gemuhope

The Year of the Tiger spring festival transportation welcomes after the holiday last wave return trip passenger flow. Shanghai and other provinces and cities transportation law-enforcing departments launch the fourth pan-long wedge-shaped land district highway spring festival transportation major inspection today jointly. Last night this morning, the Shanghai aspect in various roads road junction, the interprovincial key communication line and important street intersection strictly observes the checkpoint, stopped the coach bus to draw in customers and to fling the guest illegally and does not have the card and overload transport business and so on serious disruption spring festival transportation security, to violate the passenger benefit the behavior.

The vehicle does not enter the station twice flings the guest

In Cao Ann road’s Anting road junction, a vehicle number the Shanghai Soviet intersection point’s remote path stops for Henan Q50770 bus on, the driver wants on the vehicle the passenger to get out, passenger is very discontented. After Anting Police answer alarm, under orders the passenger train driver to arrive the guest according to the stipulation; Unexpectedly the driver complies in public but opposes in private, to go two degrees flings the guest to Jiading Huangdu Town, insisted that wants the passenger to get out, to guard receives a telegram after the Jiading District G2 high-speed road junction’s transportation law enforcement unit tenth crew, immediately rushes to the Huangdu scene. After looking up, this is one after approving transport business procedure, started work arbitrarily the Anhui bus. After the drivers from Henan Zhumadian pull a vehicle labor has ridden the passenger transportation to Shanghai, fears is investigated, does not dare to press again left for the Pudong passenger depot to passenger’s commitment. The transportation law enforcement officials seize and hold in custody this vehicle immediately legally, the arrangement passenger train delivers separate to the passenger destination.

Last night, a vehicle number for Shanghai B79373 traveling passenger train, the non-class line transport business intelligence, in Jiangsu some through the ox group guest, pulled Man Che the labor passenger to enter Shanghai, is ferreted out in the fine loose north road by the transportation law enforcement officials. From the Anhui Susong’s 51 buses, carries 69 people unexpectedly, is investigated by the transportation law enforcement with the Jiading public security personnels.

Stringent law enforcement warm service

From 11:00 pm last night to this morning 9:00, this city transportation law enforcement agency altogether set out 370 transportation law enforcement officials, distributed more than 40 important passes, altogether inspection transport business vehicles 1210, and unified to enforce the law with other 7 province transportation law-enforcing departments, strengthens the communication, to echo mutually, and helped people overcome their difficulties for the return trip labor passenger with every effort. 7:00 am, 3 outside areas girls in returning to Shanghai, are not on the way ripe because of the geographical position, with the relative who coming to attach does not relate, saw the done an inspection law enforcement vehicle, the loud call seeks help, had found the relative under the law enforcement officials help.

Authors: Zhang Xinping Wu Runyuan

(Origin: Xinmin Evening News)

(This article originates: Xinmin Evening News)

“Black and white” buying homes contract

The circumvention law does not have the effect

Mr. Qin: I bought a Wang set of house, the house cost am 1.2 million Yuan.

To little pay taxes, we signed buying homes funds are 800,000 Yuan contracts and handle the net to sign the procedure. We have dispute in the fulfillment contract, Wang proposed that takes the actual cost 1.2 million Yuan as the cardinal number computation penalty, but I think that should take 800,000 Yuan as the basis computation penalty.

: Which share should take as the standard?

Attorney Liu Xiao: You have signed two contracts, 1.2 million Yuan contracts are your real meaning indicated that is legitimate effective; But 800,000 Yuan contracts are you to avoid taxes to sign the false contract, belongs to malicious collusion which “Law of contract” stipulated that the hurt national interest situation, therefore, this contract, even if has handled the net to sign also invalid. When both sides have the dispute, should rest on the real contract to process.

In second-hand house business to avoid taxes sign “black and white” the contract situation is very common, but this procedure both has the big risk to the round turns. Therefore, should sign the real valid contract, avoids being penny-wise and pound foolish.

(This article originates: Legal system evening news)

Last evening 5:40, in the Benxi road Jiangpu street intersection, a 18-year-old boy jumped into the river, when to today deadline for acceptance of drafts had not been salvaged to come ashore.

The eyewitness said that at that time this boy and a girl spoke on the Benxi highway bridge, the words were intense. The girl turns around to get out of the way, the boy crawls to the bridge approach parapet on. The girl hurries to beckon with the hand to urge the boy do not make the piffle, the boy actually shouts wildly one, jumps to plunge into the river. The girl frightens to shout “saving a life”, after the passer-by rushes, discovered that the rivers are very anxious did not see the boy trace.

Boy’s mother receives the notice to rush to bridge, looks at 56 meters wide rivers to wail to cry. It is known that the boy was reading high two, estimated that jumped into the river concerns with the emotion dispute.

Authors: The slaughter Shi ultra king is diligent and thrifty

(Origin: Xinmin Evening News)

(This article originates: Xinmin Evening News)

Wherever he goes, Chinese photographer Deng Wei brings his camera.
“The world is seen by everyone’s eyes. And my camera’s viewfinder
is like my third eye,” Deng said. The 48-year-old rarely stops
shooting, but last month he was “ordered” by his assistants to put
his worn-out Nikon FM2 camera into a glass box for his latest photo
show at the National Art Museum of China in Beijing.

The 100 exhibited portrait photos, selected by a panel of
experts from Deng’s voluminous portfolio from the past three
decades, have been donated to China’s top art museum.

Shot in the style of Rembrandt and using classical lighting and
color effects, Deng portrays the personalities and life stories of
people in every photo. The result is a universe of images that
lingers in viewers’ minds.

The list of big names whose portraits appear in the exhibition
includes Chinese scholar Qian Zhongshu, late Israeli Prime Minister
Yizhak Rabin, Chinese-American physicist and Nobel Prize winner
C.N. Yang, Canadian photographer Yousuf Kaarsh, Norwegian explorer
Liv Arnnesen and Zambian lawyer M. Chona.

Also featured are ordinary people such as a New York City
teenager, a Tibetan grandmother and a Chinese soldier.

“I have traveled afar to capture people in different parts of
the world. Now I would like to share with people in the motherland
the world that I’ve seen,” Deng said at the opening ceremony for
the show, which ended on April 26.

“This donation and exhibition does not mark an ending but
rather, a new start for my career,” Deng said.

He said that he kept for himself only about 300 photos that he
believes are well-done, and he destroyed three rolls of negatives
he considered flawed right before the exhibition’s opening.

Deng Wei’s works include The Traveler
(pictured top), British dramatist Tom Stoppard (below right) and
The Old Grandma (below).

Over the last few decades, the photographer “has accomplished a
mission that many of us considered impossible,” said Feng Yuan,
vice-chair of All China Federation of the Arts and Literary Circles
and former director of the museum. It was Feng who asked Deng to
donate his photos about three years ago.

And “his fruitful efforts would do so much to enhance mutual
understanding among Chinese people and people from around the
world,” Feng said.

But Deng calls himself “simply a man who fulfilled his
dreams”.

Born in 1959 in Beijing, Deng cherished a deep love for art -
especially drawing and painting – from an early age. At 15, he
seized an opportunity to learn from master Chinese landscape
painter Li Keran. And during his university years, Deng rubbed
shoulders with a variety of influential cultural figures in China,
thanks to the endorsement of his father Deng Yuwen, a scholar of
ancient Chinese literature.

But Deng didn’t begin to learn photography until 1978, when he
became a classmate of Zhang Yimou, Chen Kaige, Gu Changwei and Tian
Zhuangzhuang. After graduation, these talents garnered world
reputations as key members of the “Fifth Generation” of Chinese
film directors.

“Although I majored in filmmaking and have done several
prize-winning works for film and television, I have found that
photography fits me best, because this career allows me to better
comprehend the realities of life,” Deng said.

After graduating in 1982, Deng stayed on at the university for
several years as a teacher.

However, “with each passing day, I grew tired of the routine and
predictable life that laid ahead. I hoped I could do something
bigger and more exciting,” Deng recalled. 

In 1990, he left his post and embarked on a difficult journey to
photograph world-eminent figures.

But he had to spend a long time laying the foundations for this
dream career.

He knew that he would have to familiarize himself with the
lighting conditions he would encounter, as well as the characters
of his subjects. So, he read everything he could get his hands on
about his subjects in order to effectively capture their essences
during the short time periods he was allowed for each shoot.

At the encouragement of his father, Deng transformed a
years-long project into an album entitled A Photographic Record of
Eminent Cultural Figures of China in 1986. The project fuelled his
zeal for photography and sealed his lifetime commitment to the
trade. He decided then and there that the path of a filmmaker was
not the road for him.

The album was a hit at home and abroad, and many took it as a
sign that Chinese intellectuals had regained their positions of
social esteem after a period of humiliation during the “cultural
revolution” (1966-76), Deng recalled.

After the album’s publication, Deng cast his eyes on
world-eminent figures he knew only through TV news and newspaper
reports. 

Since 1991, Deng has visited and photographed more than 100
famous figures traveling in Asia, North America and Europe.

“There are still more world eminent figures that I want to take
photos of,” Deng said, citing such names as Vladimir Putin and
Fidel Castro.

But he also planned to shoot a series of portraits of master
Chinese craftsmen, whom he considers torchbearers of many of the
nation’s vanishing forms of cultural heritage.

“These people may not be known to people outside of their
villages. But they have also made contributions to our cultures,
and deserve my respect and photographic depiction,” Deng said.

(China Daily May 8, 2007)

Exhibition of Chinese paitings in Brussels attracts thousands of
Belgian, May 3, 2007.

(Xinhua News Agency May 4, 2007)

The atmosphere was more like an intimate party than an art
exhibition. The grey-haired artist sat on a straw mat-covered
platform in the middle of room, writing Chinese calligraphy before
an audience. The smell of seafood broth and stewed pork drifted
through the air as three purple clay cookers steamed away.

As the artist finished his work with chaotic and unfettered
strokes, a member of the audience blurted out: “What did you write
there? Doesn’t look like Chinese calligraphy to me.”

“I don’t know. Call it an abstract calligraphy if you want to,”
replied the 52-year-old Yu Peng, a contemporary painter from
Taiwan. He smiled as he lit his tobacco pipe and drew a sip of rice
wine from a dark-brown bowl.

“Each piece of calligraphy or painting is an expression of
desire living in my heart secretly,” he said.

Desire is apparently the dominant motif of Yu’s artwork,
especially in his series of paintings entitled Landscapes of
Desire, which are on show at the Sunshine (Sanshang) Art Beijing
Gallery near the Wuyuan Bridge of the Fifth Ring Road until May 15.
His painting style is a frightening blend of the modern and the
traditional.

Departing from the norms of classical Chinese painting in terms
of aesthetics, Yu’s depictions of landscapes, rivers and mountains
are quite subversive to the orthodox values of Chinese paintings
and cultural morality. He applies the imagined past to forge a
critical dialogue about people’s attitudes and ideologies towards
the present society of desire and gluttony.

According to the traditional school of Chinese paintings,
landscape painting is an overwhelming genre that represents an
ideal realm where escapist scholars could seek refuge or solitude.
Human figures are normally small, if there are any.

Yu, however, takes landscape motif painting as artistic
territory to explore his secular lust and passion the driving power
behind all things, but a taboo for Chinese scholarly painters. Just
as Picasso saw women’s breasts shaped in a horizontal figure eight,
Yu sees food, drink, and erotic men and women as muscular mountains
and feminine rivers.

He depicts nude men and women as hallucinatory rivers and
mountains, making his landscapes look like erotic scenarios.

His illusive landscapes are, in fact, re-imagining the ancient
Song Dynasty (960-1279) landscapes in very fine lines, which allude
to the past while depicting the present as a purgatory of desire.
And, they can also be seen as Yu’s personal vision of the
paradoxical world today.

“On the one hand,” Yu says, “people are trying to get rich to
meet their endless material desires. On the other hand, we know
material lust is against the value of things money cannot buy, such
as self-fulfilment.”

Unfortunately, he says, “No one, including monks, can escape
this secular world full of temptations. In my heart, there is
always an itching demon that I cannot get rid of but only try to
express through paintings.”

Some of Yu’s paintings are becoming art collectors’ favorites
and have sold well. One of his vertical landscape paintings was
sold right after being hung on the wall of the Sunshine Art
Gallery.

(China Daily April 28, 2007) 

Huguo would be indistinguishable from most other villages in the
Xindu District of Chengdu, capital of Southwest China’s Sichuan Province, were it not for Chen Jiagui,
a 62-year-old farmer-painter whose home has become a kind of salon
for art lovers from around the world.

Chen started painting when he was a child. Though poverty
prevented him from getting more than a primary school education, he
has met with many famous painters in Beijing, Guangzhou, Kunming
and Wuhan over the past two decades to learn their craft.

Lawrence Speer (second from left) visits Chen (far right) during
his trip to Chengdu last Sunday.Li Yang

 

Unlike most traditional Chinese artists, Chen does not name his
paintings. His work is in the style of tachisme, an abstract style
that relies on random splashes and lines of paint.

“Different people may have different ideas about my paintings.
For example, one person might see a star when he looks at a dot on
one of my paintings, while another person will see a musical note,”
he said.

His fans treasure this ambiguity.

“Although they have different interpretations of his paintings,
most visitors to his home are surprised that a farmer can produce
such nice abstract paintings. Some describe the dots and lines on
his paintings as an expression of harmonious co-existence,” said
Song Xi, a fan and journalist with Sichuan Television Station.

Song interviewed Chen several years ago and has accompanied many
visitors to his home ever since.

Chen said he sometimes draws inspiration for his paintings from
his dreams. A drawing table positioned next to his bed is evidence
of this muse.

“Whenever I find inspiration from sleep, I get up and paint even
if it is the dead of winter,” he said.

Earlier this year, a friend from Chengdu took six of Chen’s
paintings to Paris for an exhibition of Chinese art work.
Exhibition goers were thrilled by his work.

After learning Chen’s story, Lawrence Speer, an American
journalist with BNA, a Washington DC-based business consultancy,
visited him a week ago during a trip to Chengdu with his French
wife and their French friend.

Speer said Chen’s paintings embodied the painter’s thoughts.
When Speer offered to buy one of his paintings, Chen gave him one
as “a gift from a Chengdu farmer”.

Song said Chen is always generous to visitors despite his
poverty.

(China Daily April 25, 2007)

A small village, Wanggongzhuang, in Minquan County of Henan
Province, has recently become known as “China’s number one tiger
painting village”, for 700 out of the 1,000 villagers there are
skilled in painting tigers.

Their works are not only popular in China, but also sell hot in
countries and regions in Southeast Asia, Korea, Japan, and America,
with the gross sale per year amounting to 6,000,000 yuan.

According to Dahe Daily, hand drawings of pine and crane, carp,
the God of Wealth, and the Kitchen God are very popular in areas
around Wanggongzhuang in the Eastern Hean Plain. Previously, these
New Years paintings were only sold at country market fairs.
However, in the late 1970s, some open-minded peasants began selling
their exquisite works on the market. Wang Peishuang, who has become
rich on this business, used to be among the “Four Tiger Kings”,
four well-known tiger painters at that time. By now，Wang has an
income of 300 thousand to 400 thousand yuan every year and has been
running a painting training school. Wang has also become a member
of Traditional Chinese Painters Association of China and Henan
Artists Association. His works have won many prizes in some
provincial art exhibitions.

(Chinanews.cn April 26, 2007)

Yu Feng, famous painter, fine arts critic and prose writer, passed
away at 91. She died on Sunday morning of cancer, her son Huang
Dawei said.

Having suffered from uterine and breast cancer, Yu had a surgery
to remove the tumors three weeks ago and fell into a coma.

To commemorate Yu’s achievements in art, the National Art Museum
of China will hold an exhibition of paintings of Yu and her husband
Huang Miaozi, 94, also a reputed artist. They got married in 1944
and became a “star couple” in China’s art circle. They have three
sons.

Yu, born in Beijing in 1916, developed her love for art under
the influence of her uncle, Yu Dafu (1896-1945), who was a famous
writer and pioneer of Chinese new literature.

First she learned oil painting in Beijing and then became a
student of Xu Beihong and Pan Yuliang, both prominent artists.

In the 1930s, she joined a national salvation movement against
Japan in Shanghai and worked as editor for revolutionary newspapers
and magazines.

In the 1940s, Yu devoted herself to prose writing, painting
exhibitions and editing for magazines in Chongqing and Nanjing.

After the founding of the People’s Republic in 1949, she was in
charge of exhibitions in China Artists Association and National Art
Museum of China.

Since the 1980s, Yu directed her interest in wash painting and
held exhibitions overseas.

“Her simple and small-sized paintings are done in a free way,
displaying her profound humanistic feelings,” said renowned fine
arts connoisseur Shi Shuqing.

Despite her tremendous achievements in art, she said modestly:
“At most, I am an amateur painter as I spent most of my life in
doing other stuff,” Yu said in an article about her paintings years
ago.

“In painting, I don’t want to repeat others or myself. But I’d
like to learn some techniques from others which fit my style, no
matter they are master artists or little kids and no matter the
techniques are traditional or modern.

“Above all, art works should lead people into deep thoughts and
stimulate the most beautiful feeling from the bottom of their
hearts. Art’s life is completed and prolonged by audience’s strong
echo and reflection.”

According to the museum, more than 80 paintings of Yu and 100 of
Huang will be displayed at the 12-day exhibition starting on April
27. Huang chose the paintings by himself. If health permits, Huang
will attend the show’s opening ceremony.

Yu’s strong mind and optimism impressed her family and friends
very much.

“Every time my mother had serious relapse, she joked that she
got yellow cards again,” her son told a newspaper in Shanghai.

Master cartoonist Ding Cong and his wife Shen Chong were Yu and
Huang’s long-time close friends.

“She was a happy granny and cared little for her illness,” Shen
said in an interview with China Daily. “Unbelievably, she even
travelled to Hunan immediately after an operation.”

“In our friends’ eyes, she was always like a middle school girl,
who was happy, adorable and passionate.”

“Once we joked that she could join Hunan’s Supergirl
competition. Seeing she thought it was really a good idea and might
have a try, we stopped kidding.”

“Although she has gone, yet our memory about her remains very
fresh and pleasant.”

Shen said there was really nothing to regret if a person could
lead such a colorful and meaningful life like Yu.

“She is talented, successful in career, happy with family,
healthy in most of her life, and most importantly very lovable
among friends.”

“It is a pity for me not to visit her in her final days. But
thinking she needed rest and wanted to keep her agreeable image
which might have been affected by painful treatment, I felt
relieved.”

Another of the couple’s friends Shao Yanxiang, a famous
essayist, said: “Yu was a charming person among friends and could
quickly become the center of attention at every parties.”

Also, Yu and Huang’s happy marriage of more than 60 years was
admired by many.

“They were a happy old couple, who were inseparable and often
showed up together.”

In fact, Shen revealed that Yu had the final say in their
family.

“Yu was active and outgoing while Huang preferred to stay at
home doing some reading and painting. But the two got along very
well.”

Li Hui, author of a book about the couple Keep smiling Huang
Miaozi and Yu Feng, said the two did share a lot of
similarities.

“Both of them are optimistic, kind and sincere. Both have
passion for art. Happy smile is their forever expression no matter
what happened to them.”

In addition to Yu’s outstanding painting and charming
personality, many people also love her essays that had been
published as books.

“Written in beautiful words, her essays are very emotional,”
Shen said.

“In her prose, we can feel her special style as an artist, who
was sensitive and pure-minded,” said Zhang Yiwu, a professor in
Peking University and a famous critic in literature

Yu’s son said his mother had wished for no ceremonies after her
death.

“We will present some of my mother’s paintings, photos and
manuscripts of her prose to our friends and relatives,” he
said.

(China Daily April 20, 2007)

He Xiangning Art Museum celebrated its 10th anniversary April 18
with a special exhibition demonstrating He Xiangning’s important
status in contemporary Chinese art history and her prominent
contribution to the Chinese revolution.

The exhibition, which will run through July 1, features about
100 works by the renowned artist-turned-social activist and
national leader.

Rather than a conventional art exhibition, the show displays the
works in a multimedia environment, which includes videos,
photographs and historical documents, to enable audiences to learn
more about the background in which these works were created.

“We have chosen seven significant geographical locations, where
He Xiangning once lived and worked, to showcase He’s rough life
experiences and colorful art career,” said Le Zheng-wei, deputy
curator of the art museum.

Born in Hong Kong in 1879, He was married to Liao Zhongkai, a
senior statesman of the Kuomintang, in Guangzhou in 1897.

In 1902, He sold her dowries to support her husband to study in
Japan. In 1903, He followed her husband to Japan, becoming one of
the earliest female Chinese students studying abroad.

During her stay in Japan, He got to know Dr. Sun Yat-sen, and
started to devote herself to the revolutionary movement.

In 1905, she participated in the establishment of the Chinese
Revolutionary League, working as a liaison officer.

In 1909, she was admitted into the Hongo Women’s School of Fine
Arts in Tokyo to study landscape and flower painting, and then
continued to study animal painting under the Japanese royal artist
Raiaki Tanaka.

Throughout her life, He enjoyed using her paintings of plum
blossoms, pine trees, lions, tigers and landscapes to convey her
political views.

When the Revolution of 1911 broke out, He moved back to
Guangzhou with her husband. After returning to China, she came
under the influence of the Lingnan School of Painting, one of the
modern schools of Chinese brush painting, led by renowned artists
Chen Shuren and Gao Jianfu.

In her later works, her earlier Japanese painting influence
began to be replaced by more traditional Chinese forms.

Around 1924, He and Liao assisted Sun Yat-sen in reorganizing
the Kuomintang, and urged the party to cooperate with the Communist
Party of China (CPC).

After her husband was assassinated in 1925, He continued to
fight against the Kuomintang’s right-wing leaders.

During the eight-year War of Resistance Against Japanese
Aggression from 1937 through 1945, He endeavored to fight against
the Kuomintang’s dictatorship and infighting, and actively
participated in anti-Japanese movements.

In 1948, by uniting the Kuomintang’s right-wing leaders, He
organized the Kuomintang Revolutionary Committee to answer the
CPC’s call to hold the new political consultative conference.

After the People’s Republic of China was founded in 1949, He was
appointed vice chairwoman of the National Committee of the Chinese
People’s Political Consultative Conference and vice chairperson of
the Standing Committee of the National People’s Congress.

In 1960, He was elected chairperson of the Chinese Artists
Association. She died in Beijing in 1972.

Approved by the Central Government, He Xiangning Art Museum was
established in the city’s Chinese Overseas Town on April 18,
1997.

It is the first national gallery that has been named after an
individual as well as the second national modern art museum in
addition to the National Art Museum of China in Beijing.

(Shenzhen Daily April 25, 2007)