- romance vs. reality: for those who take comfort and modernity for granted, buzz words such as "Himalaya", "Tibet" and "Silk Road" have a romantic ring to them. But to local inhabitants who have nothing to fall back on and no other mode of living to choose from, might they be craving for the very things we want to get away from?
- modernization vs. natural living: we have come a long way to be where we are today, just so that we could get away from it all? Ideal way of living, striking a balance...
Wednesday, December 14, 2011
note to self: thoughts to be expanded on later
Some questions one can ask while reading Buttertea at Sunrise - A Year in the Bhutan Himalaya (by Britta Das)
Tuesday, December 13, 2011
素描一張
I suppose I should make one thing clear: I DO NOT COLLECT COLOR PENCILS, unlike many who do. I simply "need" all of them to complete my future projects. (yeah, I'm not in the least bit convinced about that).
 |
| study of shades |
 |
| Before adding shades I have always been mesmerized by shades and shadows, the contrast between darker and lighter areas. When I see good black and white photographs, especially portraits, there's a natural urge to do quick sketches, to try and capture those shades that create depth, perception, and various moods. This is a rather cursory sketch of a profile image of a man (an actor, actually). This sketch was not planned. I had collected a number of WoW pictures and was getting ready to do a fine drawing of Illidan, but then I came upon this picture and it took priority over all other plans. And I was sorting all my drawing tools the other night, checking on inventory and deciding whether I still need to stock up on anything (yeah, like I really need more pencils)...and here is what I found ...   |
Wednesday, December 7, 2011
素描一張
板凳兒
I have been following this kitty cat's post for a while. Finally, I thought he deserves his own sketch. Of course this is a very rough sketch, there will definitely be more sketches of him coming up. I can't get enough of his cuteness. Let there be cuteness overload from one of my favorite cats, Ban-den er!
My tools
As usual, my favorite Derwent sketching pencils. I used HB, 4B and 8B. Lately, I have begun exploring leadholders, and I think I'm in love!! These are extremely easy to use, and the retracting device is just so cool!
Monday, December 5, 2011
readings happening and waiting to happen
This book, my first experience with Auster, turns out to be a tremendously slow read. I don't think it's the book, it's probably just me still recovering from post-travel languidness. I've seen the name Paul Auster come up in one of my favorite blogs and mentioned by one of my favorite authors (Murakami) with high regard, so naturally this is a must read. But I picked up this book at the wrong time. If I were to read it when I'm in my Murakami mood, I'd finish it in a few days, but lately I've been in the mood for something less "weird". Weird is probably the first word that comes to mind with the New York Trilogy, but being one of Murakami's favorite authors, this is no surprise.
Finally, taking my first humbling bite at classic Greek literature. This is a relatively new translation by Robert Fagles. Started this book about a week ago, still working through the introduction by Bernard Knox, which turns out to be very informative and for the most part newbie friendly, except for the first section on the "true origin" of the Iliad and on the tradition of bard singers. I am thinking some interesting thoughts about Greek gods and goddesses, or rather Homeric gods/goddesses about how "worldly" and "ungodly" they all behave. Much more on this book later.
Books waiting/screaming to be read, and they WILL be read.
A Game of Thrones (George R.R. Martin)
This book is sitting squarely and conspicuously on my desk, screaming to be read.
This book is sitting squarely and conspicuously on my desk, screaming to be read.
Diablo Archive
I have been wanting to try this for a long time. Everyone knows Blizzard makes good games, let's see if it also tells good stories. My gut feeling is it does.
I have been wanting to try this for a long time. Everyone knows Blizzard makes good games, let's see if it also tells good stories. My gut feeling is it does.
Cold Vengeance (Douglas Preston and Lincoln Child)
Yes, this is one of those series where whenever a new one comes out, I just buy without asking questions. This, however, does not mean I'm completely without doubts. After the last one flopped towards the ending, I'm hoping this one is not another let-down. (P.S., I am skimming through A Still Life without Crows, again, boy I'm falling for A.P. all over again~~~)
Wednesday, November 30, 2011
妹妹的書簽
At the moment when those particular type of events transpire, they seem of little consequence, hardly scratching the surface membrane of one's mind, fleeting, like the deadly silence before a storm, or the deafening white noise where you know you are supposed to be able to hear, and yet you hear nothing, feel nothing.
But rest assured that such events do drill holes inside of you, little bottomless pits, deeply embedded, and that they become ever more entangled with your very existence, foreshadowing.
Once in a while, dark, grotesque creatures crawl out from those pits, ensnarling, casting a shadow over things, pricking your soft spot with their claws of pain and venom. These incidents may be borne entirely on their own, leading to nowhere and nothing, or they may be triggered by the smallest knickknack, a handmade artifact, a remnant. The little hands that wrote the childish characters and drew the bunny head have long become ashes, scattered about this universe that is supposed to be one. So that every time I breathe, I breathe you; every step I take, my shoes are cushioned by the very earth of which you are part of:
好好學習
天天向上
Yes. All of a sudden, I see it. I am meant to draw strength, and hope, and to see a path aglow from these eight simple characters written with earnest by your youthful hands. It almost feels like your presence is still here, right where I most long to be.
But rest assured that such events do drill holes inside of you, little bottomless pits, deeply embedded, and that they become ever more entangled with your very existence, foreshadowing.
Once in a while, dark, grotesque creatures crawl out from those pits, ensnarling, casting a shadow over things, pricking your soft spot with their claws of pain and venom. These incidents may be borne entirely on their own, leading to nowhere and nothing, or they may be triggered by the smallest knickknack, a handmade artifact, a remnant. The little hands that wrote the childish characters and drew the bunny head have long become ashes, scattered about this universe that is supposed to be one. So that every time I breathe, I breathe you; every step I take, my shoes are cushioned by the very earth of which you are part of:
好好學習
天天向上
Yes. All of a sudden, I see it. I am meant to draw strength, and hope, and to see a path aglow from these eight simple characters written with earnest by your youthful hands. It almost feels like your presence is still here, right where I most long to be.
Monday, November 7, 2011
2011 - 秋行風物見（之三）- 故宮看畫
到了下午，困意襲來，排山倒海一般。不過以這種狀態看山水畫，倒也別有逸趣。反正無論清醒還是昏睡，山水畫對於我都是霧裏看花。看的與其說是畫中的山水，不如說是當時看畫人的心境。頭腦混沌之際，看雲山霧罩的風景，倒也頗爲契合。
瓷器我接觸過一些皮毛知識，山水畫則是徹底的門外漢，但這並不妨礙欣賞。好的藝術品本來就應該既受專家青睞，更讓普儸大衆接受。好在國畫廳的遊人不算太多，團組旅遊，時間多半有限，當然先奔最有名氣的展品，所以可能大部分都奔玉白菜和紅燒肉去了。順道說一句，久仰大名的玉白菜比我想象得要小的多的多，原本我以爲它大約和真的白菜大小差不多。不過我總覺得臺北故宮裏格調比它高的藏品不計其數，卻爲何這顆白菜這麽獨領風騷。
國畫/書法廳的燈光為了保護藏品的緣故，比較昏暗，但卻貼心地把畫裏某些較有看點的局部圖在真跡旁邊放大，再用背景燈光打亮，方便我們細看。展廳裏的整體氛圍非常好，終於開始逐漸感覺到「意境」。
我們在買票時都購買了語音導讀器，不過導讀只能説明一些技術層面的東西，感受則要靠自己體會。我記得當時有三幅非常寬大的山水畫竪軸挂在展廳外的過道裏，我坐在凳子上呆呆地看了許久。很後悔沒有做筆記，因此只依稀記得有郭熙的《早春圖》和李唐的《萬壑松風》。只要是山水國畫，很少有一目了然的，必定雲山霧罩，山路蜿蜒崎嶇，山峰若隱若現，山巒和雲霧如身形扭曲的盤龍，見首不見尾。人物通常極小，而且幾乎不會安排在畫中醒目處，常常在左下角這類犄角旮旯的地方，恨不得用放大鏡才能找到比螞蟻大不了多少的人。我記得看到後來，我們就以找畫中人物為樂了。
從某種意義講，「意境」是靠「含蓄」和「曖昧」產生的。國畫，畫的是自然界山水，但用意往往是要抒發胸壑中的山水，抒發某種抱負和情懷（就像唐宋的諸多膾炙人口的詩詞，都是文人在謫居時寫下的）：「我的治國理政的抱負，正像那浩瀚無垠的山水一般。」諸如此類。因爲志向往往不便明言，才寄情於山水。所以，中國的山水，從來就不單純，因爲不單純，所以才有意境。不過我對於國畫，就像對於中國文化的許多其他方面，都有正反兩面的矛盾看法。我喜歡山水國畫裏人與自然的關係，即人隱於自然當中，是微不足道的一芥子這種理念，我也嘆服於畫家用筆用墨的技巧，僅用一種顔色，就可以創造出如此多層次和質感，如此傳神的各種景物。人物也是，看似輕描淡寫地勾勒了幾筆，立刻就出來一個生動的形象。
但從另一個方面，看國畫卻也能體會出，這是個内心柔弱、有自虐情結的文化。或者說得褒揚一些，這是個「柔韌」的文化。中國最頂級的畫作（也包括文學作品、甚至瓷器、家具等），除了出自匠人之手以外，更重要的是有文化人在做後盾。而畫作幾乎全部出自文人，或者說官場之人，這些人當中，懷才不遇、不得意的何其多，鬱鬱寡歡、抑鬱而死的何其多，他們中間，大多都在自己的傳世之作上宣稱想要歸隱、歸農、做隱者、當道士、或學佛、或成仙。多少個朝代了，似乎也沒有擺脫這種心境。淫浸在這個文化裏過久，就會深入骨髓地開始習慣成自然，開始把自虐當成自娛了。所以，雖然說國畫的口味是極爲清淡的，看得多了卻也讓人看出個「膩」字來。
同樣是山、是水，歐美的油畫卻營造出截然不同的觀感。記得誰說過，歐美人看國畫，會產生「這是半成品，還沒畫完的感覺。」我想，如果是中國古代的畫師看油畫，説不定會覺得，首先，男女都赤身裸體，真是傷風敗俗；更重要的是，大紅大綠的，太俗氣，太直白，太沒有意境了。
大都會藏有一些美國畫家的山水風光作品，看實物非常令人震驚。最具有代表性的是Frederic Edwin Church的The Heart of Andes。這幅作品大的驚人，而且畫中所包含的一草一木的細節，會讓你產生這是不是照片的錯覺。這同樣是一幅能讓你愣愣地看很久，嘆爲觀止的藝術作品。看油畫山水，比較有爽快感，如果是晴天，就一定能感覺到太陽的光線，如果是雷雨天，就有十分明顯的烏雲密布，並且有種真實感，油畫不論是畫自然山水、人體、還是畫衣服的質感，都追求科學一般的準確度和真實感。看中國山水，則有種浪漫感，神到即可，不追求形似。這兩種深入骨髓的觀點，與後來兩種文明的命運是否有什麽内在的關聯呢？
~~~~
小插曲一：在看國畫/書法的過程中，我們數次發現了“囧”這個圖章，頗有喜感。到底是怎麽回事呢？其實“囧”這個字的本意還是不錯的，是“光明”的意思，據説在古代，還是文人喜愛使用的字呢。不過非常有格調的國畫珍品上乍然出現一個“囧”字，也著實令人發笑。
瓷器我接觸過一些皮毛知識，山水畫則是徹底的門外漢，但這並不妨礙欣賞。好的藝術品本來就應該既受專家青睞，更讓普儸大衆接受。好在國畫廳的遊人不算太多，團組旅遊，時間多半有限，當然先奔最有名氣的展品，所以可能大部分都奔玉白菜和紅燒肉去了。順道說一句，久仰大名的玉白菜比我想象得要小的多的多，原本我以爲它大約和真的白菜大小差不多。不過我總覺得臺北故宮裏格調比它高的藏品不計其數，卻爲何這顆白菜這麽獨領風騷。
國畫/書法廳的燈光為了保護藏品的緣故，比較昏暗，但卻貼心地把畫裏某些較有看點的局部圖在真跡旁邊放大，再用背景燈光打亮，方便我們細看。展廳裏的整體氛圍非常好，終於開始逐漸感覺到「意境」。
我們在買票時都購買了語音導讀器，不過導讀只能説明一些技術層面的東西，感受則要靠自己體會。我記得當時有三幅非常寬大的山水畫竪軸挂在展廳外的過道裏，我坐在凳子上呆呆地看了許久。很後悔沒有做筆記，因此只依稀記得有郭熙的《早春圖》和李唐的《萬壑松風》。只要是山水國畫，很少有一目了然的，必定雲山霧罩，山路蜿蜒崎嶇，山峰若隱若現，山巒和雲霧如身形扭曲的盤龍，見首不見尾。人物通常極小，而且幾乎不會安排在畫中醒目處，常常在左下角這類犄角旮旯的地方，恨不得用放大鏡才能找到比螞蟻大不了多少的人。我記得看到後來，我們就以找畫中人物為樂了。
從某種意義講，「意境」是靠「含蓄」和「曖昧」產生的。國畫，畫的是自然界山水，但用意往往是要抒發胸壑中的山水，抒發某種抱負和情懷（就像唐宋的諸多膾炙人口的詩詞，都是文人在謫居時寫下的）：「我的治國理政的抱負，正像那浩瀚無垠的山水一般。」諸如此類。因爲志向往往不便明言，才寄情於山水。所以，中國的山水，從來就不單純，因爲不單純，所以才有意境。不過我對於國畫，就像對於中國文化的許多其他方面，都有正反兩面的矛盾看法。我喜歡山水國畫裏人與自然的關係，即人隱於自然當中，是微不足道的一芥子這種理念，我也嘆服於畫家用筆用墨的技巧，僅用一種顔色，就可以創造出如此多層次和質感，如此傳神的各種景物。人物也是，看似輕描淡寫地勾勒了幾筆，立刻就出來一個生動的形象。
但從另一個方面，看國畫卻也能體會出，這是個内心柔弱、有自虐情結的文化。或者說得褒揚一些，這是個「柔韌」的文化。中國最頂級的畫作（也包括文學作品、甚至瓷器、家具等），除了出自匠人之手以外，更重要的是有文化人在做後盾。而畫作幾乎全部出自文人，或者說官場之人，這些人當中，懷才不遇、不得意的何其多，鬱鬱寡歡、抑鬱而死的何其多，他們中間，大多都在自己的傳世之作上宣稱想要歸隱、歸農、做隱者、當道士、或學佛、或成仙。多少個朝代了，似乎也沒有擺脫這種心境。淫浸在這個文化裏過久，就會深入骨髓地開始習慣成自然，開始把自虐當成自娛了。所以，雖然說國畫的口味是極爲清淡的，看得多了卻也讓人看出個「膩」字來。
同樣是山、是水，歐美的油畫卻營造出截然不同的觀感。記得誰說過，歐美人看國畫，會產生「這是半成品，還沒畫完的感覺。」我想，如果是中國古代的畫師看油畫，説不定會覺得，首先，男女都赤身裸體，真是傷風敗俗；更重要的是，大紅大綠的，太俗氣，太直白，太沒有意境了。
大都會藏有一些美國畫家的山水風光作品，看實物非常令人震驚。最具有代表性的是Frederic Edwin Church的The Heart of Andes。這幅作品大的驚人，而且畫中所包含的一草一木的細節，會讓你產生這是不是照片的錯覺。這同樣是一幅能讓你愣愣地看很久，嘆爲觀止的藝術作品。看油畫山水，比較有爽快感，如果是晴天，就一定能感覺到太陽的光線，如果是雷雨天，就有十分明顯的烏雲密布，並且有種真實感，油畫不論是畫自然山水、人體、還是畫衣服的質感，都追求科學一般的準確度和真實感。看中國山水，則有種浪漫感，神到即可，不追求形似。這兩種深入骨髓的觀點，與後來兩種文明的命運是否有什麽内在的關聯呢？
~~~~
小插曲一：在看國畫/書法的過程中，我們數次發現了“囧”這個圖章，頗有喜感。到底是怎麽回事呢？其實“囧”這個字的本意還是不錯的，是“光明”的意思，據説在古代，還是文人喜愛使用的字呢。不過非常有格調的國畫珍品上乍然出現一個“囧”字，也著實令人發笑。
Wednesday, November 2, 2011
2011 - 秋行風物見（之二）- 故宮
不知道從什麽時候開始，變得很愛逛博物館。記得楊絳先生百歲的訪談裏有句話，大意是這個年紀的楊先生傾心於藝術、於美麗的事物。當時似乎讀出了些許言外之意，即對於諸多繁雜事，有盡量迴避的意思。歲月的遞增，即代表諸事的複雜性的遞增，談論什麽都會有碰壁的風險，不是碰著自己胳膊肘，就是撞上他人的暗礁，總歸難有無瑕疵的好風景。那我們還能談什麽呢，那就談天氣吧，因爲好也罷、坏也罷，都可以站在同一個立場討伐老天爺。
我們還可以談藝術，藝術是少數幾個較爲安全的避風港。當然，世界級藝術品的背後，多有雷霆風雲般的血淚歷史、矛盾紛爭，但藝術品本身，可以超越諸多束縛人的條條框框。
對於華人文化圈，「故宮」是個沉甸甸的象徵。說起故宮的建築本身，可以上溯回六百年前的永樂皇帝—明朝少數幾個做了些事情的皇帝，而後歷經了明清二十四帝，歷經了十九世紀末至二十世紀中葉華夏這片土地一場又一場劫難。難得的是紫禁城屹立至今天，更難得的是城裏最精美的物件今天還能供奉於殿堂之上，以饗同好。雖然多有「一個有宮無寳，另一個有寳無宮」的説法，但無論怎麽說，今天的現狀已經是不幸中的萬幸。
我十二歲離開的北京，對於紫禁城的印象就只有紅墻、琉璃瓦、巍峨的幾座大殿、空曠的殿與殿之間的場地、還有參差不齊長著雜草的地磚。至於紫禁城裏的藏品，只記得西洋人獻給清朝皇帝的精美座鐘，而對於中國的藝術品，幾乎沒有記憶。現在看來，先不說紫禁城裏「缺寶」，當年即使看了也等於白看，中國的臻于化境的藝術品，小孩子根本無法領會。即便是今天看，也只一知半解，有的仍然雲裏霧裏。
喜歡上欣賞中國的藝術品，要歸功於馬未都先生。自從在「百家講壇」節目上聼過馬先生講中國家具和陶瓷，就欲罷不能。馬先生講課深入淺出，注重的不是藝術品的鑑定，而是藝術品的文化深意，與歷史、與古人、與華夏靈魂之間的聯係。對於我，這纔是藝術品最有意思的地方。從馬先生的課裏，我第一次認識了汝官哥鈞定、甜白釉、僧帽壺、Celadon、天字罐、元青花、琺瑯彩、粉彩、知道臺北故宮是全世界汝窯收藏最爲集中的地方。而汝窯的淡雅簡約含蓄，又正暗合中國山水畫的意境，暗合漢文化的核心審美觀。所以，看汝窯，是看臺北故宮的重點之一。
站在蓮花式溫碗、青瓷無紋水仙盆、以及青瓷葵花式洗的面前，心情平靜的自己都有些詫異。中國瓷器中，素有汝窯為魁的説法，而這幾件汝窯，說它們是汝窯中的翹楚也絕不為過。這就是全世界最好的汝窯了，再無出其右者了。而在終於親眼看到它們、離實物距離不過半步之遙的瞬間，反而沒有任何激動。就像它們如此平靜地與身旁的定窯、官窯、龍泉窯等無言相伴那樣，我也平靜地望著每一件無法用金錢來衡量的稀世之珍。我記得當時唯一的想法就是：究竟哪株水仙花能有幾世修來的福氣被植入那個無紋水仙盆裏呀。
說不清楚原因，我總覺得在我看著它們的那個瞬間，它們的靈魂並不在那裏，徒具軀殼而已。馬先生曾經說過，（大意是）如果給他十個億，他就可以打造一個令人嘆爲觀止的博物館。具體何為「嘆爲觀止」，卻沒有細説。不過或許，可以借用紅樓夢裏描述秦可卿房間的一段話：
這樣的博物館，應該沒有吧（笑）。
今年早些時候，紐約大都會博物館舉辦了一場乾隆至寶展覽。我們都知道，乾隆皇帝是個揮霍行家，也是個自戀狂，在數不清的國畫珍品上，最醒目處的大章往往是他的，令人不知做何想。而那次的乾隆至寶展上，最令人印象深刻的是幾件全部用紫檀木做成的大型家具，其中有一件數米長、氣勢非凡的紫檀百寳大櫃，是我見過的最大的紫檀家具。也只有乾隆這麽暴殄天物的個性，才做得出這種造孽的東西。就剩那麽點兒紫檀木料，到他那基本就揮霍光了。不過，這個百寳櫃的諸多格子裏，什麽都沒有，空空如也。不失爲一大遺憾。全紫檀的百寳櫃，如果不是北宋的汝瓷，還有什麽配得上它呢。
中國的瓷器也好、山水也罷，都勝在「意境」二字上。但最佳的意境，卻也只能待天時、地利與人和啊。不過好在殘缺之美，病態之美，自古以來就是漢文化中審美的最高境界。
閒話休表。回到故宮現場。快到中午的時候，館裏熱鬧得像是大賣場，周圍烏壓壓一群一群的人，多數是大陸來的旅遊團（小部分來自日本），像魚群一樣，匆匆地走馬觀花，聒噪得令人頭痛。旅遊者多到這樣的地步倒出乎我的意料。「意境」我就不奢望了，但難得來一次，好歹要把每樣藏品都看清楚了才不枉此行，所以我們游走於各魚群之間，看到哪處人少了就趕緊看幾分鐘，哪出太擠了就趕緊避開，就這樣捉迷藏一般地看展覽。
這裡特別提一下兩件瓷器藏品，是給我印象最爲深刻的。第一件是一只甜白瓷茶壺（明永樂）。擺放的位置較不起眼，但第一眼看見這個茶壺，眼睛就離不開了，流連忘返了數次，覺得怎麽也看不夠。「甜白瓷」這個名稱，第一次當然也是在馬先生的課上聽説的。當時看圖片上的白色瓷器，覺得與定窯的白瓷似乎也沒什麽不同。定窯的白瓷從沒有給我驚艷的感覺，那個白透著點牙黃，不是那麽透亮，甚至於連汝窯，因爲期望已經很高，所以也並沒有超出期望（順道一提，我最喜歡的是蓮花式溫碗），而這只甜白瓷茶壺，卻實實在在地令人驚艷。我終於明白了馬先生說的「甜白瓷的白，甜膩的如細膩的白糖」是什麽意思了。那真的只有看到實物才能領會，實物勝照片豈止十倍。那種白，讓人覺得它在流動，似乎有活物的感覺，不只像推砌的白糖，也像貝殼會發出的瑩潤的白光，視覺十分舒適。事實上，臺北故宮藏的永樂朝的瓷器都非常漂亮，不但做工精美，也充滿開國的朝氣，有一只體積龐大的青花蟠龍天球瓶，就是個典型例證。
第二件是琺瑯彩藍料山水把壺（清雍正）。在所有的彩瓷裏面，如果按朝代劃分喜好與否，那麽我只喜歡雍正朝的瓷器。雍正的瓷器，雖不及康熙朝的大氣，但品味與細膩卻是彩瓷中之冠，更遠勝乾隆朝的瓷器（那真正配得上「且俗甚」三個字）。我在臺北故宮看到的每件雍正瓷器都可以用嘆爲觀止形容，無論是琺瑯彩的碗，還是繪著山水的小型器物，都對於匠人筆下的功力感到不可思議，在這麽寸許的空間裏，竟然畫出了又一個洞天，且筆觸絲毫不馬虎，儼然就是一幅可以放大裱起來的山水佳作。僅此也能看出雍正是個一絲不苟、巨細靡遺的主子。這樣的主子雖然很不好侍候，但好在給後人留下來這麽多藝術精品。
其實在看瓷器的過程中，如果稍稍體會，就不難看出每個朝代的興衰過程。開國和盛世時的瓷器，與國運漸衰時的瓷器，真是有天壤之別。你可以明顯地看到，本來遒勁兇猛的龍是如何一點點地變得曖昧、諂媚、柔軟、無力；細節的處理如何一點點地變得粗糙；釉色和雕刻如何越來越單薄、敷衍了事；創新力如何逐漸消失無蹤跡，剩下的只不過是程式而已。當然也可以體會出這些瓷器身後的一位位帝王們，他們的雄心、氣魄、柔弱、荒誕、無奈、醉生夢死、甚至是苦楚。
我們還可以談藝術，藝術是少數幾個較爲安全的避風港。當然，世界級藝術品的背後，多有雷霆風雲般的血淚歷史、矛盾紛爭，但藝術品本身，可以超越諸多束縛人的條條框框。
對於華人文化圈，「故宮」是個沉甸甸的象徵。說起故宮的建築本身，可以上溯回六百年前的永樂皇帝—明朝少數幾個做了些事情的皇帝，而後歷經了明清二十四帝，歷經了十九世紀末至二十世紀中葉華夏這片土地一場又一場劫難。難得的是紫禁城屹立至今天，更難得的是城裏最精美的物件今天還能供奉於殿堂之上，以饗同好。雖然多有「一個有宮無寳，另一個有寳無宮」的説法，但無論怎麽說，今天的現狀已經是不幸中的萬幸。
我十二歲離開的北京，對於紫禁城的印象就只有紅墻、琉璃瓦、巍峨的幾座大殿、空曠的殿與殿之間的場地、還有參差不齊長著雜草的地磚。至於紫禁城裏的藏品，只記得西洋人獻給清朝皇帝的精美座鐘，而對於中國的藝術品，幾乎沒有記憶。現在看來，先不說紫禁城裏「缺寶」，當年即使看了也等於白看，中國的臻于化境的藝術品，小孩子根本無法領會。即便是今天看，也只一知半解，有的仍然雲裏霧裏。
喜歡上欣賞中國的藝術品，要歸功於馬未都先生。自從在「百家講壇」節目上聼過馬先生講中國家具和陶瓷，就欲罷不能。馬先生講課深入淺出，注重的不是藝術品的鑑定，而是藝術品的文化深意，與歷史、與古人、與華夏靈魂之間的聯係。對於我，這纔是藝術品最有意思的地方。從馬先生的課裏，我第一次認識了汝官哥鈞定、甜白釉、僧帽壺、Celadon、天字罐、元青花、琺瑯彩、粉彩、知道臺北故宮是全世界汝窯收藏最爲集中的地方。而汝窯的淡雅簡約含蓄，又正暗合中國山水畫的意境，暗合漢文化的核心審美觀。所以，看汝窯，是看臺北故宮的重點之一。
站在蓮花式溫碗、青瓷無紋水仙盆、以及青瓷葵花式洗的面前，心情平靜的自己都有些詫異。中國瓷器中，素有汝窯為魁的説法，而這幾件汝窯，說它們是汝窯中的翹楚也絕不為過。這就是全世界最好的汝窯了，再無出其右者了。而在終於親眼看到它們、離實物距離不過半步之遙的瞬間，反而沒有任何激動。就像它們如此平靜地與身旁的定窯、官窯、龍泉窯等無言相伴那樣，我也平靜地望著每一件無法用金錢來衡量的稀世之珍。我記得當時唯一的想法就是：究竟哪株水仙花能有幾世修來的福氣被植入那個無紋水仙盆裏呀。
說不清楚原因，我總覺得在我看著它們的那個瞬間，它們的靈魂並不在那裏，徒具軀殼而已。馬先生曾經說過，（大意是）如果給他十個億，他就可以打造一個令人嘆爲觀止的博物館。具體何為「嘆爲觀止」，卻沒有細説。不過或許，可以借用紅樓夢裏描述秦可卿房間的一段話：
说着大家来至秦氏房里。刚到房门，便有一股细细的甜香袭人而来。宝玉觉得眼饧骨软，连说“好香”。进屋向壁上看时，有唐伯虎画的《海棠春睡图》 ，两边有宋进学士秦太虚写的一副对联：“嫩寒镇梦因春冷，芳气袭人是酒香”。換句話說，例如，在一個紫檀百寳櫃裏，毋需多，放置一兩件汝瓷珍品即可，如果是水仙盆，就真在盆裏栽一株鮮嫩的水仙；旁邊不妨有個黃花梨大案，案上或一膽瓶、或一質樸的梅瓶、或一對畫著刀馬人的將軍罐；地上一個元青花大罐，康熙朝大罐也可；粉墻上一幅美人卷軸；空氣中瓢著似有若無的上等檀香，不知何處傳來悠悠的撫琴聲~~~燈光焦點對著瓷器，而美人卷軸周圍的光線要昏暗，以看不清美人的臉為佳，大概就是這麽個意思。
桌案上面设着武则天当年镜室里安的宝镜，一边摆着赵飞燕跳舞的金盘．盘里盛着安禄山掷伤太真乳的木瓜。上面设着寿昌公主在含章殿下睡卧的榻，锡上挂的是同昌公主做的联珠帐。宝玉含笑连说：“这里好。”秦氏笑道：“我这屋子大约神仙也可以住得了。”说着亲自展开了西施洗过的纱表，移了红娘抱过的鸳枕。于是众奶妈服侍宝玉卧好，款款散了……
這樣的博物館，應該沒有吧（笑）。
今年早些時候，紐約大都會博物館舉辦了一場乾隆至寶展覽。我們都知道，乾隆皇帝是個揮霍行家，也是個自戀狂，在數不清的國畫珍品上，最醒目處的大章往往是他的，令人不知做何想。而那次的乾隆至寶展上，最令人印象深刻的是幾件全部用紫檀木做成的大型家具，其中有一件數米長、氣勢非凡的紫檀百寳大櫃，是我見過的最大的紫檀家具。也只有乾隆這麽暴殄天物的個性，才做得出這種造孽的東西。就剩那麽點兒紫檀木料，到他那基本就揮霍光了。不過，這個百寳櫃的諸多格子裏，什麽都沒有，空空如也。不失爲一大遺憾。全紫檀的百寳櫃，如果不是北宋的汝瓷，還有什麽配得上它呢。
中國的瓷器也好、山水也罷，都勝在「意境」二字上。但最佳的意境，卻也只能待天時、地利與人和啊。不過好在殘缺之美，病態之美，自古以來就是漢文化中審美的最高境界。
閒話休表。回到故宮現場。快到中午的時候，館裏熱鬧得像是大賣場，周圍烏壓壓一群一群的人，多數是大陸來的旅遊團（小部分來自日本），像魚群一樣，匆匆地走馬觀花，聒噪得令人頭痛。旅遊者多到這樣的地步倒出乎我的意料。「意境」我就不奢望了，但難得來一次，好歹要把每樣藏品都看清楚了才不枉此行，所以我們游走於各魚群之間，看到哪處人少了就趕緊看幾分鐘，哪出太擠了就趕緊避開，就這樣捉迷藏一般地看展覽。
這裡特別提一下兩件瓷器藏品，是給我印象最爲深刻的。第一件是一只甜白瓷茶壺（明永樂）。擺放的位置較不起眼，但第一眼看見這個茶壺，眼睛就離不開了，流連忘返了數次，覺得怎麽也看不夠。「甜白瓷」這個名稱，第一次當然也是在馬先生的課上聽説的。當時看圖片上的白色瓷器，覺得與定窯的白瓷似乎也沒什麽不同。定窯的白瓷從沒有給我驚艷的感覺，那個白透著點牙黃，不是那麽透亮，甚至於連汝窯，因爲期望已經很高，所以也並沒有超出期望（順道一提，我最喜歡的是蓮花式溫碗），而這只甜白瓷茶壺，卻實實在在地令人驚艷。我終於明白了馬先生說的「甜白瓷的白，甜膩的如細膩的白糖」是什麽意思了。那真的只有看到實物才能領會，實物勝照片豈止十倍。那種白，讓人覺得它在流動，似乎有活物的感覺，不只像推砌的白糖，也像貝殼會發出的瑩潤的白光，視覺十分舒適。事實上，臺北故宮藏的永樂朝的瓷器都非常漂亮，不但做工精美，也充滿開國的朝氣，有一只體積龐大的青花蟠龍天球瓶，就是個典型例證。
第二件是琺瑯彩藍料山水把壺（清雍正）。在所有的彩瓷裏面，如果按朝代劃分喜好與否，那麽我只喜歡雍正朝的瓷器。雍正的瓷器，雖不及康熙朝的大氣，但品味與細膩卻是彩瓷中之冠，更遠勝乾隆朝的瓷器（那真正配得上「且俗甚」三個字）。我在臺北故宮看到的每件雍正瓷器都可以用嘆爲觀止形容，無論是琺瑯彩的碗，還是繪著山水的小型器物，都對於匠人筆下的功力感到不可思議，在這麽寸許的空間裏，竟然畫出了又一個洞天，且筆觸絲毫不馬虎，儼然就是一幅可以放大裱起來的山水佳作。僅此也能看出雍正是個一絲不苟、巨細靡遺的主子。這樣的主子雖然很不好侍候，但好在給後人留下來這麽多藝術精品。
其實在看瓷器的過程中，如果稍稍體會，就不難看出每個朝代的興衰過程。開國和盛世時的瓷器，與國運漸衰時的瓷器，真是有天壤之別。你可以明顯地看到，本來遒勁兇猛的龍是如何一點點地變得曖昧、諂媚、柔軟、無力；細節的處理如何一點點地變得粗糙；釉色和雕刻如何越來越單薄、敷衍了事；創新力如何逐漸消失無蹤跡，剩下的只不過是程式而已。當然也可以體會出這些瓷器身後的一位位帝王們，他們的雄心、氣魄、柔弱、荒誕、無奈、醉生夢死、甚至是苦楚。
Tuesday, November 1, 2011
2011 - 秋行風物見（之一）
三個星期轉瞬即逝。星期六，從暖風熏得人欲醉的初秋回到已經冰雪覆蓋的家。這是今年的第一場雪。十月飄雪，是反常的現象，但我的生活又將回歸正常。
在人生的不同階段往外跑，意義不盡相同：兒時出門，不過是在記憶深處留下一些浮光掠影的童話夢境，待日後，或去印證重拾回憶、或去惋歎物是人非；二十歲出門，正是万里揚帆、意氣風發的好歲月，意識已經逐漸覺醒，生命依然沒有盡頭，風景好、酒兒甘、佳人美，宇宙乾坤都盡握掌中；三十歲出門，心境卻又不同，令人真正心動的事物變得不多，雖也有感動、也有驚喜，卻總被「分寸」二字所縛，喜怒哀樂也必留有餘地，（簡而言之，變得越來越不可愛，）觀他處風景，雖也新鮮有趣，到頭來，發現一切都是為了證實心裏的某些東西。
所謂「旅行」這件事的意義，正是走到天涯海角，去尋找心中的自己。不拉開距離，就不知道什麽對你最爲重要。
到達臺北已是深夜。最先沒有料到的是潮濕悶熱的天氣，看來我帶的秋季衣服完全派不上用場。從桃園機場前往市區的酒店，一路上很安靜，城市似乎已經入睡。到處是店鋪的招牌，許多都有歲月的痕跡，像是老相冊裏的相片，輪廓朦朧。放眼處處是繁體字，我一向比較喜歡繁體字，倒也覺得很悅目。這次正逢「精彩一百」慶典，雖只剛剛到達，卻也感受得到氣氛，車子在駛過一條十分寬敞的馬路時（似乎是總統府附近的路），看到了被霓虹燈覆蓋的一座類似於牌坊式樣的門，用燈光做出「精彩100」的字樣，頗具氣勢，亮麗的色彩映襯著黑黝黝的夜色，十分醒目。
我們預訂的酒店招牌不算起眼，但大廳和走道的陳設十分精巧，房間也很合心意，都走歐式風格。門廳處竟然還有一尊維納斯風格的石雕像，倒也稀罕。放下行囊，電話報了平安，就強迫自己入睡，好為第二天的故宮之行養足精神。
在人生的不同階段往外跑，意義不盡相同：兒時出門，不過是在記憶深處留下一些浮光掠影的童話夢境，待日後，或去印證重拾回憶、或去惋歎物是人非；二十歲出門，正是万里揚帆、意氣風發的好歲月，意識已經逐漸覺醒，生命依然沒有盡頭，風景好、酒兒甘、佳人美，宇宙乾坤都盡握掌中；三十歲出門，心境卻又不同，令人真正心動的事物變得不多，雖也有感動、也有驚喜，卻總被「分寸」二字所縛，喜怒哀樂也必留有餘地，（簡而言之，變得越來越不可愛，）觀他處風景，雖也新鮮有趣，到頭來，發現一切都是為了證實心裏的某些東西。
所謂「旅行」這件事的意義，正是走到天涯海角，去尋找心中的自己。不拉開距離，就不知道什麽對你最爲重要。
到達臺北已是深夜。最先沒有料到的是潮濕悶熱的天氣，看來我帶的秋季衣服完全派不上用場。從桃園機場前往市區的酒店，一路上很安靜，城市似乎已經入睡。到處是店鋪的招牌，許多都有歲月的痕跡，像是老相冊裏的相片，輪廓朦朧。放眼處處是繁體字，我一向比較喜歡繁體字，倒也覺得很悅目。這次正逢「精彩一百」慶典，雖只剛剛到達，卻也感受得到氣氛，車子在駛過一條十分寬敞的馬路時（似乎是總統府附近的路），看到了被霓虹燈覆蓋的一座類似於牌坊式樣的門，用燈光做出「精彩100」的字樣，頗具氣勢，亮麗的色彩映襯著黑黝黝的夜色，十分醒目。
我們預訂的酒店招牌不算起眼，但大廳和走道的陳設十分精巧，房間也很合心意，都走歐式風格。門廳處竟然還有一尊維納斯風格的石雕像，倒也稀罕。放下行囊，電話報了平安，就強迫自己入睡，好為第二天的故宮之行養足精神。
Wednesday, September 28, 2011
貓毛與碎片
- 最近十分地忙碌。當年期末大考都不覺得有最近這麽用功。我果然還是喜歡日語的（當然也喜歡漢語和英語）。不過，對於每種語言，或者說對於每種文化，我都有倦怠期，這大概是我的任性。但即便如此，我也開始學會坦然接受“我就是這些語言和這些文化融合而成的綜合体”這個事實，完全抛棄任何一個都是不可能的。坦然面對自己是誰，是比想象中要複雜得多的事情。
- 我從不覺得智商不高的人有什麽可憐的，我甚至認爲那是種幸福。相反，我卻覺得情商不高的人令人感到遺憾。情商這東西，不懂就是不懂的。
- 抱著毛茸茸的柔軟貓咪，而她又溫順地回頭看你的時候，那就是“小小的幸福”。（雖然爪子很鋒利！）
- 很高興上次在中國買了一本韓寒的《獨唱團》，終於開始讀它了。這不過是本外表十分樸素的雜誌，但我卻十分珍愛它，因爲它可能是獨本，什麽時候再會有很難説。讀《獨唱團》裏的文字，時常發出“噗”的笑聲，有時候也會哭不出眼淚，讀著讀著，覺得這本小冊子裏的故事讓人有種無力感。但其實，國人手裏能夠握著一本出版了的讓人有無力感的書，是件挺給力的事情。反而是讀那些從頭至尾都十分給力的“XX日報”，是件讓人覺得很無力的事。我的願望是，有一天，《獨唱團》再不是件新鮮的事。但我們已經開始開倒車了，所以這一天可能還很遠。
Friday, September 16, 2011
雜事
決定把貓貓們的飲食從一天兩頓縮減到一頓。幾只小貓每天都在我們屋後的小樹林裏四處逛，光顧各家後院，吃百家食兒。
我家一般只喂專門給貓吃的乾糧和罐頭，買貓糧幾乎成了每一至兩個月的固定消費，一買就到Costco這類的店去買超大一包或一箱，去年發現，每年的養寵物開銷到年底竟然還能減稅。
而別家似乎多有喂人食的。因爲人食一般比貓食要香，所以吃慣人食的貓會變得不愛吃貓食。我有過幾次喂它們吃Chicken of the Sea的人吃的金槍魚罐頭，發現它們都愛吃的要死，盤子舔的渣子都不剩。後來就不太敢多喂，主要是我們的飲食太咸太油膩，貓吃多了腎臟等内臟會出問題，而且吃過了人食就不想吃貓糧了。
最近發現虎妞和肥二就變得不太愛吃貓糧，雖然每次吃飯時間一到，就點卯一樣地來蹲點兒，但是盤子裏的飯碰都不碰，氣得我不行。所以決定，讓它們餓一點，把食欲餓出來大概就乖乖吃飯了。果然，恢復成一天一頓之後，立刻又乖乖地吃得很香。不過貓貓們習慣了早上來等飯吃，但現在等不到了，總覺得良心不安哪（=.=），但又不想讓它們吃兩口就不吃，浪費食物，所以還是狠狠心改成晚上再喂，它們也吃得香很多。
下月要去旅行，去我一直很嚮往的京都，所以本月一直在“一生懸命”地做功課，順便也把日語系統復習一遍，準備臨陣磨槍，不快也光（=.=）。得出的結論是，學語言，沒有壓力果然是不行的，一旦知道馬上就要用到，立刻效率就快了一倍。
我家一般只喂專門給貓吃的乾糧和罐頭，買貓糧幾乎成了每一至兩個月的固定消費，一買就到Costco這類的店去買超大一包或一箱，去年發現，每年的養寵物開銷到年底竟然還能減稅。
而別家似乎多有喂人食的。因爲人食一般比貓食要香，所以吃慣人食的貓會變得不愛吃貓食。我有過幾次喂它們吃Chicken of the Sea的人吃的金槍魚罐頭，發現它們都愛吃的要死，盤子舔的渣子都不剩。後來就不太敢多喂，主要是我們的飲食太咸太油膩，貓吃多了腎臟等内臟會出問題，而且吃過了人食就不想吃貓糧了。
最近發現虎妞和肥二就變得不太愛吃貓糧，雖然每次吃飯時間一到，就點卯一樣地來蹲點兒，但是盤子裏的飯碰都不碰，氣得我不行。所以決定，讓它們餓一點，把食欲餓出來大概就乖乖吃飯了。果然，恢復成一天一頓之後，立刻又乖乖地吃得很香。不過貓貓們習慣了早上來等飯吃，但現在等不到了，總覺得良心不安哪（=.=），但又不想讓它們吃兩口就不吃，浪費食物，所以還是狠狠心改成晚上再喂，它們也吃得香很多。
下月要去旅行，去我一直很嚮往的京都，所以本月一直在“一生懸命”地做功課，順便也把日語系統復習一遍，準備臨陣磨槍，不快也光（=.=）。得出的結論是，學語言，沒有壓力果然是不行的，一旦知道馬上就要用到，立刻效率就快了一倍。
Monday, September 12, 2011
肥二大顯神威
肥二是後院的小貓幫裏面體型最小的一只，瞳孔是圓的時候，看上去很無辜很漂亮；瞳孔是一條綫的時候，卻看上去很賊，好像滿肚子鬼點子。走路有些小羅圈腿，會和體型最大的肥大叫板，動不動兩貓互扇巴掌。但是在女朋友虎妞面前明顯氣短一截，有一次為了搶飯吃，把虎妞惹惱了，照著肥二的腦袋就是一頓好打，竟然一下也不敢還手，灰溜溜地縮在一旁。
早上晚上吃飯，肥二經常遲到，飯盆裏已經空了，虎妞就常常陪著肥二在門口等，看我們能不能再給他點飯吃。昨天早上，肥二和往常一樣遲到，其他貓已經吃完了，就見他在院子裏圍著飯盆裏的剩飯轉來轉去卻不下嘴。看見他這副大爺樣，我也一時懶得理他，肥二轉了一會，見我不給飯，就趴在牆頭上等著，虎妞也在附近觀望。
幾分鐘後，忽然聽見院子裏“撲通”一聲，正不知作何想，肥二和虎妞都閃電一樣朝著院子裏的冷氣機主機撲了過去，只見肥二似乎叼著個什麽東西，自己飛跑到角落裏，連虎妞也不讓，就又蹦又跳又撲，像發瘋一樣在玩兒。虎妞倒也不和他搶，立在一旁看。我們都看呆了，過了好一會，才看清楚，原來肥二爪子底下是只很小的麻雀。
這才明白，這只翅膀還沒長好的雛雀，大概是從很高的樹上的鳥窩裏掉下來了，估計已經摔了個半死，立刻就在肥二這小野東西的爪子底下再次投胎去了。原本還想著是不是能把肥二轟走救下麻雀，後來發現這小霸王動作極快，而且霸道地不肯讓一步，完全一副“惡虎撲羊”的狀態，只好由他了。
等他閙夠了，大概是玩起了興頭，只見他三步並做兩步，幾秒鐘内就四個瓜子並用奔到了院子裏一棵不算矮的松樹頂尖，還嗷嗷叫了兩聲。有點老虎俯身的意思。看來這貌不驚人的肥二還是有兩下子的，平時靜若處子，動起來如小豹子，否則也不可能把虎妞這麽精明難纏的小妞騙到手。
下午，竟然發現院子裏的串紅花上有一只蜂鳥，體型比蜻蜓大不了多少，翅膀扇動的速度果然快地花眼，我只在電視裏見過蜂鳥，這還是頭一回在戶外看見真的。這片小樹林裏，不知道還藏著其他哪些小動物。如果仔細站在院子裏觀察，它們每天也都十分忙碌，除了睡大頭覺的這幾只貓！
Tuesday, September 6, 2011
秋的遐想
循天道還是循人道，這是最近的思考。
天道與人道，是最近感悟著的概念，但又覺得極難解釋，愈發覺得語言和文字用來解釋世間萬物，是多麽力不從心。就好比我們的語言是analog的，而我們的思維是digital的，語言根本無法勝任解釋思維的艱難任務。
不過，如果用一些不太恰當的比喻的話：狗這種動物，就是循人道的動物；而貓的性格，則較爲循天道。再比如，說句不知深淺的話，中國這個文化，或者說這個國家，就是入人道極深的國家；相比較而言，日本文化的某些方面，有天道的痕跡。
再比如説，佛家的想法，就是循天道的。而基督教之類，則人道痕跡頗濃。
最近重看紅樓夢電視（自然是87版），這故事之偉大，就在於它既入人道極深，但又無處不透著天道的道理。看紅樓夢，到底看的是什麽呢，當然可以看那風花雪月、痴男怨女，當然也可以看那大廈將傾、禮制崩坏，不同的階段看到的是不同的重點。而看紅樓夢，對於當下的我，看的卻是色與空的循環，還有那無一絲污垢的女兒的天真姿態，如姑娘們詩社做詩，寶玉瑞雪求紅梅，湘云酣睡牡丹叢，晴雯撕扇子和抱病補孔雀裘等等，這都是極爲有意思的事情。
天道與人道，是最近感悟著的概念，但又覺得極難解釋，愈發覺得語言和文字用來解釋世間萬物，是多麽力不從心。就好比我們的語言是analog的，而我們的思維是digital的，語言根本無法勝任解釋思維的艱難任務。
不過，如果用一些不太恰當的比喻的話：狗這種動物，就是循人道的動物；而貓的性格，則較爲循天道。再比如，說句不知深淺的話，中國這個文化，或者說這個國家，就是入人道極深的國家；相比較而言，日本文化的某些方面，有天道的痕跡。
再比如説，佛家的想法，就是循天道的。而基督教之類，則人道痕跡頗濃。
最近重看紅樓夢電視（自然是87版），這故事之偉大，就在於它既入人道極深，但又無處不透著天道的道理。看紅樓夢，到底看的是什麽呢，當然可以看那風花雪月、痴男怨女，當然也可以看那大廈將傾、禮制崩坏，不同的階段看到的是不同的重點。而看紅樓夢，對於當下的我，看的卻是色與空的循環，還有那無一絲污垢的女兒的天真姿態，如姑娘們詩社做詩，寶玉瑞雪求紅梅，湘云酣睡牡丹叢，晴雯撕扇子和抱病補孔雀裘等等，這都是極爲有意思的事情。
Thursday, September 1, 2011
感冒的季節
就算是放養的貓，也會越養越有感情，越養越牽挂，倒有些不知叫人如何是好了。
我的感冒還沒全好，今天早上，就看見芋頭打著噴嚏流著鼻涕就來了，呼吸也有些粗，怎麽看都像是感冒了，或許昨天晚上着涼了？而且還連續不停地打了七個噴嚏，眼角也眼淚汪汪，亂可憐一把的。摸摸芋頭的腦袋，覺得它怪委屈的乖乖的樣子。給它喝了小半碗溫牛奶，也不知道有沒有幫助。固體食物芋頭沒怎麽吃（不過在平時它也是這個樣子，只要喝了牛奶，就不好好吃飯），喝完牛奶後有些沒精神地臥在石板地上，希望它自己在戶外鍛煉出的抵抗力能夠讓它自然痊愈。
芋頭從以前就覺得它吃東西和別的幾只貓不太一樣，狂愛喝牛奶不說，時不時會吃快了，然後就自己往外嘔吐。總覺得芋頭的腸胃比別的貓嬌貴一些，平時吃東西也慢條斯理的。
虎妞昨天晚上又在後院的冷氣機主機上睡覺。覺得這幾只貓朋友已經越來越把我家後院當作晚間休息的場所了，雖然它們可以選擇的休息場所其實不少：我們這兩條街的房屋，後院跟後院都相互連著，家家後院都有大樹和各種植物，所以形成了一條全是植被覆蓋的狹長通道，是小貓、狸貓、松鼠、紅衣鳳頭鳥（cardinal）、藍松鴉和其他各種鳥類自由自在出沒的好場所，是他們的家園，從我家窗戶望出去，會有種住在樹林邊上的錯覺。
在這樣的環境裏生活的小動物應該是蠻幸運的。這附近不會有任何人去騷擾它們（除了機動車有時會給它們帶來危險，但只要不過馬路就沒事），讓他們可以隨心所欲地活動。狸貓的動作比較笨拙。但是常來找我的那幾只貓，動作卻非常靈巧，從來不會去故意破壞植物和花盆，不過虎妞這個莽撞的小妞倒是打翻過兩次花盆。除我們家以外，還有幾戶人家也經常給貓咪留食物。它們有的吃，又自由。所以，倒並不覺得把他們關在屋子裏一定是它們想要的。
只是冬天又快到了，總想著怎麽才能讓貓朋友們能夠暖和一點呢。
我的感冒還沒全好，今天早上，就看見芋頭打著噴嚏流著鼻涕就來了，呼吸也有些粗，怎麽看都像是感冒了，或許昨天晚上着涼了？而且還連續不停地打了七個噴嚏，眼角也眼淚汪汪，亂可憐一把的。摸摸芋頭的腦袋，覺得它怪委屈的乖乖的樣子。給它喝了小半碗溫牛奶，也不知道有沒有幫助。固體食物芋頭沒怎麽吃（不過在平時它也是這個樣子，只要喝了牛奶，就不好好吃飯），喝完牛奶後有些沒精神地臥在石板地上，希望它自己在戶外鍛煉出的抵抗力能夠讓它自然痊愈。
芋頭從以前就覺得它吃東西和別的幾只貓不太一樣，狂愛喝牛奶不說，時不時會吃快了，然後就自己往外嘔吐。總覺得芋頭的腸胃比別的貓嬌貴一些，平時吃東西也慢條斯理的。
虎妞昨天晚上又在後院的冷氣機主機上睡覺。覺得這幾只貓朋友已經越來越把我家後院當作晚間休息的場所了，雖然它們可以選擇的休息場所其實不少：我們這兩條街的房屋，後院跟後院都相互連著，家家後院都有大樹和各種植物，所以形成了一條全是植被覆蓋的狹長通道，是小貓、狸貓、松鼠、紅衣鳳頭鳥（cardinal）、藍松鴉和其他各種鳥類自由自在出沒的好場所，是他們的家園，從我家窗戶望出去，會有種住在樹林邊上的錯覺。
在這樣的環境裏生活的小動物應該是蠻幸運的。這附近不會有任何人去騷擾它們（除了機動車有時會給它們帶來危險，但只要不過馬路就沒事），讓他們可以隨心所欲地活動。狸貓的動作比較笨拙。但是常來找我的那幾只貓，動作卻非常靈巧，從來不會去故意破壞植物和花盆，不過虎妞這個莽撞的小妞倒是打翻過兩次花盆。除我們家以外，還有幾戶人家也經常給貓咪留食物。它們有的吃，又自由。所以，倒並不覺得把他們關在屋子裏一定是它們想要的。
只是冬天又快到了，總想著怎麽才能讓貓朋友們能夠暖和一點呢。
Monday, August 15, 2011
下雨了
下雨了。
好幾年沒有像這個星期天這樣痛快地下雨，從星期六的後半夜，雷聲和閃電就交錯不斷，看來我不像以前睡覺那麽沉了，可能潛意識裏，打雷會讓我緊張。星期天早晨開始，就開始下各種雨，瓢潑大雨、傾盆大雨、江南細雨、霧雨、一會兒淅淅瀝瀝、一會兒聒噪不停，一直到星期天深夜也不消停。
這麽大的雨，幾只小朋友還是被肚子驅使，頑強又固執地等在廚房外的窗沿上。從前不久開始，一旦下雨，我就會在後院撐一把巨大的紅傘，虎妞很快就學會在傘下面躲避，這個星期天，肥大和肥二也學會在傘下面躲雨吃罐頭，日子蠻愜意。
別看星期天是這樣讓人多愁善感傷春悲秋假惆悵的天氣，星期六卻是個艷陽天！清晨，和Springdrops換上了全新的跑鞋，一大早就沖到森林小徑去慢跑，破紀錄地跑了近50分鐘！納入“高科技”的新跑鞋果然與衆不同，非常輕便，跑起步來輕鬆的不得了，不過cushioning並不是很厚，因此根據一位認識的跑步達人的介紹，這款跑鞋可以練習腳板底的耐跑程度。跑完步後，到附近書店的滿城市都是的咖啡廳一人叫了杯熱拿鉄，一塊糕點，享受頗有成就感的早晨。
然後，在家裏又看了一遍龍貓和千與千尋，下午盡然又興致不錯地到皇后區農場去看農莊動物，竟然看到了前些時候在中國很紅的“羊駝”，十分好脾氣地讓遊人撫摸，還有比豬還肥大的綿羊，一大裙肥碩的蘆花雞，和巨大的奶牛（我覺得美國的農莊動物都要比小時候在中國看到的大好幾圈），農莊還有大片玉米地、向日葵、各種農作物，還第一次吃到了菇蔦（ground cherry）。
從各種意義上講，這都是個非常充實又美好的周末。
好幾年沒有像這個星期天這樣痛快地下雨，從星期六的後半夜，雷聲和閃電就交錯不斷，看來我不像以前睡覺那麽沉了，可能潛意識裏，打雷會讓我緊張。星期天早晨開始，就開始下各種雨，瓢潑大雨、傾盆大雨、江南細雨、霧雨、一會兒淅淅瀝瀝、一會兒聒噪不停，一直到星期天深夜也不消停。
這麽大的雨，幾只小朋友還是被肚子驅使，頑強又固執地等在廚房外的窗沿上。從前不久開始，一旦下雨，我就會在後院撐一把巨大的紅傘，虎妞很快就學會在傘下面躲避，這個星期天，肥大和肥二也學會在傘下面躲雨吃罐頭，日子蠻愜意。
別看星期天是這樣讓人多愁善感傷春悲秋假惆悵的天氣，星期六卻是個艷陽天！清晨，和Springdrops換上了全新的跑鞋，一大早就沖到森林小徑去慢跑，破紀錄地跑了近50分鐘！納入“高科技”的新跑鞋果然與衆不同，非常輕便，跑起步來輕鬆的不得了，不過cushioning並不是很厚，因此根據一位認識的跑步達人的介紹，這款跑鞋可以練習腳板底的耐跑程度。跑完步後，到附近書店的滿城市都是的咖啡廳一人叫了杯熱拿鉄，一塊糕點，享受頗有成就感的早晨。
然後，在家裏又看了一遍龍貓和千與千尋，下午盡然又興致不錯地到皇后區農場去看農莊動物，竟然看到了前些時候在中國很紅的“羊駝”，十分好脾氣地讓遊人撫摸，還有比豬還肥大的綿羊，一大裙肥碩的蘆花雞，和巨大的奶牛（我覺得美國的農莊動物都要比小時候在中國看到的大好幾圈），農莊還有大片玉米地、向日葵、各種農作物，還第一次吃到了菇蔦（ground cherry）。
從各種意義上講，這都是個非常充實又美好的周末。
Thursday, August 11, 2011
一葉知秋
前幾天似乎還是盛夏，今天清晨從窗口向外望，已有秋涼之意。
農曆已過了立秋，雖然到處都還是夏天的感覺，但老祖宗的日曆自有其道理，秋的腳步窸窸窣窣逼近了，只我們尚未察覺。人是失去了直覺、很鈍的動物。
早晨望著後院，看見一片小小的黃葉翻卷著落到草地上，才驚覺農曆是那麽敏銳。貓咪的食欲這兩個星期變大了，記得去年他們也是這樣，離入冬前還有好久就開始猛吃，進入冬天時都肥肥敦敦的。前兩天小胖子“肥大”跟我起膩，蹭著蹭著我胳膊，突然一高興張嘴咬了我一口，好在小胖子力道掌握得好，胳膊上只是輕微有點牙齒感，看來貓跟你感情好，有幾個階段，先是用身體在你身上亂蹭，然後會用頭輕輕拱你，玩高興了就張嘴輕咬，小動物的小狂野畢露。有時候蹭高興了，也會突然躺倒露出軟軟的腹部，希望你亂揉一番，這個時候反而要特別注意他們的小爪子，總是興奮地四處亂揮舞，稍不留神就抓出道道血痕。
農曆已過了立秋，雖然到處都還是夏天的感覺，但老祖宗的日曆自有其道理，秋的腳步窸窸窣窣逼近了，只我們尚未察覺。人是失去了直覺、很鈍的動物。
早晨望著後院，看見一片小小的黃葉翻卷著落到草地上，才驚覺農曆是那麽敏銳。貓咪的食欲這兩個星期變大了，記得去年他們也是這樣，離入冬前還有好久就開始猛吃，進入冬天時都肥肥敦敦的。前兩天小胖子“肥大”跟我起膩，蹭著蹭著我胳膊，突然一高興張嘴咬了我一口，好在小胖子力道掌握得好，胳膊上只是輕微有點牙齒感，看來貓跟你感情好，有幾個階段，先是用身體在你身上亂蹭，然後會用頭輕輕拱你，玩高興了就張嘴輕咬，小動物的小狂野畢露。有時候蹭高興了，也會突然躺倒露出軟軟的腹部，希望你亂揉一番，這個時候反而要特別注意他們的小爪子，總是興奮地四處亂揮舞，稍不留神就抓出道道血痕。
Monday, August 8, 2011
充實的周末
在家附近發現了一條森林小徑，專供健身者騎車、跑步和走路。小徑的起點是一個棒球場，終點也是一大片用於開展團隊體育活動的綠地，全程大概3英里，蛇形盤繞在鬱鬱蔥蔥的樹木裏，因此鍛煉的人幾乎從頭至尾都可以被樹蔭庇護。偶爾，樹木間會有一個豁口，露出清晨的陽光。小徑兩側有茂密的灌木，各種野生植物，時不時靜靜開放的山野花朵，會讓你產生真的身處深山中的錯覺，不過其實，小徑的兩側往往是住家的後院，只不過樹木高大茂盛，遮得嚴嚴密密罷了。
在小徑上跑一個來回，大概6英里，去的時候尚有些氣喘疲憊，如果能堅持到終點，折返的時候，心律已經調整完畢，回程的跑步就十分輕鬆。一趟下來，汗如雨下，身心輕鬆，像要飛起來的感覺。
我喜歡我所居住的城市，原因很多，很重要的一條就是，即便是在這樣一個寸土寸金的金融文化中心，也會如此奢侈的到處都規劃出供市民開展各種體育活動的場所：綠地、運動場、足球場、棒球場、森林小徑、自行車道等等。即便是生活在鋼鐵林立的都市，也讓我們永遠都找得到自然，找得到一個呼吸氧氣、揮汗如雨的場所。跑步本身是一件比較枯燥的運動，一個人跑步常常需要聼耳機就是為了打發無聊，不過如果是這樣，又無法聽見鳥叫蟲鳴。和朋友一起跑步，不但不會很累，也可以互相加油，我們在小徑上跑步的路途中，對面不斷有很多老頭往反方向慢跑或走路，其中有好幾個都友好地跟我們打招呼，有一個長得好像愛因斯坦，還遇到了各種品種的狗狗，真的是十分愉快的早晨。
星期日去了植物園。這大概是這麽多年來去植物園感覺最好的一次，因爲園子裏的人稀奇的少，大概早晨的天氣預報原本報導有雨，讓很多人卻步。但周日其實是個大晴天，陽光十分慷慨充足，使我終於曬黑了（oh yeah）。
雖然玫瑰園的玫瑰大半已凋敝，我們卻看到了多年來看到過的最美的荷花和蓮花池。盛夏看荷與蓮，正是季節：胭脂粉、臘梅黃、錦緞紫、雪膚白，夏風中輕擺搖曳，無風時則矜持端莊。但比起矚目的花，我卻更愛荷葉，怎麽也看不夠荷葉的種種姿態：愛那綠色飽滿，葉片肥厚，曲折翻卷的葉邊，在風的逗弄下，更展現婀娜風姿。如在雨後，葉片成大盤，中央匯聚著晶瑩的雨珠，則似躍出畫絹的工筆佳作。愛荷葉者，雖愛夏荷，但愛秋荷更勝之。夏盡秋始，綠意漸退，螢黃與焦紅慢慢暈染葉邊，池中低垂頸項，送夏遠，迎秋至，迎來那肅殺前最後的絢爛季節。黛玉說，李商隱所有的詩中，唯一喜愛的，只有一句“留得殘荷聼雨聲”，讀後便不能忘。
看了莎翁的The Merchants of Venice的電影（Al Pacino as Shylock, Jeremy Irons as Antonio），竟然那麽好看。前段時間看了Ian McKellen的King Lear話劇版，覺得很吃力，所以原本以爲這次也會看得很吃力，但其實看得很投入，有些片段甚至很動容。這幾位演員臺詞和演技之出色毋需贅述，而因爲是電影，因此場景和道具都十分華麗，拍攝手法也起到一種指引作用，對我這樣的莎翁初學者十分有幫助，而臺詞應該也是依照原劇本，十分古雅，卻又並不難理解。記得有兩段篇幅很長的monologue聼得我十分投入，一段是Shylock控訴the mistreatment of Jew (hath not a Jew eyes 那段)，還有就是Bossanio和Portia在酒會上互訴衷曲的兩段（飾Portia的Lynn Collins演得很好也很漂亮，男裝竟然也很亮麗）。
在小徑上跑一個來回，大概6英里，去的時候尚有些氣喘疲憊，如果能堅持到終點，折返的時候，心律已經調整完畢，回程的跑步就十分輕鬆。一趟下來，汗如雨下，身心輕鬆，像要飛起來的感覺。
我喜歡我所居住的城市，原因很多，很重要的一條就是，即便是在這樣一個寸土寸金的金融文化中心，也會如此奢侈的到處都規劃出供市民開展各種體育活動的場所：綠地、運動場、足球場、棒球場、森林小徑、自行車道等等。即便是生活在鋼鐵林立的都市，也讓我們永遠都找得到自然，找得到一個呼吸氧氣、揮汗如雨的場所。跑步本身是一件比較枯燥的運動，一個人跑步常常需要聼耳機就是為了打發無聊，不過如果是這樣，又無法聽見鳥叫蟲鳴。和朋友一起跑步，不但不會很累，也可以互相加油，我們在小徑上跑步的路途中，對面不斷有很多老頭往反方向慢跑或走路，其中有好幾個都友好地跟我們打招呼，有一個長得好像愛因斯坦，還遇到了各種品種的狗狗，真的是十分愉快的早晨。
星期日去了植物園。這大概是這麽多年來去植物園感覺最好的一次，因爲園子裏的人稀奇的少，大概早晨的天氣預報原本報導有雨，讓很多人卻步。但周日其實是個大晴天，陽光十分慷慨充足，使我終於曬黑了（oh yeah）。
雖然玫瑰園的玫瑰大半已凋敝，我們卻看到了多年來看到過的最美的荷花和蓮花池。盛夏看荷與蓮，正是季節：胭脂粉、臘梅黃、錦緞紫、雪膚白，夏風中輕擺搖曳，無風時則矜持端莊。但比起矚目的花，我卻更愛荷葉，怎麽也看不夠荷葉的種種姿態：愛那綠色飽滿，葉片肥厚，曲折翻卷的葉邊，在風的逗弄下，更展現婀娜風姿。如在雨後，葉片成大盤，中央匯聚著晶瑩的雨珠，則似躍出畫絹的工筆佳作。愛荷葉者，雖愛夏荷，但愛秋荷更勝之。夏盡秋始，綠意漸退，螢黃與焦紅慢慢暈染葉邊，池中低垂頸項，送夏遠，迎秋至，迎來那肅殺前最後的絢爛季節。黛玉說，李商隱所有的詩中，唯一喜愛的，只有一句“留得殘荷聼雨聲”，讀後便不能忘。
看了莎翁的The Merchants of Venice的電影（Al Pacino as Shylock, Jeremy Irons as Antonio），竟然那麽好看。前段時間看了Ian McKellen的King Lear話劇版，覺得很吃力，所以原本以爲這次也會看得很吃力，但其實看得很投入，有些片段甚至很動容。這幾位演員臺詞和演技之出色毋需贅述，而因爲是電影，因此場景和道具都十分華麗，拍攝手法也起到一種指引作用，對我這樣的莎翁初學者十分有幫助，而臺詞應該也是依照原劇本，十分古雅，卻又並不難理解。記得有兩段篇幅很長的monologue聼得我十分投入，一段是Shylock控訴the mistreatment of Jew (hath not a Jew eyes 那段)，還有就是Bossanio和Portia在酒會上互訴衷曲的兩段（飾Portia的Lynn Collins演得很好也很漂亮，男裝竟然也很亮麗）。
Friday, August 5, 2011
Brothers
This film blew me away. I remember when I first saw its poster at the subway station closest to my office, I thought this looked like a good film, not just because of its head-turning, beautiful cast (Toby McGuire, Jake Gyllenhaal, Natalie Portman), but also that the poster exuded something like a powerful undercurrent. There was certainly a pulling force.
Sam Cahill (Toby McGuire) and Grace Cahill (Natalie Portman) are happily married with two lovely daughters, the image of a poster-perfect family. Aside from having a beautiful wife and children, Sam is a strong-willed, responsible marine captain, eager to serve his country, and loves his fellow soldiers. In short, he is the son that makes all parents proud. Along comes “Uncle Tom” (Jake Gyllenhaal), Sam’s younger brother, the black sheep of the Cahills who can’t seem to get his life in order and has a strained relationship with everyone in the family, except his brother Sam, who genuinely cares for him.
The story begins with Sam about to be dispatched again to Afghanistan, and Tom on parole from serving his time in prison for assaulting a woman (I think). At first it took a little bit of getting-used-to to see the three of them taking on the roles of parents and uncle. But they are very convincing, comfortable in their roles.
Something goes terribly wrong in Afghanistan, Sam is assumed killed in action, but is in fact captured by the enemy and imprisoned in a dark cell for months. The family grieves, and all of a sudden, Tom “grows up” and steps up, lending a shoulder and comforting presence to the devastated Grace and the two girls. Just when the long time strained relationship between Tom and Grace seems to take a turn for the better, and a spark of affection materializes between them, Sam is found and rescued, and he comes back.
But he comes back a changed man, a ghost of his former self, scarred for life from physical and mental tortures endured during his captivity. For me, from this point on, the “real” drama begins. And Toby McGuire BLEW ME AWAY with a gripping performance, delivered with such jarring, and sometimes terrifying force. Of course, both Portman and Gyllenhaal are stellar, but it’s McGuire that really makes this film take off. I could hardly believe my eyes how very different he looks after he comes back. His face almost distorted, his gaze unfocused but intense at the same time, his eyes glassy, and his limbs wiry (a sharp contrast to before), and his gait unnatural. All of his physical changes effectively echo a deeply wounded and suffering soul. He becomes unreachable and almost like a shadow, whereas Tom becomes a bit too comfortable assuming the central male role of the family.
The two little girls deserve a special applause! They don’t pale at all, acting alongside McGuire, Gyllenhaal and Portman. The scene of Isabella’s birthday dinner, oh gosh, I was holding my breath throughout that entire scene, just waiting for her to drive Sam over the edge.
The only thing I felt debatable is the ending. It felt too abrupt, almost like the filmmakers cut off the real ending and decided, “ok, we will just end here.” But everything that builds up to that point is just amazing.
The story of “Brothers” is not original; the film is an American remake of a Danish film. The Danish film, from what I’ve heard in filmmakers’ commentary, seems to have a slightly different take, focusing more on the illicit relationship between the Tom character and the Grace character. The American version probably toned it down, shifting the focus to family. But whether this film intended to or not, it does send a powerful anti-war message, what war could do to a man. A film is a wonderful thing when good looks and good acting are aligned.
Sam Cahill (Toby McGuire) and Grace Cahill (Natalie Portman) are happily married with two lovely daughters, the image of a poster-perfect family. Aside from having a beautiful wife and children, Sam is a strong-willed, responsible marine captain, eager to serve his country, and loves his fellow soldiers. In short, he is the son that makes all parents proud. Along comes “Uncle Tom” (Jake Gyllenhaal), Sam’s younger brother, the black sheep of the Cahills who can’t seem to get his life in order and has a strained relationship with everyone in the family, except his brother Sam, who genuinely cares for him.
The story begins with Sam about to be dispatched again to Afghanistan, and Tom on parole from serving his time in prison for assaulting a woman (I think). At first it took a little bit of getting-used-to to see the three of them taking on the roles of parents and uncle. But they are very convincing, comfortable in their roles.
Something goes terribly wrong in Afghanistan, Sam is assumed killed in action, but is in fact captured by the enemy and imprisoned in a dark cell for months. The family grieves, and all of a sudden, Tom “grows up” and steps up, lending a shoulder and comforting presence to the devastated Grace and the two girls. Just when the long time strained relationship between Tom and Grace seems to take a turn for the better, and a spark of affection materializes between them, Sam is found and rescued, and he comes back.
But he comes back a changed man, a ghost of his former self, scarred for life from physical and mental tortures endured during his captivity. For me, from this point on, the “real” drama begins. And Toby McGuire BLEW ME AWAY with a gripping performance, delivered with such jarring, and sometimes terrifying force. Of course, both Portman and Gyllenhaal are stellar, but it’s McGuire that really makes this film take off. I could hardly believe my eyes how very different he looks after he comes back. His face almost distorted, his gaze unfocused but intense at the same time, his eyes glassy, and his limbs wiry (a sharp contrast to before), and his gait unnatural. All of his physical changes effectively echo a deeply wounded and suffering soul. He becomes unreachable and almost like a shadow, whereas Tom becomes a bit too comfortable assuming the central male role of the family.
The two little girls deserve a special applause! They don’t pale at all, acting alongside McGuire, Gyllenhaal and Portman. The scene of Isabella’s birthday dinner, oh gosh, I was holding my breath throughout that entire scene, just waiting for her to drive Sam over the edge.
The only thing I felt debatable is the ending. It felt too abrupt, almost like the filmmakers cut off the real ending and decided, “ok, we will just end here.” But everything that builds up to that point is just amazing.
The story of “Brothers” is not original; the film is an American remake of a Danish film. The Danish film, from what I’ve heard in filmmakers’ commentary, seems to have a slightly different take, focusing more on the illicit relationship between the Tom character and the Grace character. The American version probably toned it down, shifting the focus to family. But whether this film intended to or not, it does send a powerful anti-war message, what war could do to a man. A film is a wonderful thing when good looks and good acting are aligned.
Monday, August 1, 2011
Match Point
It is interesting watching Match Point right after watching Brideshead Revisited (2009). In Brideshead Revisited, Charles Ryder (Matthew Goode) reminds me of someone I know, but there is no resemblance whatsoever with that same person upon seeing his performance as Tom Hewitt in Match Point. This indeed proves Goode is an excellent actor. But he merely plays a supporting role in Match Point. It is through him that the real protagonist Chris (Jonathan Rhys Meyers) is introduced to a lifestyle of luxury and comforts, his career and future secured by marriage to the all-too-common (but sweet) Chloe Hewitt. But of course, this is all too good to be true.
Meyers delivers a satisfactory performance. Its his solo show, really. But overall, the film suffers from a rather commonplace plot, IMO. About half way through, I thought, please let there be a murder, or else it would just be such a boring story. And I was not disappointed. I rapped my desk with glee (not decent, I know) when the scene came up where Meyers starts fumbling in his father-in-law's shotgun room. I can't explain why but I was rooting for him to get away with the whole clumsy murder of Nola -- the victim of every man's lust. I think its because he's such a mediocre and pathetic person that he deserves to get away with it and live his rather mediocre and pathetic (though rich) life into his ripe old age. I find no one particularly likable in this film. The Hewitts strike me as careless, heartless and stupid people, living naively and unintentionally, robbed of sensibilities only those who climbed up from below could understand. Nola is a hapless tragedy who always has everything to lose, and who just can't seem to cling to something better. And Tom (Goode) is mostly just in the background, serving as a contrast to Meyers, who has to juggle a dozen things at a time to hang on to his hard earned place.
Meyers is the only interesting character, comparatively speaking. But he is not the first of his kind and he won't be the last. He stands to lose everything, just like Nola. The only difference between him and Nola is that luck seems to be on his side.
At some point in the film, Meyers confides his problems to a friend, and he talks about his feelings towards the two women, Chloe and Nola, calling one "love" and the other "lust". There is certainly a lot of lust in the film. But I didn't find an iota of love, not from Meyers, not from Tom, not from Nola. There is no genuine affection in this film, only a chockfull of greed, vanity, stupidity and smallish people. Though Chloe's feeling towards Meyers may be genuine, but she is just too a-dime-a-dozen to be likable, a sweet and simple little thing, having everything and anything she desires only because she has the right papa to secure her happiness.
Meyers delivers a satisfactory performance. Its his solo show, really. But overall, the film suffers from a rather commonplace plot, IMO. About half way through, I thought, please let there be a murder, or else it would just be such a boring story. And I was not disappointed. I rapped my desk with glee (not decent, I know) when the scene came up where Meyers starts fumbling in his father-in-law's shotgun room. I can't explain why but I was rooting for him to get away with the whole clumsy murder of Nola -- the victim of every man's lust. I think its because he's such a mediocre and pathetic person that he deserves to get away with it and live his rather mediocre and pathetic (though rich) life into his ripe old age. I find no one particularly likable in this film. The Hewitts strike me as careless, heartless and stupid people, living naively and unintentionally, robbed of sensibilities only those who climbed up from below could understand. Nola is a hapless tragedy who always has everything to lose, and who just can't seem to cling to something better. And Tom (Goode) is mostly just in the background, serving as a contrast to Meyers, who has to juggle a dozen things at a time to hang on to his hard earned place.
Meyers is the only interesting character, comparatively speaking. But he is not the first of his kind and he won't be the last. He stands to lose everything, just like Nola. The only difference between him and Nola is that luck seems to be on his side.
At some point in the film, Meyers confides his problems to a friend, and he talks about his feelings towards the two women, Chloe and Nola, calling one "love" and the other "lust". There is certainly a lot of lust in the film. But I didn't find an iota of love, not from Meyers, not from Tom, not from Nola. There is no genuine affection in this film, only a chockfull of greed, vanity, stupidity and smallish people. Though Chloe's feeling towards Meyers may be genuine, but she is just too a-dime-a-dozen to be likable, a sweet and simple little thing, having everything and anything she desires only because she has the right papa to secure her happiness.
Wednesday, July 27, 2011
一些無關緊要的小事
原來壽岳章子也已經下世了啊
Peter Hessler和Leslie Chang為人父母了，有了一對雙胞胎女兒。不知道爲何有點感動
原來我家後院是有螢火蟲的，天黑之後如果仔細觀察，會看見灌木叢中和樹枝之間有它們偶爾閃亮的蹤影
Peter Hessler和Leslie Chang為人父母了，有了一對雙胞胎女兒。不知道爲何有點感動
原來我家後院是有螢火蟲的，天黑之後如果仔細觀察，會看見灌木叢中和樹枝之間有它們偶爾閃亮的蹤影
[轉載] Han Han - A Derailing Nation
原文不出所料，已被和諧，特此轉載存檔留念。
韩寒：脱节的国度 / 和谐号动车追尾
你一直问，他们何以如此的丧心病狂，他们却觉得自己已经非常的克制忍让。
你一直问，他们何以如此的颠倒黑白，他们却觉得自己已经非常的公正坦率。
你一直问，他们何以如此的包庇凶手，他们却觉得自己已经非常的愧对炮友。
你一直问，他们何以如此的掩盖真相，他们却觉得自己已经非常的透明开放。
你一直问，他们何以如此的生活腐化，他们却觉得自己已经非常的艰苦朴素。
你一直问，他们何以如此的骄横傲慢，他们却觉得自己已经非常的姿态低下。
你觉得自己很委屈，他们也觉得自己很委屈，他们认为，在清政府的统治下，老百姓连电视机都看不上，现在电视机已经走进了千家万户，这是多大的进步。
他们觉得，我们建了这个，我们建了那个，你别管过程中发生了什么，也别管这是给谁献礼，至少你用到了吧。你以前从上海到北京火车要一天一夜，现在只要不被雷劈，五个小时就到了，你为何不感激，为何充满了质疑？
偶然发生一个安全事故，中央最高领导都已经表示了关心，我还派人来回答你们记者的问题，原来赔17万，现在赔50 万，甚至撤职了一个兄弟，事情都做到这份上了，你们为什么还抓着一些细节不放呢，你们的思想怎么反而就这样不开放呢？你们的大局观都去哪里了呢？为什么要我谢罪呢，我又没犯罪，这是发展的代价。迅速处理尸体是我们的惯例，早签字多发奖金，晚签字少拿赔偿，这是我们的兄弟部门在强拆工作中被证明了行之有效的手段。掩埋车厢的确是当时一个糊涂做出的一个决定，况且是上头叫我们这么做的。因为上头觉得任何可能引发的麻烦都是可以就地掩埋的。错就错在大白天就开始施工，洞挖太大，而且没有和宣传部门沟通好，现场的摄影记者也没有全控制住，准备工作比较仓促。这次事故最大的教训就是以后在就地掩埋的时候还是要考虑到物体的体积和工作的保密。还是低估了。
他们认为，总体来说，这次的救援是成功的，及时的。调度合理，统筹规范，善后满意。唯一的遗憾是在舆论上有点失控，他们觉得这就不是我们的责任了，舆论不归我们管。
他们认为，从大的来说，我们举办了奥运会，我们取消了农业税，这些你们不赞美，老是抓住一些细枝末节的东西，这是什么居心。我们本可以在政治上比朝鲜更紧，在经济上比苏丹更穷，在治国上比红色高棉更狠，因为我们拥有比他们更多的军队，但是我们没有那么做，你们不感恩，却要我们谢罪，我们觉得很委屈。这个社会里，有产者，无产者，有权者，无权者，每个人都觉得自己很委屈。一个所有人都觉得委屈的国家，各个阶层都已经互相脱节了，这个庞大的国家各种组成的部分依靠惯性各顾各的滑行着，如果再无改革，脱节事小，脱轨难救。
国家为什么不进步，是因为他们中的很多人一直在用毛泽东斯大林时代的他们来衡量自己，所以他们永远觉得自己太委屈了，太开明了，太公正了，太仁慈了，太低姿态了，太不容易了。他们将科技裹着时代向前走的步伐当成了自己主动开放的幻象，于是你越批评他，他越渴望极权，你越搞毛他，他越怀念毛。
有一个国家机器朋友对我说，你们就是不知足，你这样的文人，要是搁在四十年前，你就被枪毙了，你说这个时代，是进步了还是退步了。
我说，你们就是不知足，你这样的观点，要是搁在九十年前，早就被人笑死了，你说这个时代，他到底是进步了还是。
韩寒：脱节的国度 / 和谐号动车追尾
你一直问，他们何以如此的丧心病狂，他们却觉得自己已经非常的克制忍让。
你一直问，他们何以如此的颠倒黑白，他们却觉得自己已经非常的公正坦率。
你一直问，他们何以如此的包庇凶手，他们却觉得自己已经非常的愧对炮友。
你一直问，他们何以如此的掩盖真相，他们却觉得自己已经非常的透明开放。
你一直问，他们何以如此的生活腐化，他们却觉得自己已经非常的艰苦朴素。
你一直问，他们何以如此的骄横傲慢，他们却觉得自己已经非常的姿态低下。
你觉得自己很委屈，他们也觉得自己很委屈，他们认为，在清政府的统治下，老百姓连电视机都看不上，现在电视机已经走进了千家万户，这是多大的进步。
他们觉得，我们建了这个，我们建了那个，你别管过程中发生了什么，也别管这是给谁献礼，至少你用到了吧。你以前从上海到北京火车要一天一夜，现在只要不被雷劈，五个小时就到了，你为何不感激，为何充满了质疑？
偶然发生一个安全事故，中央最高领导都已经表示了关心，我还派人来回答你们记者的问题，原来赔17万，现在赔50 万，甚至撤职了一个兄弟，事情都做到这份上了，你们为什么还抓着一些细节不放呢，你们的思想怎么反而就这样不开放呢？你们的大局观都去哪里了呢？为什么要我谢罪呢，我又没犯罪，这是发展的代价。迅速处理尸体是我们的惯例，早签字多发奖金，晚签字少拿赔偿，这是我们的兄弟部门在强拆工作中被证明了行之有效的手段。掩埋车厢的确是当时一个糊涂做出的一个决定，况且是上头叫我们这么做的。因为上头觉得任何可能引发的麻烦都是可以就地掩埋的。错就错在大白天就开始施工，洞挖太大，而且没有和宣传部门沟通好，现场的摄影记者也没有全控制住，准备工作比较仓促。这次事故最大的教训就是以后在就地掩埋的时候还是要考虑到物体的体积和工作的保密。还是低估了。
他们认为，总体来说，这次的救援是成功的，及时的。调度合理，统筹规范，善后满意。唯一的遗憾是在舆论上有点失控，他们觉得这就不是我们的责任了，舆论不归我们管。
他们认为，从大的来说，我们举办了奥运会，我们取消了农业税，这些你们不赞美，老是抓住一些细枝末节的东西，这是什么居心。我们本可以在政治上比朝鲜更紧，在经济上比苏丹更穷，在治国上比红色高棉更狠，因为我们拥有比他们更多的军队，但是我们没有那么做，你们不感恩，却要我们谢罪，我们觉得很委屈。这个社会里，有产者，无产者，有权者，无权者，每个人都觉得自己很委屈。一个所有人都觉得委屈的国家，各个阶层都已经互相脱节了，这个庞大的国家各种组成的部分依靠惯性各顾各的滑行着，如果再无改革，脱节事小，脱轨难救。
国家为什么不进步，是因为他们中的很多人一直在用毛泽东斯大林时代的他们来衡量自己，所以他们永远觉得自己太委屈了，太开明了，太公正了，太仁慈了，太低姿态了，太不容易了。他们将科技裹着时代向前走的步伐当成了自己主动开放的幻象，于是你越批评他，他越渴望极权，你越搞毛他，他越怀念毛。
有一个国家机器朋友对我说，你们就是不知足，你这样的文人，要是搁在四十年前，你就被枪毙了，你说这个时代，是进步了还是退步了。
我说，你们就是不知足，你这样的观点，要是搁在九十年前，早就被人笑死了，你说这个时代，他到底是进步了还是。
Monday, July 25, 2011
小貓的報恩？
前兩天，在後院石板地上忽然發現一坨肉乎乎的東西，猛一看嚇一跳，還以爲是什麽小動物死在那裏。再仔細一看，發現有個小魚頭，還有像是油炸過的肉類的東西。由於天氣悶熱，已經叮了不少蒼蠅，怪噁心的。
這坨東西哪裏來的呢？不太可能是從飛鳥嘴裏掉下來的，附近這些種類的鳥應該不會一次叼這麽多東西。想來想去，大概是那幾只小朋友叼來的吧。最有可能的解釋，是從別人家喂貓的飯盆裏叼來的殘羹剩飯吧？也就是說，是叼來“送給我吃的？”
結果，我們把小貓的好心當肥料埋在了泥土裏。第二天，竟然又在後院發現貌似肉類的一坨東西。哈哈，貓朋友看來還是有點良心的啊。
這坨東西哪裏來的呢？不太可能是從飛鳥嘴裏掉下來的，附近這些種類的鳥應該不會一次叼這麽多東西。想來想去，大概是那幾只小朋友叼來的吧。最有可能的解釋，是從別人家喂貓的飯盆裏叼來的殘羹剩飯吧？也就是說，是叼來“送給我吃的？”
結果，我們把小貓的好心當肥料埋在了泥土裏。第二天，竟然又在後院發現貌似肉類的一坨東西。哈哈，貓朋友看來還是有點良心的啊。
Thursday, July 21, 2011
Recent readings
As always, I have too much on my plate. But I seem to be building up a nice rhythm lately. I have been making the best use of local libraries, and since I kind of got myself into a "classic frenzy", libraries are the best places to find them. If nothing else, libraries always have a respectable shelf of essential classics. The one that is closest to my office is a tiny library, but it has an impressive A to Z classic collection. =)
But that doesn't mean I'm not reading anything else. There's been a rekindling of interest in Japanese novels/short stories/mysteries, so I currently have these books I'm about to read (finished one of them, actually):
《千年繁華-京都的街巷人生》（壽岳章子）
While I was browsing the shelves at Flushing Library, this book immediately had my attention. There is nothing extraordinary about a travelogue of Kyoto, that is to say, it is as extraordinary as the next travelogue of any other place. But what makes this particular book stand out is the carefully drawn pencil sketches of everyday scenes of Kyoto, which accompany the texts. The sketches (I think they were done using graphite or maybe charcoal) are endearing, and they somehow make the texts more enticing. I haven't really begun this book, but a quick skim was enough to show that the writing is typical of Japanese female writers -- soft, exquisite, devel-in-the-detail. The book was written almost a century ago, but as a travelogue, it is still very relevant. I think the author wrote not so much about the places themselves as her family which spent their lifetimes in this ancient city that bears so much weight from its past.
《香魚師》（夢枕貘/ばく ゆめまくら）
I've been a long term fan of Baku Yumemakura's Onmyoji series （陰陽師）. It is rare that I happen to like every form of adaptation of a piece of work, but in the case of Onmyoji, it is pretty much the case: I like the original stories themselves written by Baku Yumemakura, I like the manga series created by Reiko Okano (岡野鈴子), and I like the movie adaptation with Abe no Seimei played by Nomura Mansai （野村万齋）. So I am eager to try some of Baku's other books. This book seems to be about fishing sweetfish (ayu/Plecoglossus altivelis). But its not about fishing at all, its about the people who go fishing.
《東京奇譚集》（村上春樹）
If nothing else works, pick anything by Murakami Haruki. I've not read ANY of Murakami's short stories, so I thought I'd give it a try. I've only read the first story in this little collection, but already, there seems to be a personal connection. I wrote a short blog about sometimes, there are signs around us that if you watch or listen carefully, you might catch them. I don't know if the signs are always there, but for myself, I don't pay attention to them unless I'm in some sort of dilemma and I can't straighten it out, and then I seem to find these little signs. These signs guide and advise, and heeding them might turn out to be significant, or not in one's life. So anyways, the first story in this collection has to do with signs in our lives.
《分身》（東野圭吾）
But that doesn't mean I'm not reading anything else. There's been a rekindling of interest in Japanese novels/short stories/mysteries, so I currently have these books I'm about to read (finished one of them, actually):
While I was browsing the shelves at Flushing Library, this book immediately had my attention. There is nothing extraordinary about a travelogue of Kyoto, that is to say, it is as extraordinary as the next travelogue of any other place. But what makes this particular book stand out is the carefully drawn pencil sketches of everyday scenes of Kyoto, which accompany the texts. The sketches (I think they were done using graphite or maybe charcoal) are endearing, and they somehow make the texts more enticing. I haven't really begun this book, but a quick skim was enough to show that the writing is typical of Japanese female writers -- soft, exquisite, devel-in-the-detail. The book was written almost a century ago, but as a travelogue, it is still very relevant. I think the author wrote not so much about the places themselves as her family which spent their lifetimes in this ancient city that bears so much weight from its past.
I've been a long term fan of Baku Yumemakura's Onmyoji series （陰陽師）. It is rare that I happen to like every form of adaptation of a piece of work, but in the case of Onmyoji, it is pretty much the case: I like the original stories themselves written by Baku Yumemakura, I like the manga series created by Reiko Okano (岡野鈴子), and I like the movie adaptation with Abe no Seimei played by Nomura Mansai （野村万齋）. So I am eager to try some of Baku's other books. This book seems to be about fishing sweetfish (ayu/Plecoglossus altivelis). But its not about fishing at all, its about the people who go fishing.
If nothing else works, pick anything by Murakami Haruki. I've not read ANY of Murakami's short stories, so I thought I'd give it a try. I've only read the first story in this little collection, but already, there seems to be a personal connection. I wrote a short blog about sometimes, there are signs around us that if you watch or listen carefully, you might catch them. I don't know if the signs are always there, but for myself, I don't pay attention to them unless I'm in some sort of dilemma and I can't straighten it out, and then I seem to find these little signs. These signs guide and advise, and heeding them might turn out to be significant, or not in one's life. So anyways, the first story in this collection has to do with signs in our lives.
Higashino Keigo's works are not new to me. The well-known detective drama "Detective Galileo" （神探加利略）was based on his books. Actually, after seeing some of his photographs, I sensed a slight resemblance between him and Masaharu Fukuyama (福山雅治)--the actor who played Professor Galileo!!! How uncanny!! I finished reading Bunshin (分身). The truth is, this book actually made me feel sick towards the end. The book touches upon the highly controversial issue of human cloning. The rather taken-it-for-granted tone with which the author tells the story about the repeated cloning of a woman in the book makes me queazy. I understand this book is essentially a mystery thriller, and that cloning is merely a piece of the bigger puzzle necesary to unfold the mystery, but still, I felt a bit repulsed by it. I read another of his book a while ago and loved it immensely:
《
名偵探的守則》（東野圭吾）
This book is essentially a satire -- a self-deprecating piece of work about the entire mystery genre. The author tells about 15 short mystery stories, each is used to demonstrate a "classic trick" in the book, and then the author goes on to ridicule how cliche and old these tricks have become and that it is a wonder why the mystery genre continues to thrive. While some of the short stories can be altogether dismissed as sketchy, a few indeed surprise readers with smart contraptions and saucy tones.
名偵探的守則》（東野圭吾）Thursday, July 14, 2011
書和貓
天氣悶熱，貓的懶性一覽無遺，小朋友們都無精打采的癱在石板地上
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等待晚飯的虎妞和肥大
一臉賊相的肥二和閉目養神的虎妞
我的小虎妞，看起來有點不好惹，其實很親人
只要我去別人家做客，一定會先看這家人的書架，如果有的話。一直想系統地整理我的書，可以書架遠不如書多，還有就是用什麽方法整理一直定不下來。以前曾讀到過有人按照顔色整理，紅色封面都放在一起，藍色都放在一起，這樣的話，一定非常好看，但要找起書來一定很抓狂。隨便拍了幾張我的書架上的局部地區：
被淺綠色書皮包住的是村上春樹的《海邊的卡夫卡》
我對聊齋沒有特別的興趣，但對“陰陽師”卻興趣很濃
我最愛的偵探系列之一，高儸佩（Robert van Gulik）的狄仁傑探案，還有村上的《海邊的卡夫卡》英文版，《在談跑步時我在談什麽》英文版，Bill Bryson的"A Walk in the Woods"
我對於瓷器有過一段時間的狂熱，這要感謝馬爺
我的漫畫收藏的一小部分，雖然總數並不算豐富，
但還是證明了我有過“不務正業”的一段時間
但還是證明了我有過“不務正業”的一段時間
Wednesday, July 13, 2011
Growing up with animation
During a child’s formative years, what could be the single most media related influential factor? For me, the answer has always been cartoons (comic books included), or, using more Japanese-oriented terms—animations and manga books. I mean, of course a child is only as good as the product of his/her parents, schools, peers and overall surroundings, but these things take a backseat to the one thing that speaks most directly (and often most effectively) to a child – cartoons. A child is, after all, a child. And an adult is, often case, just an extension of his childhood. You want to make a kid listen? Better say it through cartoons. You want to send a message? Preach a lesson? Say it through cartoons. But as soon as cartoons become overtly educational, it becomes tedious. Good cartoons never try to teach, but they always get the job done anyways. And some cartoons just aren’t educational, but they remain top on many kids’ list of favorites for years, if not for their lifetimes.
China is by no means anywhere near the front of the line when it comes to the cartoon industry. For decades, the two obvious cartoon/anime powerhouses have been Japan and the States. Us post-eighty’s generation (I’m strictly speaking, post-seventies, but I consider myself post-80s) grew up watching many imported cartoons from these two countries. But for us, we still cherish the memory of some decent domestic cartoons. I doubt the same is true for post-nineties and the millennium generations. Their formative years, and inner psyches, to the best of my knowledge, have been dominated by imported cartoons.
Domestic cartoons have never been as good as they once were in the eighties. Many of which I watched dozens of times whenever they were being shown on TV. To name a few:
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Legend of Sealed Book/天书奇谭
The three fox-demons are especially memorable: the croak fox clad in black -- the treacherous leader of the group;
the vixen fox clad in pink;and the retard Taoist fox who can't even speak intelligibly, =)
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Havoc in Heaven/大闹天宫
I believe Havoc in Heaven made use of the best animation techniques Chinese animators possessed at the time. This animation inspired Japanese animators who later made big names for themselves, notably, Osamu Tezuka （手冢治虫）。
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Monkey King and the White-bone Demon/三打白骨精
I shuddered every time I watched this as a kid.
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Magic Paint Brush/神笔马良
The story of a kind-hearted young man who stood up to corrupt local officials with the help of a magic paint brush.
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The Sage of Mt.Lao/崂山道士
I always felt sorry for the young Taoist who lost his hard-earned skill of walking through walls after his heart harbored the thought of using this skill to do evil deeds, like stealing things.
I wish we will see more puppet animations of this sort.
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Nezha Conquers the Dragon King/哪吒闹海
Nezha is my favorite Chinese animation. It is so genuinely Chinese in its making in every aspect and in the message conveyed. And Nezha in this film is such an endearing character. I really think I can write a 20-page paper on the subject of "On Filial Piety in the Chinese Culture -- an in-depth study of Nezha".
These titles are familiar to probably every post-eighties born in China. We grew up watching them, feasting on them with our young minds and enthralled by their intricate storylines, three-dimensional characters, images drawn with exquisite care, and occasionally insinuating lines or gestures we were too young to understand. But these were cartoons that had us on our knees, cartoons that have altogether vanished for over two decades now, cartoons that can be (proudly) labeled “Chinese”.
That marked the conclusion of my love affair with domestic cartoons. Ever since then, I’ve been immersed in, predominantly, Japanese animation. Animation is, simply speaking, a way of life for the Japanese. I learned just earlier today that lately there has been an “anime-nized” version of Japan’s Constitution published in Japan, on the cover of which are several anime girls with, what else, generous boobs, blond, blue(??) and reddish-brown curly hair, and they are clad in rather dubious outfits. So, the Japanese obvious takes animation very seriously. And I think that is the precondition to making good animation. Animation permeates every nook and cranny of the Japanese society. And I will give you a big round “O” and a look of contempt if you still hold the notion that Japanese animation are exclusively for kids. The ones I grew up watching contain stuff that are, by conventional standards, definitely not suitable for young children, but we watch them anyways, and we love them anyways, and most of us turn out to be okay adults. To name a few:
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Doraemon （機器貓/小叮噹）
One of my favorite childhood animes, along with 一休and花仙子.
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DNA
This anime wouldn't have made my list of most memorable animes other than the fact that this is the first anime I watched as a "grown-up", hence it represented an initiation for me. DNA has a very strong sexual undertone. I probably wouldn't care for this anime now, but back then, I wasn't very selective.
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Rurouni Kenshin （浪客劍心）
I lost count how many times I've watched Kenshin (anime and manga). Kenshin's archenemy is a mummy-like guy called Shishio Makoto (志志雄真实), back then I had no sympathy for this ultimate villain, of course. But now, I can't help but wonder whether there might be a shred of truth in what he believes. Though without a doubt, I will always be a staunch supporter of what Kenshin stands for. =)
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Yu Yu Hakushou（幽遊白書）
You know, I never really had a thing for "girl anime", its always combat animes or animes with enticing story lines that draw me in. and btw, my favorite character from Yu Yu Hakushou is Hiei （飛影）
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Cowboy Bebop
Talk about an anime that boasts attitude!
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Samurai Champloo
Life is but a chance encounter
Stale Dango
The Gaze of sunflower samurai
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and of course, animated movies by Miyazaki and Studio Ghibli
Sometimes I wonder why Japanese animations get all the applause and attention. I mean, we just can’t help but love them. The answer is of course manifolds, I could probably write a thesis paper on this. But to wrap up in a nutshell, I’ve always felt that Japanese animations, at least the ones geared more towards younger audience, are made with the clear understanding that kids are NOT dumb. Just because animations are more likely to be watched by kids (barring, possibly, Japan), does not mean animations should be dumbed down and scrutinized for inappropriate content with a fine-toothed comb. If an animation is politically correct to the letter, it is probably unwatchable.
And that's just one of the notable problems with Chinese animations today. They are too condescending, and they are so appropriate for kids, “protecting young hearts and minds from the ugliness out there” that they have become irrelevant and ridiculous. Kids nowadays are simply too smart/sophisticated (be it a good thing or not) for these animations. Secondly, they are Japanese-animation wannabes but fail miserably. This is truly sad, and it’s only a peep-hole revealing a sorry larger picture -- China today is in a culture-void, a ship that simply can’t find its anchor (but, another time perhaps on this). Look back to the eighties, we had something we can truly call our own, animations that have a timeless quality.
China is by no means anywhere near the front of the line when it comes to the cartoon industry. For decades, the two obvious cartoon/anime powerhouses have been Japan and the States. Us post-eighty’s generation (I’m strictly speaking, post-seventies, but I consider myself post-80s) grew up watching many imported cartoons from these two countries. But for us, we still cherish the memory of some decent domestic cartoons. I doubt the same is true for post-nineties and the millennium generations. Their formative years, and inner psyches, to the best of my knowledge, have been dominated by imported cartoons.
Domestic cartoons have never been as good as they once were in the eighties. Many of which I watched dozens of times whenever they were being shown on TV. To name a few:
The three fox-demons are especially memorable: the croak fox clad in black -- the treacherous leader of the group;
the vixen fox clad in pink;and the retard Taoist fox who can't even speak intelligibly, =)
Havoc in Heaven/大闹天宫
I believe Havoc in Heaven made use of the best animation techniques Chinese animators possessed at the time. This animation inspired Japanese animators who later made big names for themselves, notably, Osamu Tezuka （手冢治虫）。
I shuddered every time I watched this as a kid.
The story of a kind-hearted young man who stood up to corrupt local officials with the help of a magic paint brush.
I always felt sorry for the young Taoist who lost his hard-earned skill of walking through walls after his heart harbored the thought of using this skill to do evil deeds, like stealing things.
I wish we will see more puppet animations of this sort.
Nezha is my favorite Chinese animation. It is so genuinely Chinese in its making in every aspect and in the message conveyed. And Nezha in this film is such an endearing character. I really think I can write a 20-page paper on the subject of "On Filial Piety in the Chinese Culture -- an in-depth study of Nezha".
These titles are familiar to probably every post-eighties born in China. We grew up watching them, feasting on them with our young minds and enthralled by their intricate storylines, three-dimensional characters, images drawn with exquisite care, and occasionally insinuating lines or gestures we were too young to understand. But these were cartoons that had us on our knees, cartoons that have altogether vanished for over two decades now, cartoons that can be (proudly) labeled “Chinese”.
That marked the conclusion of my love affair with domestic cartoons. Ever since then, I’ve been immersed in, predominantly, Japanese animation. Animation is, simply speaking, a way of life for the Japanese. I learned just earlier today that lately there has been an “anime-nized” version of Japan’s Constitution published in Japan, on the cover of which are several anime girls with, what else, generous boobs, blond, blue(??) and reddish-brown curly hair, and they are clad in rather dubious outfits. So, the Japanese obvious takes animation very seriously. And I think that is the precondition to making good animation. Animation permeates every nook and cranny of the Japanese society. And I will give you a big round “O” and a look of contempt if you still hold the notion that Japanese animation are exclusively for kids. The ones I grew up watching contain stuff that are, by conventional standards, definitely not suitable for young children, but we watch them anyways, and we love them anyways, and most of us turn out to be okay adults. To name a few:
Doraemon （機器貓/小叮噹）
One of my favorite childhood animes, along with 一休and花仙子.
This anime wouldn't have made my list of most memorable animes other than the fact that this is the first anime I watched as a "grown-up", hence it represented an initiation for me. DNA has a very strong sexual undertone. I probably wouldn't care for this anime now, but back then, I wasn't very selective.
I lost count how many times I've watched Kenshin (anime and manga). Kenshin's archenemy is a mummy-like guy called Shishio Makoto (志志雄真实), back then I had no sympathy for this ultimate villain, of course. But now, I can't help but wonder whether there might be a shred of truth in what he believes. Though without a doubt, I will always be a staunch supporter of what Kenshin stands for. =)
Yu Yu Hakushou（幽遊白書）
You know, I never really had a thing for "girl anime", its always combat animes or animes with enticing story lines that draw me in. and btw, my favorite character from Yu Yu Hakushou is Hiei （飛影）
Ranma ½ （亂馬1/2）
This is one of those animes that doesn't take itself too seriously. I love watching Ranma while eating, it always gives me a good appetite. =)
Hikaru no Go （光之棋）
If I have to name one Japanese animation that means the most to me, it would be Hikaru no Go. It brought out the writer in me.
Talk about an anime that boasts attitude!
Life is but a chance encounter
Stale Dango
The Gaze of sunflower samurai
Mushishi(蟲師)
This is not anime, it is philosophy
and of course, animated movies by Miyazaki and Studio Ghibli
Sometimes I wonder why Japanese animations get all the applause and attention. I mean, we just can’t help but love them. The answer is of course manifolds, I could probably write a thesis paper on this. But to wrap up in a nutshell, I’ve always felt that Japanese animations, at least the ones geared more towards younger audience, are made with the clear understanding that kids are NOT dumb. Just because animations are more likely to be watched by kids (barring, possibly, Japan), does not mean animations should be dumbed down and scrutinized for inappropriate content with a fine-toothed comb. If an animation is politically correct to the letter, it is probably unwatchable.
And that's just one of the notable problems with Chinese animations today. They are too condescending, and they are so appropriate for kids, “protecting young hearts and minds from the ugliness out there” that they have become irrelevant and ridiculous. Kids nowadays are simply too smart/sophisticated (be it a good thing or not) for these animations. Secondly, they are Japanese-animation wannabes but fail miserably. This is truly sad, and it’s only a peep-hole revealing a sorry larger picture -- China today is in a culture-void, a ship that simply can’t find its anchor (but, another time perhaps on this). Look back to the eighties, we had something we can truly call our own, animations that have a timeless quality.
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