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and working conditions, but upon arrival were forced into domestic servitude or prostitution. These women were indentured for many years before they could pay off their passage over. One woman wears a jade green outfit for prosperity, while the other wears red for good fortune. The baby sits in a blue sling, the same denim blue as the railroad laborer. Rust red brick walls, encasing the women in this panel, depicts the exclusion, as well as protection, of
Chinese men. Although the Chinese women go on to settle and create families, they do so within the confines of these red brick walls.
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414:. This family fusion of Chinese and America stands on a brick pathway as the grand structure of Ping Yuen is set in the background. The brick, once representative of struggle and confinement, now is laid as the pathway to the future of the Chinese American family. Ping Yuen served as a steppingstone and symbol of hope for new Chinese immigrants to America. The housing structures’ bold blue pagoda roofs and red colonnades smile over the Chinese American family, while the golden sun provides a burst of warmth for the family’s happy ending.
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suffered under time and ignorance. The historic mural was propped up on chairs in the recreational room, children had hit ping-pong balls against it, and soda and food were spilled on the painting. Leong’s mural sat quietly in Ping Yuen’s recreational room until the late 1990s, when the
Chinese Historical Society of America acquired the painting. In 2000, James Leong meticulously restored the painting to its previous vibrancy. As of November 13, 2001,
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subjects, the
Chinese men with queues, and the Chinese women picking shrimp with infants on their backs proved to be an all-too truthful look into the Chinese American past. On the other hand, the non-Chinese community embraced the painting and saw the piece as a breakthrough of historical depiction. As Asian American awareness picked up in the 1960s at places like
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A Chinese
American soldier marches on in the sixth panel. A more somber panel than the former five panels in terms of color and character, this panel portrays the soldier staring downcast with a rifle slung around his back and an assortment of ribbons held in suspension to his left as he returns from
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No conspiracy was ever proven, but such aggressive political oppression and the backlash of the
Chinese community further drove Leong’s motivations to continue his artwork outside of San Francisco. In 1978, Leong discovered that his painting had been moved to Ping Yuen’s recreational room, where it
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In the fourth panel, a woman in green is sitting and picking fish with her baby slung in a pouch around her back. Another woman in red stands beside her and is drying fish. This panel represents the coming of
Chinese women to America. Some came as wives. Some were given false hopes of a better life
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were constantly under scrutiny and looked at as suspect, dangerous, and communist. The San
Francisco Chinatown community recognized the hypersensitivity of this time, and they believed that the mural would help create a better understanding of Chinese Americans and help outreach to a broader public
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stands at an impressive 5 by 17.5 ft (1.5 by 5.3 m). Leong used bold and vibrant colors on the mural and employed curves in order to provide a fluid transition from panel to panel. The symbolism in the mural also helps create flow and connectivity. The mountains, which represent the hope
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initially was controversial. Although many elements of the painting were historically correct, the
Chinatown community rejected Leong’s mural. While some believed the depiction of the characters in the mural to be too Chinese, others found the subjects to be too American. The sad faces of the
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running down his back shows off his
Chinese-ness and devotion to the emperor in China. Like his counterpart in the second panel, the railroad worker wears blue pants, but unlike the former’s thick cotton, the railroad man opts for America’s sturdy blue
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that snakes along the top of the first panel is representative of China—powerful, magical and eternal. This symbol of strength and longevity watches over the
Cantonese workers, who struggle yet persevere throughout famine, flood and foreign conquerors.
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workers, with broad noses and high cheekbones, bending over in order to accomplish their backbreaking labor. The imagery of the Great Wall represents the home country and origins of the Chinese people. The majestic
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and promise of a new land, connect the first three panels, while the brick walls, which signify exclusion, link the last four panels together. Whether standing or kneeling, all the figures in the mural are active.
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Housing Project, the first federally funded housing project in Chinatown along Pacific Avenue near Stockton Street. At the time in the early 1950s, American troops were stationed in
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348:. Here, the Chinese man has finally reached the Gold Mountain, located in the grassy hills of California. The railroad worker stands swinging a pickaxe. The clear display of his
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Leong depicts an assimilated Chinese American family in the seventh and final panel–the father in suit and tie, the mother in traditional Chinese
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In 2012, a replica of the mural was installed on the Hogan & Vest building at 933–949 Stockton before it was demolished to make way for
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579:"The International Examiner – James Leong: San Francisco's forgotten son returns home"
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In the second panel, a Chinese man clad in a blue outfit points to the promise of
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hangs in the Chinese Historical Society of America’s Museum and Learning Center.
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Youtube video of James Leong speaking about his painting and its restoration
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154 cm Ă— 533.4 cm (60 in Ă— 210 in)
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636:(Press release). Chinese Historical Society of America. 24 February 2012
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List of U.S. cities with significant Chinese-American populations
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suspected Leong to have hidden secret messages within his mural.
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Leading the Way: Asian American Artists of the Older Generation
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The fifth panel shows a Chinese person dancing the traditional
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history. This mural was to be placed at the then newly erected
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Painted on seven masonite panels with egg tempera and casein,
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U.S. immigration policy toward the People's Republic of China
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who in turn could become educated about the Chinese American
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One Hundred Years: History of the Chinese in America
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One Hundred Years: History of the Chinese in America
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One Hundred Years: History of the Chinese in America
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One Hundred Years: History of the Chinese in America
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One Hundred Years: History of the Chinese in America
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One Hundred Years: History of the Chinese in America
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One Hundred Years: History of the Chinese in America
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One Hundred Years: History of the Chinese in America
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605:. Wenham: Gordon College. p. 26.
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794:by location
640:14 December
248:North Korea
97:James Leong
49:Egg tempera
31:James Leong
1702:Categories
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1162:Richardson
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839:Michigan (
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585:2012-06-14
478:References
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445:Kuomintang
366:lion dance
310:rice paddy
83:California
63:Dimensions
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1336:St. Louis
1272:Manhattan
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948:Cable Act
938:Geary Act
855:St. Louis
418:Reception
393:Hollywood
389:cheongsam
318:Cantonese
256:Communist
244:Ping Yuen
207:Ping Yuen
1378:San Jose
1277:Brooklyn
1179:Honolulu
1148:Asiatown
816:Colorado
333:and the
265:diaspora
71:Location
57:masonite
1509:Museums
1440:Culture
1392:Seattle
1363:Oakland
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765:History
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560:17 July
331:America
1666:Others
1475:Events
1397:Tacoma
1282:Queens
1253:Newark
1248:Edison
1169:Denver
1120:Quincy
1114:Boston
1098:Austin
1064:(2016)
1058:(1982)
1052:(1907)
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972:Events
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821:Hawaii
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439:, the
323:dragon
134:160yds
53:casein
27:Artist
1675:Lists
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1108:Boise
873:Texas
355:denim
350:queue
252:China
236:mural
1454:Film
1446:Food
642:2017
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607:ISBN
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406:and
346:gold
132:150m
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441:FBI
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