The pop art movement criticized traditional art for its lack of

The pop art movement criticized traditional art for its lack of Expression

   Lack of immediacy and expression

Explanation:  Pop Art came out in the 1950's as a reflection of the mass culture of young people, where inspirations were found in the images of mass culture and thus posed a challenge for the traditional culture. Mass media of pop culture were comics, commercials, fanzines, etc. One of the main goals of pop art was to erase the boundary between so-called higher levels of art and so-called low culture. The inspiration for art can be found in any source. While abstract traditional artists dealt with the inner state of the soul, pop art artists sought to portray the causes of these states in advertising media, comics, in something that is receptive and understandable to everyone. Thus they equalized the external and internal causes, advocating the thesis that everything was interconnected, and had direct, immediate access to all social phenomena and problems. Simply put, the pop art artists were more direct, more expressive, talking about topics that existed even earlier, but  in a more direct way.

the correct answer is b.

the mandate of heaven or tian ming (chinese: 天命; pinyin: tiānmìng; wade–giles: t'ien-ming) is a chinese political and religious doctrine used since ancient times to justify the rule of the king or emperor of china. according to this belief, heaven (天, tian)—which embodies the natural order and will of the universe—bestows the mandate on a just ruler of china, the "son of heaven" of the "celestial empire". if a ruler was overthrown, this was interpreted as an indication that the ruler was unworthy, and had lost the mandate. it was also a common belief among citizens that natural disasters such as famine and flood were signs of heaven's displeasure with the ruler, so there would often be revolts following major disasters as citizens saw these as signs that the mandate of heaven had been withdrawn.[1]

a brief flow chart describing the dynastic cycles in imperial china on claiming to withdrawing the mandate of heaven

the mandate of heaven does not require a legitimate ruler to be of noble birth, depending instead on the just and able performance of the rulers and their heirs. dynasties such as the han and ming dynasties were founded by men of common origins. the concept is in some ways similar to the european concept of the divine right of kings; however, unlike the european concept, it does not in theory confer an unconditional right to rule, despite this being exactly the case in practicality. the mandate would in theory be a preoccupation in a ruler's lifetime, when he would hold onto the mandate and live according to heavens. intrinsic to the concept of the mandate of heaven was the right of rebellion against an unjust ruler. chinese historians interpreted a successful revolt as evidence that heaven had withdrawn its mandate from the ruler. throughout chinese history, times of poverty and natural disasters were often taken as signs that heaven considered the incumbent ruler unjust and thus in need of replacement. the mandate of heaven was often invoked by philosophers and scholars in china as a way to curtail the abuse of power by the ruler. while each dynasty was not the same, they each had a lineage that passed on the prospective ruler by order of generational descent or their priority of birth. many emperors during the imperial times would optimize to have many sons who could be candidates to fill the position after the current ruler has died. in addition heaven was thought to be of how a ruler's works and performance was, which reflected upon how favorable they would be to heaven.