Invisible competitiveness

Asia has been running the West for a hundred years on the battlefield of the market economy, and it is urgent to hope that we can catch up quickly. Not chasing behind, but being able to go beyond thinking. I hope that I will stand on the streets of Beijing and see that it is not Chanel, Armani, BMW, and Bruns... but our own brand. This is Beijing in my dreams. There are Qi Baishi here, there is Cao Xueqin, there is Shen Congwen, the culture of this city is the thickest, he does not lose to Paris, New York.

When I arrived in Beijing that year, Mr. Shen Congwen had just passed away. I am very sorry, but my reaction was not as intense as Lin Huaimin. He suddenly fell down under Mr. Shen’s Lingtai. Mrs. Shen was surprised. She didn’t understand that when we were in Taiwan, Mr. Shen’s book was “forbidden”, we secretly passed underneath and felt that if there was One day I can tell Shen Congwen: You have always been my teacher, what a great thing!

So you see, the power of beauty is bigger than any power. It allows you to recognize people who have never met before as a teacher.

How many corners have you forgotten in this city?

Everyone knows that "the Qingming River on the River", a painter was ordered to paint his city, showing the prosperity of it. The painter painted more than 1,600 people and various scenes. One of the scenes is: the official's sedan comes out, and some people in front are holding "sedition and avoidance". A child is playing in the middle of the road. His mother is afraid that he will be stepped on by the horse and pick him up in amazement. If you were asked to shoot a documentary about Beijing, can you shoot this picture?

There is also a picture that appears at the end of the scroll. A person who is a big official enters the city, and there is a driving car in front of him. There was a group of called Hanako at the gate of the city. One of them had no legs. The official was looking back at him. Seeing this place, I think this painter is really amazing. My student asked me: Do you think that the person who is the official has later paid for it? I said that I don't know. I think that it is very remarkable for a painter to draw a big official and a confrontation.

A few years ago, I passed through Tiananmen Square and saw a picture on Chang'an Street: It must be a woman from the countryside, because only the talents who work in Shimoda will have such thick bones. She feeds her children to eat milk, without any cover, the child is full, and there is still a lot of milk. She let the milk drip onto Chang'an Street. I think that body is moving: she is with the land. I asked myself: The beauty of the T stage and the beauty of this woman, which one can make me remember longer?

Beauty is not just a model of Chinese clothing, not even a breeze, Bach Beethoven, to see beauty, we must first see the hardships of life.

The Tang Dynasty people like to paint peony. I once saw the peony in the Imperial Palace in Japan in February. All of them were surrounded by grass, and there was an umbrella on it. Because the peony had a little wind and rain, it would fade. After the Song Dynasty, it was discovered that the beauty of peony could not reflect the tenacious competitiveness of life, and began to paint plum blossoms. Wang Shuo’s "South Branch Spring Morning" became a masterpiece. If the Tang Dynasty created the beauty of peony, the Song Dynasty discovered the beauty of plum blossoms. Our era symbolizes flowers. What can we find?

The China Pavilion at the Shanghai World Expo uses the shape of the Han Dynasty arches to build an inverted triangular flying structure. I looked very bitter. Because I see it behind the power, it is a humiliating memory that is almost completely divided by the world powers. Therefore, its strength must be supported. But when I saw the British pavilion, I made a beautiful thing with ease. At that time, I thought: If it is really the rise of a big country, we must have the most determined self-confidence, not to do things on the scene, but to go back to the smallest things, and do it slowly, not necessarily so fast. It’s a bit harder now, and it’s working hard, I’m afraid it’s turned into a fireworks, so it’s gorgeous, but it’s gone.

Why is the culture of Tang and the culture of Song have thickness? Because it sees big, it also cares about small. Du Fu squeezed into the refugees and wrote, "Zhumen wine smells bad, the road has frozen bones." If these ten words become the eternal singer, I don't think it is the skill of poetry, but the thing that the poet touches in the heart: he saw people. Similarly, holding the bones, many people did not see when they walked.