Culture

From the oracle bone scripts of the past to the Modern Standard Chinese script of the present, the written Chinese language is pictorial and highly evocative. What’s more, its unchanging nature gives it the power to preserve the unity of Chinese culture. While regional dialects vary, the written script remains the same. Teo Han Wue explores the characteristics of and philosophy behind the Chinese writing system.

After ten years of living in Shanghai and seeing the rapid changes to the city, Egyptian-American architect Hisham Youssef takes us on a nostalgic and personal photographic tour of the lanes and neighborhoods that, until very recently, stood in the city he now calls home.

Art colleges today may be missing the point by teaching students various forms of aesthetics without offering a true path to beauty. An affinity for beauty — to see, appreciate, and ultimately to create it — is best honed keeping close to nature, says art historian Chiang Hsun. Qing dynasty calligrapher and painter Zheng Banqiao would have approved. After all, didn't he ask, “If people really love birds, why not plant more trees?”

Shivaji Das, author of travelogue “The ‘Other’ Shangri-la: Journeys through the Sino-Tibetan Frontier in Sichuan”, captures vignettes of life in the picturesque mountains of the Garzê Tibetan Autonomous Prefecture in western Sichuan. At the end of his journey, he asks: Would Shangri-La become indistinguishable from Disneyland? Would Han cultural hegemony obliterate every other peculiarity once a mesh of high-speed trains, all-weather roads, and Weibo accounts spread out in the region? Or would an environment of mutual trust, understanding, and accommodation be established? 

Sampling makgeolli or Korean rice wine with friends from the academic community in Seoul, cultural historian Cheng Pei-kai is transported back in time to the world of ancient literati in China and Korea — would they also have exchanged a story or two over a bowl of makgeolli?

From a laser-etched calligraphy in a restaurant, art historian Chiang Hsun delves into the writings of Qing dynasty painter and calligrapher Zheng Xie, better known as Zheng Banqiao. Zheng was part of the “Eight Eccentrics of Yangzhou” group of painters who had wealthy businessmen patrons and developed an aesthetic grounded in the material and secular. Bright and colourful scenes of mirth were common — unlike the Song and Yuan dynasty literati before them who indulged in melancholic musings above worldly concerns. Contemporary ink artists may want to get some inspiration from Zheng's works, and boldly declare the feelings and observations of the times.

A balcony can simply be a perch from which to admire the sea, or for Shakespeare fans, it is associated with a key scene from Romeo and Juliet. For ancient Chinese literati however, it conjures up scenes of forbidden trysts and has been woven into poems by illustrious poets, from Song Yu to Li Bai and many others.

With the arrival of a swanky new Chinese bookshop/gallery/cafe in the heart of town, Teo Han Wue recalls that such integrated spaces are hardly new in Singapore’s history. Several Chinese bookshops in the past held art exhibitions within their premises and were often the stomping ground of artists and the arterati. What were these art salons of days gone by like?

If white could be a state of being, it would be yourself, says Chiang Hsun. Under light and shadow, its true shade sometimes becomes blurry, but it never loses its essence. With that confidence, white in art or in life also means negative space — the void that is at ease when it is not filled, the voice that gives itself the freedom to just be.