Literature

With China’s increasing affluence, the nouveau riche are investing in art and cultural artefacts. Wu Zetian’s pleated skirt, exquisite paper from the Southern Tang dynasty, a painting by early 20th century painter Qi Baishi — authentic or not, all are fair game and acquired at the best price. What a shame, says cultural historian Cheng Pei-kai. If only the collector’s hand is not sullied by such commerce.

In this life, are we journeying together or just passing ships in the night? Chiang Hsun ponders the degrees of separation between people who share the same earth. What keeps us walking in parallel, never breaking down customary barriers?

Northern Chinese mutton soup is rich, hearty and bold-flavoured, standing in sharp contrast to the delicate cuisine of the south. The dish is an emblem of the gruff and big-hearted heroism of civil wars past and the grandeur of the Han and Tang dynasties. Indeed, traces of history are left behind in every drop of a good bowl of mutton soup.

What do creatives have in common and how differently do they interpret and make sense of the world around them? A chat with Singaporean photographer John Clang and Chinese photographer Zhou Yang gives a glimpse of that exploration. Each photographer has his own approach: Clang takes an almost anthropological perspective by drawing inspiration from those around him, be they friends or complete strangers; Zhou delves into the camera of the mind — the memory — and uses it to tell larger stories about the past and present. Lianhe Zaobao journalist Wang Yiming speaks to the photographers in the first of several fireside chats put together to commemorate the 30th anniversary of diplomatic relations between Singapore and China.

Professor Wang Gungwu, eminent historian and university professor of the Faculty of Arts and Social Sciences at the National University of Singapore, was awarded the 2020 Tang Prize in Sinology earlier this year. At the 2020 Tang Prize Masters’ Forums — Sinology held last month, Professor Wang traced the evolution of sinology in the West and East, observing that today, a “pluralist sinology” is emerging alongside a rising China. This allows for the term “sinologist” to be applied to a much larger group of scholars, and for the bringing together of various knowledge traditions and academic disciplines in the study of China. While there is much to be cheered by this, Professor Wang also urged his fellow scholars to be ready to “douse the fires that others had fanned”, as knowledge gathered by pluralist sinology could be used as a weapon amid intense rivalry between the US and China. This is the transcript of his speech. 

Deng Qingbo observes that despite sharing the same language and ethnicity as the mainland Chinese, the Taiwanese have been quicker to imbibe Japanese culture than Chinese culture per se. He sees that mainland China has a lot of catching up to do if it is to win the hearts and minds of the Taiwanese and reclaim some of the admiration it once enjoyed in areas such as civilisational development, culture, and literature.

In Chinese terminology, the colour which looks a lot like cyan is called qing (青). Yet it is used in many contexts and may even refer to black. What do we mean when we say qing and what do we understand by it? The permutations are vast, if we are open to them. In a similar vein, fixated ideas or assumptions can be the very barrier that obstructs one from seeing that which is truly beautiful. Free your mind, let loose a little, art historian Chiang Hsun says, to experience life in its full splendour.

Proverbs and sayings are not just traditional phrases handed down from generation to generation, says cultural historian Cheng Pei-kai. Dissected, they reveal a culture’s biases, thoughts and way of life. Understanding a country’s proverbs is understanding the people that use them.

Chiang Hsun writes about the third-best semi-cursive script by Song dynasty poet Su Shi in this third part of his series of articles on Chinese calligraphy. He reconstructs the circumstances of the calligrapher, who had just been released from prison and was sent to Huangzhou along the Yangtze river in a rainy spring. He muses that calligraphy is as truthful an artform as it gets. Its aesthetic qualities dictate that outpouring of emotions are captured in every brushstroke; the artist’s state of mind and the milieu of the times he depicts are laid bare for all to see.