Watching bookworms who enjoy writing "write elegantly" in the spatial realm designed by Tadao Ando | Kunqu Opera | Tadao Ando

"Readers all have to write, and in the past, writing was done with a brush. Calligraphy showcased the beauty and inner world pursued by Chinese scholars, as the saying goes, 'characters are like their own people.' Our various arts in China have a long history and traditions, and the aesthetic realm pursued has similarities. The calligraphy method is also consistent with the presentation of Kunqu. Kunqu has given me a lot of inspiration, so I often like to write characters related to Kunqu." said Zheng Peikai, a cultural historian and chairman of the Hong Kong branch of the Chinese Folk Literature Association.

As a "bookworm who enjoys writing," Zheng Peikai studied calligraphy at a young age and enjoyed studying traditional Chinese opera literature, especially Tang Xianzu and Kunqu. The "Colorful and Colorful Blooming - Zheng Peikai's' Writing Style 'Calligraphy Exhibition" series, which is currently being exhibited in the Heart Hall of Xinhua Cultural and Creative Museum, takes the publication of his new work' Kunqu Opera Inheritance and Cultural Innovation 'as an opportunity to showcase nearly 50 calligraphy works, including popular Kunqu opera singing segments such as' Peony Pavilion', 'Jade Hairpin Record', and 'Fisherman's Music', representative works of Tang and Song masters such as Li Bai, Du Fu, Bai Juyi, and Su Shi, as well as diverse Jiangnan cultural heritage such as Suzhou Pingtan.

The exhibition is jointly planned by Shanghai Mingzhu Art Museum, Xinhua Cultural and Creative · Guangdi Space, Bookstore Magazine, and Xinhua Garden. It is the ninth issue of the "Art and Culture Amphibious People" series of exhibitions, continuing the concept of cross-border integration of literature and images. At the opening ceremony of the exhibition, Kunqu opera performer Liang Guyin and granddaughter Zhu Yunni jointly took the stage and introduced the character characteristics of the six dan, five dan, and zheng dan in Kunqu opera in a simple and easy to understand manner. They also demonstrated on site, allowing the audience to appreciate the timeless charm of Kunqu opera.

Liang Guyin started with the youngest six dan in Kunqu opera, and invited her 14-year-old granddaughter Zhu Yunni to perform a concluding poem from "The Story of the Sea of Evil: Sifan", showcasing the clear and sweet voice of the six dan girls. After that, there was the charming voice of Wu Dan. Liang Guyin demonstrated that in the introduction of "Butterfly Dream: Talking about Marriage," Tian Shi couldn't sleep when she saw the grandson of the King of Chu. The singing style of "having no tea or food all day, no emotions or emotions, so boring" was characterized by a "very sweet voice.". Finally, introducing Zhengdan, Liang Guyin used Cui's four blank lines in the play "Lankeshan: Splashing Water" as an example to demonstrate the characteristic of "thick, loud, and explosive voices" of Zhongdan people in middle age.

Zheng Peikai and Lin Haizhong, a Chinese painter and professor at the Chinese Academy of Fine Arts, wrote and painted together, using ink to create and echo the theme of the exhibition "Colorful Flowers Bloom". The inspiration for their calligraphy and painting was taken from Du Liniang's visit to the garden in the Kunqu opera "Peony Pavilion". Zheng Peikai wrote in large characters "Spring is so beautiful" and wrote in small characters "How can spring be so beautiful without reaching the garden". Lin Haizhong painted landscapes, weeping willows, and pavilions, filling the garden with spring scenery.

Li Dandan, curator and curator of Xinhua Cultural and Creative · Guangdi Space and Mingzhu Art Museum, said, "Chinese calligraphy and Kunqu opera are both listed on the UNESCO Intangible Cultural Heritage List. Like ancient poetry, they are brilliant treasures in traditional culture. Through this exhibition, we hope to allow the audience to appreciate the unique charm of Chinese civilization in multiple dimensions and the unique and elegant aesthetic taste that can be integrated into daily life."

Zheng Peikai wrote in the preface of the exhibition, "I am a reader who enjoys writing, and can only be called a writer at most. The main pleasure is to experience the process of presenting literary classics while writing."

The central hall of Xinhua Cultural and Creative · Light's spatial core area is a multifunctional composite space connected to the bookstore and the Pearl Art Museum. As a unique "art museum with a bookstore" and "bookstore with an art museum", art and reading are innovatively integrated in the space of Mingzhu Art Museum and Xinhua Cultural and Creative · Light. Since its establishment in 2017, Mingzhu Art Museum has independently planned and held a series of exhibitions titled "Amphibious Artists" to discover outstanding creators and showcase their artistic creations that transcend text and image. This exhibition will continue until September 16th and is open to readers for free.

Link: "Book City" for 30 years, condensing common memories

A book city magazine embodies the common memory of many scholars both domestically and internationally. The humanistic magazine "Shucheng" adheres to the purpose of "creating a reading atmosphere, advocating rational spirit, promoting deep reading, and inheriting classic culture", with ideology, culture, and art as its content positioning, covering multiple fields such as philosophy, literature, history, art, economy, politics and law, and technology. It hopes to achieve cross-border integration and dialogue in multiple fields under the perspective of cultural care; At the same time, we insist on promoting deep reading, hoping to make up for the thinking limitations brought about by fragmented reading, and share the beauty of ideas, culture, and vision with readers.

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