australian public for war crimes.
Crow and Unicorn created the first painting reflecting the killing behavior of Australian soldiers in the night and day of November 22nd and 23rd. However, he did not create the work according to the actual scene, but saying,
I rearranged many real elements of this tragic event by means of metaphor.
The final version was released on 24 November 2020, where it went viral all over Chinese social media. Chinese diplomat Lijian Zhao added it to his scathing, truth telling tweet on the 30th, shown above. All hell broke loose, with Australian Prime Minister Scott Morrison and other cabinet members making pompous fools of themselves in front of the whole world, stating that it was a “fake photo” and angrily demanded an apology. Really?
#13: Apologize: To Morrison
The next day, Crow and Unicorn quickly released a new work called, Apologize: To Morrison, with the one-word English caption,
Apologize: To Morrison (2020), by Crow and Unicorn.
In a brilliant display of metaphor, it shows Crow and Unicorn as a young Chinese boy, dressed in red and starting a painting, which also happens to be in red. The whole Western BLPM is focused on what he is doing, their red bullseye. This, while Morrison is screaming and pointing all the MSM journalists towards Crow and Unicorn. Morrison is using the Australian flag to covers up all the dead bodies of Australia’s imperial wars, which are also being perpetrated by Eurangloland across the global horizon, in the background.
At the same time, Crow and Unicorn stated the following on his Weibo account,
Morrison questioned whether my painting was a ‘fake’, and some foreign users said it was photoshopped. I would say that their focus should not be on whether it’s a real image or a creative work, but on the (genocidal) event itself.
Wow, talk about cutting to the quick! Take that Western empire!
Crow and Unicorn has only been actively doing political paintings since 2019, so he has a long, illustrious career ahead of himself. He says he started with this angle because,
Western popular art is used to attacking other countries and there is little that can be done in China to counter it. Western forces are increasingly attacking our country. In my opinion, there are no foreign works of literature and art, at least paintings, which are totally worthless. That’s why I wanted to respond in kind with these.
Clearly, most of Western empire has not learned a damn thing. Here is what one Aussie newspaper said,
(Crow and Unicorn’s art is) a piece of juvenile garbage from a lowly spokesman (Lijian Zhao/who) was rewarded out of all proportion by being taken very seriously at the highest possible level of Australian leadership (https://www.smh.com.au/national/beijing-set-a-trap-for-scott-morrison-and-he-walked-right-in-20201204-p56kr0.html).
It’s safe to say that many more billions of Dreaded Others will continue to be genocidally exterminated at the hands of Western empire, until it finally collapses.
On his Weibo account, Crow and Unicorn earlier described himself as,
A super-irritating, closeted political painter and Wolf Warrior painter.
Looks like he has sure stepped out of the closet and let’s hope he keeps up his Wolf Warrior anti-imperialist painting for a long time, to help achieve Eurangloland’s colonial implosion.
Further, he has stated that (pulling together a number of Chinese articles I found),
Many painters in China think that works should not be offensive, and artistic works should be pure and free from impurities. Therefore, there may be many painters whose paintings are better than mine and whose appeal is stronger than mine, but they will not do so. Nonetheless, I think conveying and exporting ideology is exactly one of the responsibilities of artworks and artists. So, I decided to start doing it, hoping that more artists would be able to make good use of their skills, to do something for the motherland and the people.
After being smeared, Chinese cultural creators always seem to feel obliged to explain themselves. Instead, they need to fight back. We artists all need to transmit and export ideology, especially during this critical period, when the West uses the power of discourse to press closer and closer. Therefore, we need more literary and artistic works that convey the will of the country and the people.
Thus, I encouraged other artists who did not dare to create similar themes, and I will continue to do my best to help them bite out some space, so that more patriotic young people have no fear to express their views openly.
I argue that Chinese cultural exporters should not just be Chinese comic superheroes. China does not have the individualism and heroism of the United States. Chinese values are diametrically opposed to American values and we should not pander to American values. The United States believes that “I can only be good, if I am good as an individual”. But our values are that the collective is better than the individual, and the individual shares the collective honor and achievement.
For our (international) critics, we will not be affected by these negative comments and we will continue to export. Introspection in times of peace and killing enemies in times of danger are the historical missions of artists.
Jeez Louise, that last line says it all! May an inspired, revolutionary army of Crows and Unicorns put paint to canvas, to educate and inform all of humanity about the genocidal savagery and grotesque hypocrisy of Western empire’s worldwide Wehrmacht, and gangster bankster capitalism.
In closing, I am honored to present this online exhibition of Crow and Unicorn’s fabulous political computer graphic paintings. I love his imaginative satire, sarcasm, exaggerated themes and bold colors, yet with refined brushstrokes in the details. He is a true people’s patriot and deserves all of the celebrity he is garnering.
Not surprisingly, being a socialist artist, he’s not in it for the money, but I think many Chinese will now hire him for a variety of CG projects, and he deserves every bit of it, including financial success.
In any case, Crow and Unicorn has announced,
The copyright of these 12 political illustrations (13 including “Elegy”) is completely open, you can take whatever you want, and then paint and distribute them.
Crow and Unicorn talking about his recent political CG paintings, on a Chinese TV talk show.
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In Solidarity, Jeff
Why and How China works: With a Mirror to Our Own History
JEFF J. BROWN, Editor, China Rising, and Senior Editor & China Correspondent, Dispatch from Beijing, The Greanville Post
Jeff J. Brown is a geopolitical analyst, journalist, lecturer and the author of The China Trilogy. It consists of 44 Days Backpacking in China – The Middle Kingdom in the 21st Century, with the United States, Europe and the Fate of the World in Its Looking Glass (2013); Punto Press released China Rising – Capitalist Roads, Socialist Destinations (2016); and BIG Red Book on China (2020). As well, he published a textbook, Doctor WriteRead’s Treasure Trove to Great English (2015). Jeff is a Senior Editor & China Correspondent for The Greanville Post, where he keeps a column, Dispatch from Beijing and is a Global Opinion Leader at 21st Century. He also writes a column for The Saker, called the Moscow-Beijing Express. Jeff writes, interviews and podcasts on his own program, China Rising Radio Sinoland, which is also available on YouTube, Stitcher Radio, iTunes, Ivoox and RUvid. Guests have included Ramsey Clark, James Bradley, Moti Nissani, Godfree Roberts, Hiroyuki Hamada, The Saker and many others. [/su_spoiler]
Jeff can be reached at China Rising, firstname.lastname@example.org, Facebook, Twitter, Wechat (Jeff_Brown-44_Days) and Whatsapp: +86-13823544196.
Read it in your language • Lealo en su idioma • Lisez-le dans votre langue • Lies es in deniner Sprache • Прочитайте это на вашем языке • 用你的语言阅读
Wechat group: search the phone number +8613823544196 or my ID, Jeff_Brown-44_Days, friend request and ask Jeff to join the China Rising Radio Sinoland Wechat group. He will add you as a member, so you can join in the ongoing discussion.
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2 thoughts on “Meet “Crow and Unicorn”: China’s exciting, young computer graphic artist who knows all about Western empire, thus has caused a diplomatic uproar, while getting Australian Prime Minister Scott Morrison’s knickers all wadded up in a knot. China Rising Radio Sinoland 201210”
Amazing Art of Crow and Unicorn.
Isn’t he amazing, Jim? Thanks for following. Jeff