Why is Western media so biased against China ?

With Cyrus Janssen ...

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Comment by Gustavo Andrés ...

There is an overwhelming assumption in the West that China’s Achilles heel is the state: that it lacks legitimacy. This is the underlying reason why Westerners believe that China’s transformation is unsustainable: that the political system cannot survive. It would be wrong to suggest that attitudes have not shifted: the endurance of the reform period, now over 35 years old, and the scale of its achievement have bred a growing if still grudging respect, and a less apocalyptic view of Chinese political change. Few now regard it to be imminent and many have extended their time horizons somewhat into the future.

Nevertheless, most Westerners still regard China’s present political order as lacking legitimacy and as ultimately unsustainable. In the post 1945 period, Westerners have come to believe that Western-style democracy – essentially universal suffrage and a multi-party system – is more or less the sole source of a government’s legitimacy. This is a superficial and ahistorical position. Western-style democracy does not ensure the legitimacy of a regime in the eyes of its people: Italy is perhaps the classic example, with successive governments over a long historical period experiencing a chronic lack of legitimacy. And what of China? Although it does not have Western-style democracy, there is plenty of evidence – for example the Pew Global Attitude surveys and the work of Tony Saich at the Harvard Kennedy School – that the Chinese government enjoys high levels of support and legitimacy, much higher indeed than those of Western governments.

How do we explain this? Clearly the reason is not Western-style democracy because China has not chosen this path. The late Lucian W. Pye, in his book ‘Asian Power and Politics’, argues that Western scholars have, in their understanding of politics, prioritised political systems over political cultures: Pye argues, correctly in my view, that the opposite is the case. His insight is highly relevant to the Chinese case. The relationship between the state and society in China is very different from that which characterises Western societies.

There are three key elements. First, China is primarily a civilization-state rather than a nation-state, with the overriding and extremely difficult age-old task of government being to maintain the unity of China and its civilization. This has lent the state an enduring authority, importance and centrality in China that is very different from the Western nation-state tradition. The state is intrinsic to China in a way that this is not true in Western societies: they are, in effect, in large degree synonymous. Furthermore the Chinese regard the state in some degree as an expression and extension of themselves.

Second, whereas in Western societies the state is seen in an instrumentalist and utilitarian way – in other words, what will it do for me? – in China, following from the Confucian tradition and the idea that the Emperor should model himself on the father’s role as the head of the family, the state is perceived in a familial way, whence the expression ‘nation-family’, or the idea of China as an extended family. Or, to put it another way, in Western societies the state is viewed as an external and somewhat artificial construct, for the Chinese it is an intimate.

Third, a much higher premium is placed on the efficiency and efficacy of the state than in the West, whence the importance of meritocracy in the recruitment of public servants. In the West, discussion about the state largely revolves around the manner by which the government is selected, in China, by way of contrast, the competence of the state assumes priority.

Fourthly, following from the previous point, the state is expected and required to deliver in China. Over the last few decades, of course, it has presided over and masterminded a huge transformation, the most remarkable in modern economic history. The contrast between the performance of the Chinese and Western economies is manifest.

In summary, the relationship between the state and society in China and the West is profoundly different and the reasons lie in the historical and cultural differences between them. They can and should learn from each other but they will remain distinct.

So what of the future?

As I mentioned at the outset, it is axiomatic in the West that sooner or later China will face a crisis of governance that will result in profound reform along Western lines. In reality, it seems far more likely that the crisis of governance will occur in the West than China. The United States and Europe are in decline and, as a consequence, their ruling elites and political systems are already suffering from declining legitimacy and authority, a process that is likely to continue. China, in contrast, is a rising power whose ruling elite is likely to enjoy growing status and prestige as a consequence.

China, though, faces its own kind of governance challenge. The country is changing at extraordinary speed. If one thinks of how the life of an ordinary person has changed over the course of the last three decades, then this is a measure of how everything else, including political rule, must also change in order to survive. Of course, transparency, representivity and accountability have been transformed since Mao’s death, but this is a dynamic process and arguably the greatest changes still lie in the future. It is not that China needs to or should change its system – it has stood the test of time and managed to stay abreast of and lead the wider transformations – but, this notwithstanding, more profound ways must be found to modernise the political system and its institutions if they are to meet the demands and expectations of a very different society.

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Dough Figurines (面人, Miànrén) Origin: Han Dynasty Ethnicity: Han Dough figurines are traditional folk art made from colored dough, sculpted into various characters, animals, and scenes. 21. Silver Jewelry Making (银饰, Yínshì) Origin: Tang Dynasty Ethnicity: Miao, Yi Silver jewelry making involves crafting intricate silver ornaments, often worn during festivals and ceremonies by the Miao and Yi people. 22. Chinese Seal Carving (篆刻, Zhuànkè) Origin: Zhou Dynasty Ethnicity: Han Seal carving is the art of engraving characters or designs onto stone or wood seals, used for stamping documents and artwork. 23. Tangka Embroidery (唐卡刺绣, Tángkǎ Cìxiù) Origin: 7th Century Ethnicity: Tibetan Tangka embroidery combines traditional embroidery techniques with religious themes, creating elaborate and colorful textile art. 24. Peking Opera Costumes (京剧服装, Jīngjù Fúzhuāng) Origin: Qing Dynasty Ethnicity: Han Peking Opera costumes are elaborate and symbolic garments worn by performers, representing different characters and social statuses. 25. Wooden Fish Carving (木鱼雕刻, Mùyú Diāokè) Origin: Tang Dynasty Ethnicity: Han Wooden fish carving is a traditional craft involving the creation of wooden fish sculptures, often used in Buddhist temples as percussion instruments. 26. Tie-Dye (扎染, Zhārǎn) Origin: Han Dynasty Ethnicity: Bai Tie-dye is a textile art practiced by the Bai people, involving the tying and dyeing of fabric to create intricate patterns and designs. 27. Paper Fans (纸扇, Zhǐshàn) Origin: Han Dynasty Ethnicity: Han Paper fans are traditional hand-held fans made from paper and bamboo, often decorated with calligraphy and paintings. 28. Dragon and Lion Dance (舞龙舞狮, Wǔlóng Wǔshī) Origin: Han Dynasty Ethnicity: Han The dragon and lion dance are traditional Chinese performances involving large, colorful costumes, performed during festivals to bring good luck. 29. Ethnic Costumes (民族服饰, Mínzú Fúshì) Origin: Varies Ethnicity: Various (e.g., Yi, Zhuang, Miao) Ethnic costumes are traditional garments worn by various ethnic groups in China, each with distinct styles, colors, and patterns reflecting their culture. 30. Kesi Weaving (缂丝, Kēsī) Origin: Tang Dynasty Ethnicity: Han Kesi weaving is a highly intricate form of silk tapestry weaving, creating detailed and colorful patterns often used for clothing and artwork. 31. Woodblock Printing (木版画, Mùbǎn Huà) Origin: Tang Dynasty Ethnicity: Han Woodblock printing is a technique for printing text, images, and patterns, involving carving designs into wooden blocks and pressing them onto paper or fabric. 32. Shadow Play (皮影戏, Píyǐngxì) Origin: Han Dynasty Ethnicity: Han Shadow play is a traditional form of storytelling using silhouetted figures manipulated behind a translucent screen, accompanied by music and narration. 33. Chinese Garden Design (中国园林, Zhōngguó Yuánlín) Origin: Han Dynasty Ethnicity: Han Chinese garden design is the art of creating harmonious landscapes that combine natural elements like rocks, water, and plants with architecture and art. 34. Miao Silver Jewelry (苗银, Miáo Yín) Origin: Qing Dynasty Ethnicity: Miao Miao silver jewelry is known for its intricate designs and craftsmanship, often worn during festivals and ceremonies by the Miao people. 35. Chinese Paper Umbrellas (油纸伞, Yóuzhǐ Sǎn) Origin: Han Dynasty Ethnicity: Han Paper umbrellas are traditional umbrellas made from oiled paper and bamboo, used for protection against rain and sun, and as decorative items. 36. Tibetan Thangka Painting (唐卡, Tángkǎ) Origin: 7th Century Ethnicity: Tibetan Tibetan Thangka painting involves creating religious images on cloth, used for meditation and teaching in Tibetan Buddhism. 37. Chinese Shadow Puppetry (皮影戏, Píyǐngxì) Origin: Han Dynasty Ethnicity: Han Shadow puppetry is a traditional form of storytelling using silhouetted figures manipulated behind a translucent screen, accompanied by music and narration. 38. Hunan Embroidery (湘绣, Xiāngxiù) Origin: Han Dynasty Ethnicity: Han Hunan embroidery is a traditional Chinese embroidery style known for its fine craftsmanship and lifelike images, often depicting nature and animals. 39. Guizhou Batik (贵州蜡染, Guìzhōu Làrǎn) Origin: Han Dynasty Ethnicity: Miao, Buyi Guizhou batik is a traditional textile art involving wax-resist dyeing, creating intricate patterns on fabric, commonly practiced by the Miao and Buyi people. 40. Tibetan Rugs (藏毯, Zàngtǎn) Origin: 7th Century Ethnicity: Tibetan Tibetan rugs are hand-woven woolen rugs known for their vibrant colors and intricate designs, used for both practical and decorative purposes. 41. Hanfu Clothing (汉服, Hànfú) Origin: Zhou Dynasty Ethnicity: Han Hanfu is traditional Chinese clothing worn by the Han people, characterized by flowing robes, wide sleeves, and intricate embroidery. 42. Tibetan Singing Bowls (西藏唱盘, Xīzàng Chàngpán) Origin: 8th Century Ethnicity: Tibetan Tibetan singing bowls are metal bowls that produce a resonant sound when struck or rubbed, used in meditation and healing practices. 43. Manchu Embroidery (满绣, Mǎnxiù) Origin: Qing Dynasty Ethnicity: Manchu Manchu embroidery is a traditional embroidery style known for its intricate designs and vibrant colors, often depicting nature and animals. 44. Suzhou Embroidery (苏绣, Sūxiù) Origin: Han Dynasty Ethnicity: Han Suzhou embroidery is a highly detailed and refined embroidery style known for its realistic images and delicate stitching, often depicting landscapes and flowers. 45. Traditional Chinese Musical Instruments (传统乐器, Chuántǒng Yuèqì) Origin: Various Ethnicity: Various Traditional Chinese musical instruments include the guzheng, erhu, pipa, and dizi, each with its own unique sound and playing technique, used in various forms of Chinese music. 46. Tibetan Butter Sculpture (酥油花, Sūyóu Huā) Origin: 7th Century Ethnicity: Tibetan Tibetan butter sculpture is a traditional art form involving the creation of intricate sculptures from colored butter, often used in religious ceremonies. 47. Yi Embroidery (彝绣, Yíxiù) Origin: Ancient Times Ethnicity: Yi Yi embroidery is a traditional embroidery style known for its bold colors and geometric patterns, often depicting nature and cultural symbols. 48. Dong Brocade (侗锦, Dòngjǐn) Origin: Han Dynasty Ethnicity: Dong Dong brocade is a traditional textile art practiced by the Dong people, known for its intricate patterns and vibrant colors, often used for clothing and household items. 49. Zhuang Brocade (壮锦, Zhuàngjǐn) Origin: Han Dynasty Ethnicity: Zhuang Zhuang brocade is a traditional textile art practiced by the Zhuang people, known for its intricate patterns and vibrant colors, often used for clothing and household items. 50. Traditional Chinese Tea Ceremony (茶道, Chá Dào) Origin: Tang Dynasty Ethnicity: Han The traditional Chinese tea ceremony is a cultural activity involving the ceremonial preparation and presentation of tea, reflecting Chinese values of harmony, respect, and tranquility. Conclusion These traditional Chinese arts and crafts offer a glimpse into the country's rich cultural heritage, showcasing the creativity and skill of various ethnic groups. They continue to be celebrated and preserved, contributing to the vibrant cultural tapestry of China.
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