BY JOSHUA CHARLES

We come upon our annual festival of national birth, and most of us see it as an opportunity for a day off, a time for fun with family and friends, a time to be patriotic.

It is all those things. But it does us well to remember what was at stake not only that day, but during that time.

After years of back and forth with the British Parliament, the American colonists were faced with the barrels of British muskets at Lexington and Concord in April 1775. The red coats attempted to take an armory of colonial weapons, and in response, the colonists had defended themselves. The battle led to the famous “shot heard round the world” — no one to this day knows if it was a British or an American soldier who fired the first shot of what would become the American Revolutionary War.

But shot it was.

Soon after, Congress established the Continental Army, and at the suggestion of John Adams, appointed George Washington as its Commander in Chief. Congress would then write a declaration to the world explaining their reasons for taking up arms — this was a year before the Declaration of Independence:

“Our cause is just. Our union is perfect,” Congress wrote. “We most solemnly, before God and the world, declare that, exerting the utmost energy of those powers which our beneficent Creator hath graciously bestowed upon us, the arms we have been compelled by our enemies to assume we will, in defiance of every hazard, with un-abating firmness and perseverance, employ for the preservation of our liberties, being with our [one] mind resolved to die free men rather than live slaves.”

It must be remembered that at this point, independence was not yet decided. Many in Congress and throughout the colonies didn’t have independence on their minds. But a famous pamphlet published in January 1776 would galvanize them — Thomas Paine’s “Common Sense.” Paine argued, among other things, that monarchy was inconsistent with the Bible, and that it was absurd for a small island 3,000 miles away to rule a vast continent. To this day, the pamphlet remains one of the most read publications ever(proportional to the American population at the time). It’d be the equivalent of roughly half of Americans today read the same book.

The summer of 1776 commenced, and with it, the weighty issues of the day. King George III had declared the colonies in rebellion, and the momentous issue of independence was finally on the table.

A committee was appointed to write the Declaration which included Thomas Jefferson, John Adams, and Benjamin Franklin. They decided Jefferson should be the primary author, and it was Jefferson who penned the immortal words of our founding document. The Continental Congress, after some debate and alterations (including Jefferson’s condemnation of slavery) approved the document on July 2, and with it a previous resolution that the colonies should be Independent. John Adams wrote to his wife Abigail on July 3:

“Yesterday the greatest question was decided, which ever was debated in America, and a greater perhaps, never was or will be decided among men. A Resolution was passed without one dissenting colony “that these united Colonies, are, and of right ought to be free and independent States, and as such, they have, and of right ought to have full power to make war, conclude peace, establish commerce, and to do all the other acts and things, which other States may rightfully do.” You will see in a few days a Declaration setting forth the causes, which have impelled us to this mighty Revolution, and the reasons which will justify it, in the sight of God and man.”

But Adams knew this would be no bloodless endeavor. It would cost dearly. He recognized it for the revolutionary action it was, but believed it justified by divine and natural justice:

“It is the will of Heaven, that the two countries should be sundered forever. It may be the will of Heaven that America shall suffer calamities still more wasting and distresses yet more dreadful. If this is to be the case, it will have this good effect, at least: it will inspire us with many virtues, which we have not, and correct many errors, follies, and vices, which threaten to disturb, dishonor, and destroy us — The Furnace of Affliction [Isaiah 48:10] produces refinement, in States as well as individuals. And the new governments we are assuming, in every part, will require a purification from our vices, and an augmentation of our virtues or they will be no blessings… I must submit all my hopes and fears, to an overruling Providence, in which, unfashionable as the Faith may be, I firmly believe.”

Apparently full of unbounded enthusiasm, Adams wrote a second letter to his wife Abigail — one that is quoted often, but of course assigns the great event to July 2, rather than July 4, but which prophetically anticipates our celebrations of the day:

“The Second Day of July 1776 will be the most memorable Epocha, in the history of America — I am apt to believe that it will be celebrated, by succeeding generations, as the great anniversary Festival. It ought to be commemorated, as the Day of Deliverance by solemn acts of devotion to God Almighty. It ought to be solemnized with pomp and parade, with shews, games, sports, guns, bells, bonfires and illuminations from one end of this continent to the other from this time forward forever more.”

Again, he made clear how sober be was — this was no ordinary matter, America wouldn’t be transported on a feather bed. He knew this was not the end of the struggle, but the beginning:

“You will think me transported with enthusiasm but I am not — I am well aware of the toil and blood and treasure, that it will cost us to maintain this Declaration, and support and defend these States — Yet through all the Gloom I can see the rays of ravishing light and glory. I can see that the end is more than worth all the means. And that posterity will triumph in that day’s transactions, even although we should rue it, which I trust in God we shall not.”

Soon after, George Washington issued his General Orders to all his troops, and wrote as follows:

“The blessings and protection of Heaven are at all times necessary but especially so in times of public distress and danger — The General hopes and trusts, that every officer, and man, will endeavor so to live, and act, as becomes a Christian Soldier defending the dearest Rights and Liberties of his country.”

We should remember these words and sentiments this Fourth of July, for the first Fourth of July was not a time for BBQs, fireworks, and fun. It was a time of distress, of war, cannon fire, and death. Most of the delegates to the Continental Congress could not even sign the document when it was finally approved and ready to be signed. There was hardly any army to speak of, and the British were advancing on Philadelphia. All was bleak, and an enduring independence seemed out of reach.

But it was reached. After eight long years of war, our forebears won their independence. Only then could they enjoy fireworks and joy. Only after they had spilled their blood could they look on the Fourth of July with happiness and wonder.

This side of Heaven, we should always remember the costs which enable our happiness — the blood upon which our joy has been established. Wives lost husbands, husbands lost children, children lost parents, and parents lost children. We should remember that all enduring happiness — the happiness worth having — is built upon sacrifice.

Let us read these words to our children, and to each other. Let us recall the true source and foundations of this day’s joy.

On this Fourth of July, in a time most would admit is perilous and divided, when the strands of brotherhood among fellow countrymen seem frayed and weak, we would do well to remember Adams’ sobering words the following year, 1777, when the heady days of July 1776 were past, and the days of blood and sacrifice were upon them:

“O posterity! You will never know how much it cost the present generation to preserve your freedom. I hope you will make a good use of it. If you do not, I shall repent in Heaven I ever took half the pains to preserve it.”

Let us Remember the Foundations of Our Happiness: Sacrifice was originally published in The Epoch Times on Medium, where people are continuing the conversation by highlighting and responding to this story.

It begins with the fact that the ancient Chinese believed that heaven and earth exist together in harmony. Thus, ancient Chinese landscape artists sought to portray nature’s relationship with the entire cosmos.

Taoist philosophy strongly influenced the development of the ancient Chinese landscapes as an art form. The ancient Chinese had always believed that mountains were close to the heavens, as they were sacred dwellings for immortals.

Thus, Taoism emphasizes that humans are insignificant in the great cosmic flow of nature. Ancient Chinese landscapes depict humans as mere specks and exhibit a great veneration for the forces of nature.

Furthermore, the balance of yin and yang was essential in the design of the landscape painting. Mountains are tall and robust, representing yang, whereas water is soft and flowing, representing yin.

Ancient Chinese philosophy emphasizes that true painting must embody not only the form but also the spirit of the subject. The depiction of outward beauty in itself was not enough, as the artist sought to capture the inner vitality of nature. The outward appearance of a natural phenomenon was portrayed in tune with its spirit and energy, so realism was not the artist’s ultimate purpose.

Unlike Western landscape paintings, Chinese landscapes do not have a fixed perspective but instead depicted different perspectives and multiple points of view.

These characteristics define the genre, but with each successive dynasty, important painters, here described through the Yuan Dynasty, have contributed to certain subtler traits of Chinese landscape painting.

The Five Dynasties and the Song Dynasty

The periods of the Five Dynasties (907–960) and the Song Dynasty (960–1279) are known as the “great age of Chinese landscapes.” While artists of the earlier Tang Dynasty (618–907) focused mainly on figure painting and Buddhist icons, landscape painting had become an independent genre by the late Tang Dynasty.

The Five Dynasties period was an era of political turmoil that began after the fall of the Tang and ended with the rise of the Song. The landscape styles during the Five Dynasties period had a significant impact on the Song landscape style.

Jing Hao (855–915), a landscape painter during the Five Dynasties period, founded the Northern landscape style. His “Travelers in a Snowy Landscape” depicts a deep winter of snowcapped mountains and barren trees. He uses bold and crisp lines to delineate the precipitous, high mountaintopscharacteristic of northern China.

Another Five Dynasties period landscape painter, Dong Yuan (circa 934–circa 962) founded the Southern landscape style. In his “Xiao and Xiang Rivers,” he portrays a river inlet traversing between rolling mountains. Pale mists soften the mountain line to characterize the billowing landscape of the southern Jiangnan region.

It was during the Song Dynasty that landscape painting flourished and underwent profound development. Li Cheng (919–967) defined and created the Song national landscape style that emerged. Influenced by both the Northern and Southern landscape styles, his work combines the dramatic high mountains from the Northern masters with the rolling hills and soft pale mists from the Southern masters. With this, he was able to create a harmonious style that became the official canon of Song landscape painting and influenced generations of artists.

Li Cheng’s “A Solitary Temple Amid Clearing Peaks” is perhaps his best-known work that represents the Song national landscape style. We immediately notice the majestic central peak that is the focus of the painting. Surrounding the central peak are several smaller peaks engulfed by light fog and disappearing into the mist. A solitary temple sits in the middle ground near the base of the central peak. The trees have dark outlines and seem to have a prickly texture. Li Cheng juxtaposes precise brushwork for the structural architecture with pale ink for the backdrop of the misty mountains.

From the temple, an obscured pathway leads to a small village in the foreground. The waterfalls at the periphery form a river that flows around the shore. To the lower left, three villagers proceed to cross a wooden bridge to join the folks in the taverns on the other end. Meanwhile, several scholars converse in the pavilions near the riverbanks. However, all of the human activity lies at very bottom of the painting and is rather overshadowed by the vast expanse of the mountains. This is consistent with the Taoist philosophy of human insignificance in the great cosmic flow of nature.

The compositional structure is analogous to the Song Empire itself and seeks to capture the relationship between nature and divinity. Symbolically, the great central peak represents the emperor, who is the Son of Heaven, while the surrounding peaks and hills represent his ministers.

A sense of both tranquility and mysticism is instilled within the piece, and we are left to ponder the grandeur of nature.

The Yuan Dynasty and Literati Movement

During the Yuan Dynasty (1279–1368), China for the first time was under foreign rule. The Mongols had no tradition of employing scholars as administrators, so many Chinese scholars and artists were excluded from the Yuan court. Many of these elites turned to private retreats for sanctuary and turned their estates into places for literary and cultural gatherings. They identified themselves as literati through their poetry, calligraphy, and painting.

While the concept of a private retreat was not a novelty, the Yuan Dynasty witnessed the development of the literati movement as the dominant artistic movement. Literati painters employed calligraphic techniques as a means of self-expression. The painters tried to depict not only what they had seen but also what they felt. Thus, their works are like windows to their minds and souls.

One of the most influential Yuan Dynasty literati painters was Zhao Mengfu (1254–1322). At the Mongol court, he held a number of high positions under Kublai Khan and other emperors. Despite his service, he adopted the attitude of a recluse at court and believed that he could remain spiritually remote from the public even with his engagement in politics.

“Autumn Colors on the Qiao and Hua Mountains” is Zhao Mengfu’s most famous work in the literati style, and it influenced many later Yuan landscape painters. Zhao Mengfu painted this piece for his close friend, Zhou Mi, whose hometown was in Shandong. Because Zhou Mi could never return to his hometown, Zhao Mengfu painted the piece for him from memory, having visited the place before as a magistrate.

The Shandong scenery is set in marshy fields, flanked by two mountains painted in a blue-green hue. The mountain on the right with the sharp peak is Mt. Hua-bu-zhu, and the loaf-shaped mountain on the left is Mt. Que.

While most trees in the painting still have green foliage, the few that have turned orange signify the autumn season. Intermingled in the thicket of grasslands and reeds are cottages, goats, and small figures that add a touch of life. As we look closely, there are people who are fishing with nets, paddling in canoes, and doing chores in their huts.

Zhao Mengfu’s painting technique is innovative in style. Entities do not diminish with distance, and his brushwork is calligraphic in nature. To depict the marshy fields, he uses curvilinear rope-like brushstrokes that interweave to form different layers. Through innovative brushwork, Zhao Mengfu brings out the imagery from his heart and mind. These techniques give a pastoral, rustic elegance to the piece that evokes the nostalgia of home.

The late Yuan Dynasty saw the emergence of the Four Great Yuan Masters, who were all influenced by Zhao Mengfu. Among the most innovative and influential was Huang Gongwang (1269–1354).

Huang Gongwang’s most admired work is his handscroll, “Dwelling in the Fuchun Mountains.” The scroll depicts the Fuchun Mountains located west of Hangzhou, where he spent his last years in retirement. Starting with a stretch of river, the painting spans mountains and marshlands, and ebbs away with ink-wash hills. Its innovative aspect lies in the abstract quality where the mountains and hills are almost geometricized into interlocking shapes.

While Zhao’s technique of interweaving brushstrokes is evident, Huang depicts richer textures with monochromatic ink by overlaying dark on light ink, as in the trees and accented dots. His brushwork is loose and spontaneous, revealing a sense of oneness with nature.

“Dwelling in the Fuchun Mountains” proved to be a much studied work and had a far-reaching influence on later literati painters.

The artistic styles that emerged during the Song and Yuan Dynasties established the foundation for landscape painters in the Ming and Qing dynasties.

Mike Cai is a graduate of the New York Fei Tian Academy of the Arts and the University of California–Berkeley.

Chinese Shan Shui Painting Through the Yuan Dynasty was originally published in The Epoch Times on Medium, where people are continuing the conversation by highlighting and responding to this story.