In recent months, the Avatar fandom has taken over many social media sites, including Instagram, Facebook, and Twitter. Avatar: The Last Airbender (ATLA) is an animated television series that aired on Nickelodeon for three seasons, from February 2005 to July 2008. Recently, in May 2020, the series came to Netflix, giving thousands of people around the world the opportunity to rewatch this beloved TV show from their childhood. With nothing else to do while stuck at home, teens went through the ups and downs of the show’s plot once again.
The world of ATLA is divided into four nations where some people can use “bending” to manipulate the four classical elements (Fire, Water, Earth, and Air) with telekinetic variants of the Chinese martial arts. The avatar can bend all four elements and is responsible for maintaining harmony between the four nations. The series follows Aang, the 12-year-old avatar who had been missing for 100 years, on his journey to master the elements and restore peace in a war-plagued world. While the story may seem lighthearted, there are many cultural and historical references and themes that are the foundations of the engaging plot.
The show touches upon many themes that most children’s shows don’t reference. This includes concepts like war, genocide, imperialism and totalitarianism, gender discrimination and female empowerment, marginalization, oppression, and the philosophical questions surrounding fate, destiny, and free will.
Because the show is set during the Fire Nation’s imperialist strike, the effects of the 100 year war are shown through the perspectives of common people who are introduced during Aang’s journey. Early in the show, Aang visits the Southern Air Temple and discovers that his people have been massacred, causing him to lash out in grief. This moment displays the reality of loss and suffering in the face of genocide.
The show also depicts the prevalence of propaganda during war times and corruption in governments. The citizens of Ba Sing Se face forced poverty and brutality by the government’s secret police force. These topics reference the world we live in now, where shady governments, systemic racism, and marginalization are prevalent in many countries.
The issue of marginalization can also be seen in the diverse cast of characters. Through characters like Toph, who is blind, and Teo, a paraplegic boy, ATLA proves that the biggest obstacle to overcoming disability is society. Similarly, gender roles and misogyny are discussed when Katara seeks out waterbending training in the Northern Water Tribe. The waterbending master Pakku refuses to teach Katara because of sexist customs, telling her to join the other girls in healing lessons. Katara challenges Pakku to prove that she is worthy and despite her loss, gains his respect. Toph, Teo, Katara and many other characters defy the belief that one’s physical identity can define one’s worth.
Along with challenging societal ideas of marginalization, many characters explore the ideas of fate and destiny. This can primarily be seen in the journey of Zuko and his Uncle Iroh. Throughout seasons 1 and 2, Zuko’s sole purpose is gaining acceptance from his father, who banished him for acting out. He is convinced that his destiny is in the hands of his father and that he must regain his honor as the crown prince of the fire nation. His uncle, however, teaches him that he has the power in every situation and can control his own destiny. Similarly, Aang believes that it is his destiny to kill the fire lord, but eventually learns that he has a choice. He ends up defining his own fate instead of letting his fate define him. During the entire series, the themes of fate and destiny are depicted in every character, and they are all capable of changing it.
Beyond all these themes and concepts that ATLA delves into, the plot, setting, and characters are full of historical references and mirror many cultural influences.
The Elements
The elements in the TV series are reflective of the Five Classical Elements of Hinduism and Buddhism: earth, water, air, fire, and Aether. Aether (the Void, Space, etc.) is an intangible element that is represented in the Spirit World, the Avatar State, and energybending. These five elements are also present in “The Book of Five Rings,” five books written by Japanese samurai warrior Miyamoto Musashi about military strategy and martial arts: The Book of Earth, The Book of Water, The Book of Fire, The Book of Wind, and The Book of Nothing. These books are reflected in the different aspects of battle (bending) in Avatar. The four nations, characterized by the four elements, have numerous cultural parallels with the real world.
Water
The first element that viewers are introduced to is water. The lifestyle of the Water Tribe members are very similar to that of the real-life Inuit culture. Similar to the Inuits, the Southern Water Tribe is located in Arctic climates (North and South Pole) and the people live in igloos. Both groups wear clothing made with heavy furs and animal skins as protection from the cold, including anoraks and mukluks. Their diets are also akin: limited to the arctic animals they can hunt and fish.
A lot of Water Tribe culture draws inspiration from indigenous peoples as well. Like some Native Americans, Water Tribe warriors wear war paint on their face when going into battle. The boomerang that Sokka uses in fights is similar to the weapon used by Aboriginal Australians, Native Americans, South Asians, and other indigenous cultures around the world. The large sails and two parallel hulls of Water Tribe ships resemble Polynesian catamarans. Furthermore, architecture in the Northern Water Tribe has influences from Aztec society. The city’s layout mirrors that of the capital, Tenochtitlan, and the Palace mimics mesoamerican pyramids.
Additionally, the construction and culture of the Northern Water Tribe draws inspiration from European and Asian cultures. The concept of arranged marriages, seen through Princess Yue, is prevalent in South Asian, Chinese, and Japanese cultures. Furthermore, the spiritual practices of the tribes draw inspiration from moon myths of the Native Americans, Chinese, and Japanese. In Chinese mythology, Chang’e, a girl renowned throughout China for her beauty, stole an elixir of immortality from her husband, Hou Yi, and became the goddess of the moon. Likewise, in ATLA, Yue was previously a beautiful princess, but became the Moon Spirit. In terms of European culture, the gondolas used for transportation are also seen in Venice’s canal systems, Parisian rivers, and Aztec society.
While a lot of the water people’s way of life is similar to the Inuits, the sophistication of the Northern Water Tribe reflects Native American, European, and Asian culture.
Earth
The second nation that team Avatar explores is the Earth Kingdom. Much of the Earth Kingdom’s culture and architecture draws inspiration from East Asia. First of all, a majority of the Earth Kingdom cuisine is based on Chinese foods. In the series, we see roast duck, jook, and Iroh’s tea. Drinking tea is said to have begun in China as early as 2737 BCE and became cemented as the national drink of China during the Tang Dynasty. Moreover, a lot of the clothing worn by Earth Kingdom citizens is prevalent in pre-Manchu China; the clothing that the Beifong family wears is inspired by Tang Dynasty clothing. Aspects of ancient Chinese military uniforms are prevalent in Earth Kingdom armour. The most distinct similarity is in the helmets: ancient Chinese warriors wore spherical helmets that covered the top of the ears, protected the back of the neck, and were topped by a simple and low crest.
Ba Sing Se, the Earth Kingdom’s capital, is largely influenced by Chinese architecture, government, topography, and culture. In general, Ba Sing Se is comparable to Beijing, the capital of China. The Royal Palace mirrors the Forbidden City in Beijing in their architecture and their protective walls. Like the Royal Palace, the roof shape of the Forbidden City is characterized by the double-eave roofs, which were at the time the classiest roofs and reserved for top imperial buildings. Furthermore, both the Forbidden City and Earth Kingdom Royal Palace have a broad pathway leading to the entrance. Looking at the pictures below, there is no arguing the resemblance between the two structures.
The Outer Wall of Ba Sing Se’s design and scale are reflective of the Great Wall of China. While the walls of Ba Sing Se are much taller than the Great Wall, the similarities are indisputable. Just as the Great Wall is visible from outer space, the Great Walls of Ba Sing Se are always drawn on the maps of the Earth Kingdom. Both are walls designed to defend their respective cities, although the walls of Ba Sing Se were much more effective in this aspect. Inside the walls, as in Beijing, there are inner districts that each host a separate social class, with the Royal Palace being reserved for the most respected and each outer district/ring housing a lower class.
Starting at the top of the social hierarchy, Kuei, the Earth Kingdom king, is similar to the last emperor of China, Puyi. In addition to the similarity in their names, they both wear the same circular glasses. Both monarchs were ignorant of the actual state of their nation and held no real power. Kuei had previously never left Ba Sing Se, similar to how Puyi, up to a point, was always kept in the Forbidden City. Both Kuei and Puyi were manipulated by advisors and the military, leading to a corrupt government.
Next on the social hierarchy is the Dai Li, the secret police who work to capture, interrogate, and imprison political dissidents. They resemble the Chinese Nationalist Secret Police and are even named after their leader, General Dai Li of the Kuomintang. Their uniform is similar to what was worn by the Qing Imperial Guards and reflects what was worn by the government agents (mandarins) of Qing China. Dai Li agents’ conical hats are similar to those worn by Qing mandarins. Their square shaped embroidery of the Earth Kingdom symbol is also akin to the Mandarin Square worn by Chinese Ming and Qing officials.
The manipulative and corrupt government of Ba Sing Se is comparable to the Chinese government under Jinyiwei of the Ming Dynasty. The Embroidered Uniform Guard (Jinyiwei) was the imperial secret police and was given the authority to overrule judicial proceedings in prosecutions with full autonomy in arresting, interrogating, and punishing anyone, including nobles and the emperor's relatives (similar to the Dai Li). Furthermore, just as the Dai Li had their secret base to brainwash prisoners and dissidents underneath Lake Laogai “Laogai” in China is a system of prison camps. These camps were begun by Mao Zedong with the hopes of exterminating or “reeducating” political prisoners under the Communist regime. The nefarious governmental practices in China are clearly referenced and criticized in the creators’ portrayal of Ba Sing Se’s government.
The Lower Ring of Ba Sing Se is visually based on many towns and marketplaces in the Central Jiangxi Province. Both the Lower Ring of Ba Sing Se and the Jiangxi Province have mostly dirt roads and are filled with ghettos inhabited by refugees and the poor. Most of the inhabitants of the Lower Ring are newcomers to the city, including its multitude of refugees, and 'people who work with their hands' such as artisans, laborers, and craftsmen, which is similar to the demographics of the province in China.
The way that all the citizens of Ba Sing Se dress and do their hair alludes to popular styles during the Qing Dynasty. Many of the men in Ba Sing Se, with no social distinction, wear their hair in a queue hairstyle, which parallels the manchu queue. The queue hairstyle is when the hair is completely shaven except for the back, leaving a slight patch of hair and a long ponytail. This hairstyle lasted from the 17th to 20th century in China and was popularized during the Qing Dynasty. Another popular hairstyle is the topknot, which is a bun on the top of the head. This hairstyle was used in China, Japan, Korea, Thailand, and India, and worn by all social classes.
The wardrobe choices of Ba Sing Se citizens are inspired by Qing Dynasty dress. The haiku girls wear headpieces that resemble those of Qing Dynasty court ladies. Additionally, the Earth King wears clothing similar to that of Qing Dynasty Emperors, and his attire is indicative of the style exhibited in a famous painting of Xianfeng Emperor.
While the mainland of the Earth Kingdom resembles China, Kyoshi Island reflects Japan. The Kyoshi Warriors wear face make-up to completely cover their faces in a traditional Japanese style. In combat, they use the katana, a traditional sword used by the samurai. The style of Kyoshi Island buildings are also influenced by Japanese architectural influences. “Prayer hand” construction, characterized by a steeply slanting thatched roof, resembling two hands joined in prayer, is prevalent throughout Japan and Kyoshi Island.
The Earth Kingdom is obviously influenced by East Asian lifestyle, government, architecture, fashion, and much more. There are multiple indications of Japanese, Chinese, Korean, and Thai culture.
Fire
The antagonists, the fire nation, incited the war with the intent of taking over the world. Much of the Fire Nation’s culture is based on Imperial Japan, especially their influence in the 1800s and 1900s. Japan was responsible for military invasions of other countries, slaughtering hundreds of thousands of people in the Philippines and China. Similarly, the Fire Nation wipes out significant portions of Earth Kingdom and Water Tribe citizens, decimates the Air Nomads, and colonizes parts of the Earth Kingdom. Additionally, both governments censor their history, making sure that all citizens are ignorant of their country’s crimes against humanity. In Japanese history textbooks there is sparse information about World War II and Japan’s role; the Fire Nation purposely teaches that they are on the right side of the 100 year war in schools. Students from both nations are not fully aware of their country’s actions and impact on the world.
There are also many similarities between the Fire Nation and Chinese and Southeast Asian Architecture. Firstly, the Fire Temple was constructed based on the Yellow Crane Tower in Wuhan, China and the Fire Temple is nearly a direct replica of Chinese-style pagodas. Secondly, the Fire nation Royal Palace is influenced by Chinese architecture, with many similarities between the royal garden and classical Chinese gardens. Thirdly, the Fire Nation Capital is greatly influenced by the imperial cities of the Han Dynasty, and is also visually similar to the Forbidden City (as was the palace in Ba Sing Se). On Ember Island, the architecture resembles that of Southeast Asian resorts, with many trees, rocky terrain, beautiful waters, and bungalows. The affluent Ember Island residencies are filled with paintings and vases similar to ones from Chinese culture. The red and gold motifs in Fire Nation architecture and clothing are also seen in traditional Chinese culture.
The Fire Nation attire is largely influenced by East Asian clothing. Overall, the Fire Nation attire is styled after the historical Chinese Hanfu. The Han Chinese commonly wore a robe or a shirt for the upper garment and a pleated skirt on the bottom. Many Fire Nation women, like Zuko’s mom, are shown sporting this type of garment. Furthermore, brides in Fire nation royal weddings have a hairdo similar to the ones worn by Korean Queens. Finally, the military uniforms of the Fire Nation have strong ties to the military uniforms of ancient Chinese militaries.
The topography of the Fire Nation draws most of its influence from Iceland, as photographs of the island were used in designing the fictional nation. The Fire Nation also contains a series of volcanic islands, similar to Hawaii, Japan, and the Polynesian Islands.
The practices in honor and destiny throughout the Fire Nation are also similar to South and East Asian cultures. The Agni Kai, a Fire Nation “honor duel” used to prove someone’s worth, is also commonly seen in South Asian warrior societies, particularly South India and Sri Lanka. East Asian honor rituals are seen when Zuko and Iroh cut off their top-knots. This symbolizes the dishonor they bring upon themselves by abandoning their family and country.
The Sun Warriors, a group of firebenders who live in a secluded area, share qualities with the Mayan and Aztec cultures of Central America, who were also known as sun-worshippers. Their attire is reminiscent of traditional Southeast Asian warrior dress, specifically the headdresses which resemble Iban feather headdresses. Their city is based on Mesopotamian Architecture, like the Ziggurats of Ur.
Like the Earth Kingdom, much of the Fire Nation is inspired by East Asian culture. Japanese and Chinese architecture and fashion, and Central American culture are depicted in this fictional world.
Air
The Air Nomads are based primarily on Tibetan culture, the Chinese Shaolin Monks, and Sri Lankan Buddhism. The Air Nomads’ lifestyle is similar to Buddhists’ in many ways. First, both air nomads and Buddhists practice vegetarianism as an act of peace and abstinence from harming innocent animals. Second, they both live a monastic life, with bald heads, clothing, and meditation practices; airbending masters are even called monks. Third, Tibetan Buddhists use a set of toys to find the next Dalai Lama, the most important monk at the Gelug school (the newest Tibetan Buddhism school), just as the Air Nomads use toys to find the new Avatar. In Buddhist beliefs, the Dalai Lama reincarnates after the previous Dalai Lama in the same fashion as the Avatar reincarnates after the previous Avatar. Furthermore, Aang’s mentor, Monk Gyatso and Aang’s son Tenzin, have names that pay homage to the 14th Dalai Lama, Tenzin Gyatso.
Aang’s clothing in seasons one and two resemble the saffron robes of the Shaolin Monks, which were based on the robes of Buddhist monks from India. In the third season, he dresses like the Dalai Lama. In Buddhist tradition, the right arm of the Dalai Lama is always kept uncovered, and Aang’s right arm is uncovered in accordance with this rule.
The architecture of the western air temples is almost identical to the real-world brick pagodas in the “Pagoda Forest” of the Shaolin Temple in China (other than the fact, of course, that they are upside down).
Martial Arts
Martial arts are the primary inspiration for the bending forms and motions. Sifu Kisu, a member of the Harmonious Fist Chinese Athletic Association, was a consultant for the Avatar creators.
Airbending is derived from Ba Gua, a method of stance and movement based on the theory of continuous movement and continuously changing in response to the situation to overcome the opponent with skill rather than force. Ba Gua is known as an “internal style” of fighting, meaning the focus is mostly on spiritual, mental or qi-related aspects. Both Ba Gua and airbending focus on adjusting to the circumstances and are mainly defensive, but can also be very powerful.
Waterbending draws heavily from Tai Chi, which emphasizes refinement and relaxation before aggression. Similar to airbending, waterbending is also an “internal style” and is not inherently forceful and destructive like firebending and earthbending are. Both waterbending and Tai Chi emphasize alignment, body structure, breath, and visualization. Visualization and concentration are also essential parts of bloodbending, a style of waterbending that is based on the style of fighting called Chi Na. Chi Na focuses on controlling and locking a person’s limbs and joints to render their movements useless.
Earthbending, the polar opposite of airbending, is based on Hung Gar, the polar opposite of Ba Gua. Hung Gar uses firmly rooted stances and powerful strikes, while BaGua focuses on continuous movement and skillful strikes. Hung Gar is known as an “external style,” meaning it emphasizes more on the physical effects rather than the refinement and relaxation. Toph has a specific type of bending where she feels the vibrations through the floor to compensate for her blindness. This is based on Chu Gar Southern Praying Mantis, which emphasizes more close-range attacks from the upper body, keeping the feet firmly on the ground.
Lastly, firebending is derived from the fast, hard, aggressive strikes of the Northern Shaolin style. This involves sacrificing defense for fierce attacks and are of the “external style.” Northern Shaolin is a complex and subtle art that retains the pure essence of structured movement and posture. Both firebending and Northern Shaolin are notable for intensive attacking style and lack of adequate defensive moves. Like firebending from which it is derived, lightning bending is used for intense attacks. It uses movements from the Baji Quan kung fu style. This style is known for explosive, short-range power and elbow and shoulder strikes.
Religious Influences
Much of the culture, beliefs, practices, and lifestyles of characters in ATLA draw inspiration from different religions. These primarily include Hinduism, Buddhism, and Shinto.
Hinduism
The idea of the 4 elements and the 5th spiritual element is very similar to Hinduism beliefs. The 4 elements are the same -- earth, fire, air, and water. The 5th element in Hinduism is known as Space or the Aether, and closely resembles energy bending and the spirit world.
There are also several parallels in words in Sanskrit and words in the TV series. “Agnih” in Sanskrit is the word for the fire element, and an agni kai in ATLA refers to the duel between two firebenders to prove their honor. Similarly, “bhumi” is the word for the earth element, and King Bumi is the king of Omashu, the second largest city in the earth kingdom. Lastly, the word avatar comes from the Sanskrit word avatāraḥ, meaning descent.
Both Hinduism and the Avatar world believe in the restoration of balance and the idea of energy flowing throughout the body. In Hindu tradition, deities manifest themselves into physical forms to restore balance on earth during a period of evil just as the Avatar in ATLA is the mediator between the spiritual and physical worlds and are responsible for maintaining balance. As the Avatar, Aang has the ability to enter the Avatar State, which gives Aang the strength and abilities of all his previous lives. To master this state, Aang studies the chakras with a guru, working to unlock each of them to allow energy to flow throughout the body. Once the avatar’s chakras are opened, he can reach his full power. In Hinduism and Buddhist beliefs, chakras are the centers of life force and vital energy.
In a less spiritual, more physical sense, the firebending third eye of Combustion Man in season three resembles the third eye of Shiva, the Hindu god of Destruction. The eye of Combustion Man and Shiva are similar in shape, design, and function. Combustion Man, an assassin and bounty hunter sent by Prince Zuko, can project and detonate large explosions from his third-eye tattoo. His eye completely obliterates anything in its path, similar to how Shiva can destroy anything that his eye deems wrong.
Buddhism
As previously mentioned, much of the Air Nomad lifestyle resembles that of Buddhist monks. They have similar features, practice, and beliefs as well. Other characters' experiences, however, also have references to Buddhist beliefs.
In the episode “The Swamp,” the character Huu says that he reached enlightenment under the banyan-grove tree, which alludes to Siddhartha Gautama gaining enlightenment under the Bodhi tree to become the Buddha. Zuko’s transformation in Book Two reflects the story of Siddhartha Gautama as well.
Other References
Throughout the entire Avatar world, traditional Chinese characters are used. You can see these characters on banners, posters, and in many other places. The show’s creators employed cultural consultants Edwin Zane and calligrapher Siu-Leung Lee to help determine its art direction and settings. Much of the art and music seen throughout the series is also inspired by East Asian culture. Jeremy Zuckerman and Benjamin Wynn composed the series' music and sound; they experimented with a wide range of instruments, including the guzheng, pipa, and duduk, to match the show's Asia-influenced setting.
Sources
Comments