1. Life is a big canvas and it should be filled with color. ——Danny Kay

2. My childhood was dark and colorless, so it was easy for me to have an unhealthy mentality, but that was not the case. I owe that to my mom. —— Song Jia

3. When you are a blank piece of paper, you need others to add color for you. But when you are a painting, you need to find your own frame. ——Charmaine Sheh

4. Russian Formalism has the color of “language ontology”, and its artistic practice ultimately points to people’s shock in strange (strange) poetry (note: language ontology may also be Implicit axiological meaning, however, becomes apparent only when it rises to the ontological level). —— Zhang Ning

5. It must be correctly understood that the unique form of "Silver Age" literature is not something blindly borrowed, nor is it the result of writers' pretentiousness. It has something in common with nineteenth-century literature and the revolutionary movements at the turn of the century, that is, it has romantic overtones. The difference is that the romance of nineteenth-century literature is essentially "sentimentalism" with ethical overtones; the romance of revolutionary movements is a mania of action and passion for destruction; and the romance of "Silver Age" literature is A kind of "Dionysian spirit" with deep spiritual structure. —— Zhang Ning

6. The representative of traditional Chinese urban (town) culture is the temple fair, and then the farmer's market evolved from the temple fair. But temple fairs and farmers’ markets are not characteristics of Shanghai. The City God's Temple in Shanghai is just a decoration and a gimmick. The representatives of Shanghai's urban culture are Xujiahui and the Bund area. Xujiahui is the command center and the Bund is the forward position. Xujiahui is the cultural wholesale center, and the Bund is the cultural exhibition hall. The culture of these two places has almost no color of Chinese agricultural civilization, but a copy of Western civilization. —— Zhang Ning

7. Facial makeup, as a dramatic art expression technique, can be said to be the quintessence of China. The facial makeup of "Peking Opera" and various local operas, as well as the face-changing skills of "Sichuan Opera", etc., once opened the eyes of Parisians and New Yorkers. The brightly colored, dazzling, and confusing patterns on the actors' faces look a bit like Western modernist paintings at a glance. This artistic symbol almost synthesizes the entire spiritual core of Chinese civilization: rich imagination, mysticism, and the integration of abstraction and concreteness. —— Zhang Ning

8. I hope that the local cultural imagination in artistic works is not just a decorative artistic symbol, but can enter the consciousness of the younger generation through the consumption process of image symbols. soul. It may be able to curb the fanaticism of some people who blindly pursue consumer fashion with Western cultural characteristics. —— Zhang Ning

9. Most of the lives in the world live and die, and butterflies are also things that live and die, but they are still dazzled by its colors and feel all the mystery and extremes of life. Beauty has revealed all the answers in its transformation. —— Sanmao