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The movie The Battle at Lake Changjin has broken all sorts of box office records in China. This patriotic drama portrays Chinese volunteer troops fighting in the Korean War against the US, and is highly rated by the authorities and the public. However, certain comments have been criticised for being disrespectful to the people and times in the movie, and the police have detained Chinese financial media personality Luo Changping for his allegedly disparaging comments against the country's volunteer fighters. Zaobao’s China Desk examines the issue.

Strolling in the autumn light, Taiwanese art historian Chiang Hsun remembers that his mother always requested for fabrics in the colour of “autumn’s scent”. If fragrance sets a mood, and that mood can be captured in a mood board, what would that scent look like? Perhaps at the very least, it’d be a rich, mellow shade of dust settling on the seasons.

In our periods of isolation, even desolation through the pandemic, one can become cautious about forming bonds. A stray cat Chiang Hsun befriends reminds him that humans can’t help but care about one another, even when they pretend not to care. Yet they’re also guilty of caring too much, cocooning themselves to protect what they have. Will we ever learn to let go and have a good rest, defenceless?

Cultural historian Cheng Pei-kai recalls his study tour in Dehua county sampling tea as he visited dragon kilns and pottery workshops. He was delighted to extend warm hospitality to a Chinese-speaking Dutchman who was there to learn about Dehua porcelain and Anxi tea.

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.

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?”

In itself, a subversive artwork by Chinese dissident Ai Weiwei to be shown at Hong Kong’s new M+ museum may not have drawn such attention. But under the shadow of the national security law in Hong Kong and the looming chief executive election, everything is magnified a hundredfold.

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.

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?