“In prosperity, people suffer; in adversity, people suffer, too.” In prosperity, the wealth is made by the toil or even sweat and blood of the people but collected and monopolized by the central government and the few privileged; people still languish in poverty and plight and they therefore suffer.
In adversity, foreign invaders and domestic warlords, bandits and desperate rulers would try the utmost to suppress and exploit people to survive, and people of course will suffer greatly in this case.
If there are no real freedom, equality, rule of law, no matter how prosperous a nation is, people will still suffer, just in a more elusive enslaved way; and people under this circumstance are bound to undergo greater sufferings after being deprived all of their material and spiritual wealth and dynamics and being turned into automatic cadre propagandists or demonic war instruments. (Think of the once mighty prosperity and the final desperate tragedy of Nazi Germany and USSR.)
If there are freedom, equality, rule of law and humane people-orientedness, no matter how adverse the situation is in a country, its people will survive and revive with its nation sooner or later.
From: https://www.quora.com/What-is-the-political-significance-of-the-Chinese-expression-%E5%85%B4%EF%BC%8C%E7%99%BE%E5%A7%93%E8%8B%A6%EF%BC%9B%E4%BA%A1%EF%BC%8C%E7%99%BE%E5%A7%93%E8%8B%A6/answer/Arthur-Wan-3
正值中国抗日战争时期，四川泸州画家蒋兆和居于北平，见侵华日军占领中国国土，使得大批当地农民沦为失所流民，饱受饥寒、疾病的摧残。蒋兆和于是走往多地，观察流民，绘制素材，于1942年开始绘画《流民图》，历时一年，终于北平完成，全图高200厘米，宽2700厘米。[1]
1943年10月29日，《流民图》易名为《群像图》，在北平太庙展出，然而遭到日本宪兵的盘查、禁展。1944年，《流民图》在上海展出，展出结束后，作品被强行“借”走而下落不明。1953年，上海文化局工作人员在整理旧仓库时，发现了已经霉烂不堪、残缺不全的《流民图》上半卷，使丢失十年的画作回到作者手中。经过揭裱修补后，残缺的部分依稀可见。“文革”结束后，中央美术学院上报文化部批准，肯定《流民图》为“一幅现实主义的爱国主义的作品”。1993年，蒋兆和的弟子复制了画卷的下半卷，重现画作全卷。1998年，蒋兆和夫人萧琼将《流民图》原作捐献给中国美术馆，由该馆永久收藏。[1]
《流民图》草图
1989年4月，泸县玉蟾山景区将流民图以浮雕的方式雕刻在石头上，陈列于景区内，作为一道景观。
From:https://zh.wikipedia.org/wiki/%E6%B5%81%E6%B0%91%E5%9B%BE_(%E8%92%8B%E5%85%86%E5%92%8C)
In adversity, foreign invaders and domestic warlords, bandits and desperate rulers would try the utmost to suppress and exploit people to survive, and people of course will suffer greatly in this case.
If there are no real freedom, equality, rule of law, no matter how prosperous a nation is, people will still suffer, just in a more elusive enslaved way; and people under this circumstance are bound to undergo greater sufferings after being deprived all of their material and spiritual wealth and dynamics and being turned into automatic cadre propagandists or demonic war instruments. (Think of the once mighty prosperity and the final desperate tragedy of Nazi Germany and USSR.)
If there are freedom, equality, rule of law and humane people-orientedness, no matter how adverse the situation is in a country, its people will survive and revive with its nation sooner or later.
From: https://www.quora.com/What-is-the-political-significance-of-the-Chinese-expression-%E5%85%B4%EF%BC%8C%E7%99%BE%E5%A7%93%E8%8B%A6%EF%BC%9B%E4%BA%A1%EF%BC%8C%E7%99%BE%E5%A7%93%E8%8B%A6/answer/Arthur-Wan-3
正值中国抗日战争时期，四川泸州画家蒋兆和居于北平，见侵华日军占领中国国土，使得大批当地农民沦为失所流民，饱受饥寒、疾病的摧残。蒋兆和于是走往多地，观察流民，绘制素材，于1942年开始绘画《流民图》，历时一年，终于北平完成，全图高200厘米，宽2700厘米。[1]
1943年10月29日，《流民图》易名为《群像图》，在北平太庙展出，然而遭到日本宪兵的盘查、禁展。1944年，《流民图》在上海展出，展出结束后，作品被强行“借”走而下落不明。1953年，上海文化局工作人员在整理旧仓库时，发现了已经霉烂不堪、残缺不全的《流民图》上半卷，使丢失十年的画作回到作者手中。经过揭裱修补后，残缺的部分依稀可见。“文革”结束后，中央美术学院上报文化部批准，肯定《流民图》为“一幅现实主义的爱国主义的作品”。1993年，蒋兆和的弟子复制了画卷的下半卷，重现画作全卷。1998年，蒋兆和夫人萧琼将《流民图》原作捐献给中国美术馆，由该馆永久收藏。[1]
《流民图》草图
1989年4月，泸县玉蟾山景区将流民图以浮雕的方式雕刻在石头上，陈列于景区内，作为一道景观。
From:https://zh.wikipedia.org/wiki/%E6%B5%81%E6%B0%91%E5%9B%BE_(%E8%92%8B%E5%85%86%E5%92%8C)
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