Tag Archives: china

Water and Ink

For the artist known as Lost Mountain Man, just a few strokes is all it takes to evoke meandering brooks, learned scholars, or gatherings of old friends.

The artist’s light, elemental brushwork—the antithesis of overwrought illustration and design—combines traditional ink painting with modern sensibilities, and adds a touch of the mystical. His work draws you inside and almost seems to make you lose all sense of space and time.


沉浸在忘川山人的水墨世界,寥寥几笔勾勒的画卷里,却是文人墨客,流觞曲水,畅叙幽情。

对比色彩繁芜的插画或设计,忘川山人笔下那氤氲开的淡淡笔触,让传统水墨与现代审美交相融合,仿佛还带着些许仙气。几幅画看下来,竟不知画里画外,今夕何夕。

The landscape is in these works are a reflection of the artist’s own idiosyncrasies. “I’ve always felt I lived in a state of utter loneliness,” he says. “I often reflect on the impermanence of the world and the insignificance of human life. Time passes and stillness persists in the boundless universe above me. And in the contrast between the minuscule and the vast, I find an outlook that teaches humility, that teaches reverence.”


其实画中的世界,也正是他个人意趣的写照:我始终感觉自己身处巨大的孤独之中,时常念及世事无常,人若草芥,而头上的无边宇宙斗转星移,寂静仍然,我将这种渺小与浩大的事物之间的反差视如一种观照,照见谦卑,照见虔诚。

Douban~/忘川山人
Instagram: @lostmountainman


Contributor: Chen Yuan


Douban~/忘川山人
Instagram: @lostmountainman


供稿人: Chen Yuan

The East Was Red

“The east is red, the sun is rising. From China comes Mao Zedong.” So goes China’s most famous propaganda song, “The East is Red.”

China in the 1960s and 1970s was indeed red. From the propaganda posters covering the streets and alleyways, to the copies of the little red book in everyone’s hands, to the Mao badges on their chests, red—symbolizing leftism, communism, socialism, and revolution—filled every aspect of people’s lives and thoughts.

In a new project entitled The East Was Red, artist Sheila Zhao finds old photographs from that time and retouches them, highlighting the political atmosphere of the time.


就像歌里唱的那样:“东方红,太阳升,中国出了个毛泽东。”

六七十年代的中国,确实是红色的。从大街小巷遍布的宣传画,到人手一份的 “毛主席语录” 或毛主席勋章——象征着左派、革命、社会主义和共产主义的政治红色,充斥着人们生活和思想的方方面面。

而这个系列名取自红歌《东方红》(The East Was Red),Sheila Zhao 找到当时的老照片,并进行了再度创作以突出那个时期的政治气氛。

Born in Beijing in the 1980s, at age seven Zhao moved to the US, where she grew up and studied. Of course, without the benefit of personal experience, Zhao is a stranger to those times, so hard for outsiders to grasp or comprehend.

But Zhao’s love of documentary photography, especially historical images, transports her back in time. “I’m not a historian or an expert in the Cultural Revolution, by any means,” she says. “I look at that time in history from the point of view of someone interested in the images it created, and in what that says about the country’s collective identity at the time.”


Sheila Zhao 其实是 80 后,在北京出生,七岁时搬到美国,并在那里完成了学业。照理说,Sheila 对那个时代是陌生的,没有亲身经历的加持,也很难理解和感受。

但对纪实摄影尤其是老照片的热忱,把 Sheila 带到了这段历史面前。“我不是一个历史学家,也不是一个研究当时运动的专家。我从一个对所创造的形象感兴趣的人的角度来看待历史上的那段时期,以及这个国家当时普遍存在的集体认同感。”

All of the images in The East Was Red, and all her other archival images, were acquired from second-hand antique markets near Beijing and Shanghai. As the majority of the photos were taken in the 1960s and 1970s, a common theme stood out:  “I noticed the photographer and those being photographed from this period, whether consciously or not, brought politics into the shot,” she says. Clearly, people in that time lived entirely under its shroud.

Fascinated by this, Zhao began retouching select photos from her collection, coloring over the posters, images, Mao badges, and books of quotations with a cherry red, using the color to stand in for these thoroughly political objects. On the one hand, this alludes to the color’s political significance, and on the other, it lets the viewer, who can see how prominent the red is, understand just how widespread Communist ideology and the cult of personality had become throughout China. 


《东方红》系列的所有照片,Sheila 档案中的其他照片一样,都是在北京和上海附近的古董二手市场淘到的。这个系列则大多选取于上世纪六七十年代间所拍摄的照片,几相比较,有个异常明显的特征浮现出来:“有趣的是,我注意到在这个时期,摄影者和被拍摄者都有意无意地把代表政治的东西包括进来。” 可见,那时期的人们完全生活在其笼罩之下。

于是,Sheila 在再度创作的过程中涂红了标语、照片、勋章和 “红宝书”。鲜艳的大红色被用以代替这些照片中这些充满政治意味的 “物件”,一来对应 “红” 的隐喻,二来,观者只消参见照片里红色有多么壮观,就能发现当时的共产主义思想和个人崇拜情结,在全中国是有多普及。

“China underwent a very unique socioeconomic movement at the time, which coincided with the rise of photography. It happened to be when cameras became more accessible, leading to more people using them as a means of self-expression,” Zhao says. “In the early 20th century, photography was still something that was reserved for the privileged. By the mid-20th century, cameras became even more common. Although they were still considered a luxury, there wasn’t that sense of exoticism of being imported anymore. Looking at photos from that era, it’s quite interesting to see how political doctrines influenced people’s lives.”


“中国当时所经历的是一场非常独特的社会经济运动,也恰巧发生在摄影史上,当时越来越多的人开始有机会通过摄影媒介表达自己的观点。” Sheila 说,“在 20 世纪初期,摄影仍然是特权阶层的活动。但到了中期,相机的使用开始变得越来越平民化,尽管还稍显奢侈,但它已不再那么具有‘舶来品’的异国气质。所以在照片中,我发现当时的政治辞令是如何影响人们描述和记录自己生活的方式,这是非常有趣的。”

Websitesheila-zhao.com

 

Contributor: Chen Yuan


网站sheila-zhao.com

 

供稿人: Chen Yuan

The Lighter Side

A white cloud brought to tears by a barbecue’s smoke, a star that needs a recharge, a planet with a moon that keeps blocking its sight: breaking down the barrier between reality and fantasy, these images can’t help but bring a smile to your face.

The Beijing-based artist who created them, John Johnny, describes himself as “a decently indecent person.” His comes up with bold, creative animations featuring everyday objects. That’s because, as he puts it, he “likes anything that’s fun, and likes to make life fun.”


被熏哭的白云、需要充电的星星、卫星障目的小行星……这种打破现实和幻想之间界限的作品,让看到的人不得不为之莞尔。

作者是约翰强尼,来自北京,喜欢用 “一个正经的不正经人” 来形容自己。他以日常物品为主体结合脑海里的各种奇思妙想,创造出天马行空的动图。用他自己的话来说,这是因为“喜欢一切有趣的东西,喜欢把生活变得有趣”。

《大自然的烦恼》系列 云
《大自然的烦恼》系列 星星
《大自然的烦恼》系列 沙漠
《大自然的烦恼》系列 火山

We say “everyday life” to mean something ordinary, but perhaps each day is an underappreciated miracle. “As I was doodling one day, I drew a character with a cute round head, and I thought it’d be fun to turn it into a GIF. Then I decided to make the round head into a sun instead.” Once you’ve got a sun, then you need a moon, and that’s how, with one idea after another, the Natural Exasperation series was born.

“What I like most is a mellow, simple style, something that’s relaxing to look at,” says John Johnny. “I think that’s what these times call for.”


我们每天称之为日常的生活,或许每个都是被忽视的奇迹。“有一天我在纸上涂抹,然后觉得一个圆脑袋挺可爱就想做个 GIF,就把圆脑袋变成了太阳……” 有了太阳,就有了月亮,也就有了他个人最喜欢系列《大自然的烦恼》。

约翰强尼说,“我个人要是做最喜欢那应该是轻松简单放松的风格。看了能让人放松,我觉得这个时代需要这些。”

《大自然的烦恼》系列 行星
《大自然的烦恼》系列 月亮
《大自然的烦恼》系列 太阳
《大自然的烦恼》系列 冰山
《大自然的烦恼》系列 大海
《大自然的烦恼》系列 小山
《让我治愈你》系列
《让我治愈你》系列
《让我治愈你》系列
《玉米兄的日常》系列
《玉米兄的日常》系列

Weibo: ~/约翰强尼

 

Contributor: Chen Yuan


微博: ~/约翰强尼

 

供稿人: Chen Yuan

The Two Sides of Li Daiguo

 

无法观看?前往优酷

We caught up with Li Daiguo for an afternoon jam session, accompanied with vocals by Chacha and woven—perhaps—around the theme of sleep. Li’s music hovers on the edge of reality and nothingness, and listening to it you can’t tell, to paraphrase Chinese philosopher Zhuangzi, whether you’re dreaming you’re a butterfly, or whether you’re a butterfly dreaming you’re you. We’ve taken a part of the music and paired it with images, and we invite you to come along in this sonic reverie.

“Improvisation isn’t a genre, because it’s hard to determine what’s going to happen,” says Li. “Even if we repeat the performance, we’re ‘resuming’ it, not ‘replaying’ it, so it’s organic. You find a path in your own habits, a way in, and you have to protect it, build it up, so you can always get back, and then freely go on toward somewhere you never imagined.”


这是李带菓即兴的一个下午,和 Chacha 的人声一起,即兴的主旨也许关于睡眠。它像是现实与虚无的一个交界,你可能是庄周,可能是蝴蝶。后来我们重新剪接了音乐、配了画面,你只当一起做个梦,游一游。

“即兴不是一种风格,因为很难界定会发生什么。即使是我们所谓的重复它,也是我们‘仍在做’,而不是我们‘再次做’,所以它是有机的。你以自己的习惯找到一条路径,从那里进入,你如何保护它、如何建立它,以便你可以随时到达那里,再自由前往意想不到的地方。” 李带菓这样讲。

Who exactly is Li Daiguo?

First and foremost, a musician.

Born in the US, he first began studying Western classical instruments at the age of five. In his adolescent years, he explored instruments from other regions, and in college, he studied Chinese regional music and its cultural roots, while also studying twentieth-century literature and philosophy. Today, he’s become an established musician with experience in over 20 Eastern and Western instruments, in addition to beatboxing, Tuvan throat singing, and other vocal arts. For years he’s been going head-to-head with musicians from around the world, and this multifaceted exploration has led him to stop using labels to define himself. Whenever something resonates with him, he uses it to sow seeds, raise ripples. You never know where inspiration might come from,” he says. “Everything can influence me in some way.”


李带菓是谁?

音乐人是他的身份。

出生在美国,5 岁开始学习西方古典器乐,少年时接触了更多的地方器乐,到大学阶段便深入研习各地地域性音乐及其背后的历史文化,同时研究二十世纪文学和哲学。如今在二十多种东西方乐器和 beatbox、呼麦等人声中游弋,数年来与世界各地音乐人的“摩拳擦掌”,多维度的探索使得他摒弃了标签式的表象标准,他听到什么信息有共鸣,就拿那些来播下种子、掀起涟漪,“你不知道它来自哪里,因为所有东西都会对我产生影响。”

Listen to select tracks from Li Daiguo below / 点击即可试听李带菓的几首歌曲


Side A: “Listen”

 

So what’s the best way to approach Li’s music?

“All kinds of theories could easily be applied to explain the ideas behind my music,” he says. “But they might not entirely be true. The truth is . . . I don’t know! I just do something that feels good from my heart to my brain to my body. I’ll stop there. I’m not going to oversell it.” In marketing, the pitch is usually better than the product, he quips, then gives a belly laugh.

“So a lot of things are there for no reason, or the reason lies in what they do. Too many words, too little thought. The things we want to grasp are often beyond our control, so it’s best to stop right at the edge of what you can feel but can’t understand. Experience it, hold on to your perception.”

It’s nearly impossible to shoehorn his music into a theory, of course. His music seems to touch the truth or essence, as though it were the natural sounds of notes or the inner connections between things. It approaches the dao, but you can’t grasp the truth itself.


Side A:听”

 

到底,听他音乐的打开方式是什么?

“如果要套各种理论来解释我的音乐理念很容易,但可能不太真诚。真诚的应该是,我不知道呢!我就做一个让自己从心里到脑袋到身体都舒服的,我就停在那个里面,不再推销了。”各种名义的推销,噱头往往大于本质,李带菓直指出来,然后抱以率性地狂笑。

“所以很多东西,它没有理由,或者理由已经在它的行为里面。话太多,因为想法太少,那些想抓到的东西往往是超越我们控制范围的,所以不如停在你没办法知道的边界,但你感觉到了。去感受它,保持你的觉知。”

若以理论来强名于他的音乐,当然不太可能。他的音乐似乎在触摸真相或本质,犹如音律的自然发声、事物的内在联系……几近于道,而你无法抓住真相本身。

For performances, Li’s most frequently used instruments are the pipa, cello, and mbira (an African instrument that’s played by plucking it with a thumb). “When I use an instrument, I’ll think about the sound and vibrations it produces. I respect its original sound more because there’s a historical context there. It’s able to tap into a higher frequency. Someone asked me once, ‘That mbira instrument you use, why don’t you recreate something similar yourself? Or experiment with distortion pedals?’ The answer is simple. To me, the way the instrument was originally constructed is already close to perfection.”


李带菓最常用琵琶、大提琴和 Mbira(津巴布韦手指琴)来弹奏和创作,“在乐器使用上,我会从它的声音和振动来考虑,我更尊重它的原生音乐,因为它有那个历史,它能接通能量的概率更高。有人问我,你那个 Mbira 的非洲乐器,怎么不自己创作?或者加效果器做各种实验?因为对我来说,它那个系统和乐器的结合已几近完美。”

He adds, “So why do I perform with the cello and pipa? It’s because they’re fairly common instruments that many people are used to hearing here. From silk strings to steel strings, there’s so much potential in these instruments themselves, but frankly, old songs aren’t as compelling anymore. I spent much of my youth with these instruments, understanding their aesthetics, so I’d say I’ve become fluent in that language. But the mbira is a more narrowly regional instrument. It’s evolved in its own way. If in the future, I have the chance to express myself within that realm, I’ll let it happen. If not, I won’t fake it just to make something new.”


他又补充,“那为什么会用琵琶、大提琴创作?因为它们在地域范围内已经传播很广,丝弦也成了钢弦,这些乐器本身也有更多的可能性,老曲子的整个编曲没有那么大吸引力了。并且我从小在那个器乐的体系里,消化了它的审美,知道怎么用它的语言说话。但是 Mbira 地域性更窄,那个地区有他们慢慢的进化方式。但如果以后我能自然地在它的体系里说自己的话,那我也会允许它发生,如果没有,也不会为了‘新’去假装‘新’。”

Li’s wide-ranging insight into blending Chinese and Western culture is what allows him to experiment and innovate with musical instruments. “The real fusion is when music’s different souls are combined. There’s no incompatibility between past and present, because everything flows in one stream. As long as this fusion is still happening, then it’s just the evolution of a traditional form.”

“Those who aren’t willing to evolve have lost their way. Same for those who blindly pursue change, changing their posture and their performance. Then they add some drums, mix the traditional and the Western, the old and the new—their environment has warped their sensibilities. They’ve lost their roots, forgotten what’s most true. Perhaps this connection to roots is a sort of instinct, but if you truly seize its essence, you can summon its spirit.”


他对中西方文化融合的不拘一格的洞察力,的确带来了器乐上的更多探索与创新,“真正的混搭,混的是音乐的灵魂。并不存在过去与现在不相容,因为都在一条河里流淌,只要是这个东西还在发生,它就是一个传统的进化。”

“不愿意进化,是因为他们迷路了。或者有些人盲目地求变,变着姿势演奏,然后动次打次,传统加西方、老加新,环境的洗脑影响了审美,他们丢了根,忘了最真诚的东西。有可能这种根源性的链接是一种直觉,但如果是真的抓到了它的内在,那么你就可以把那个鬼叫出来。”

As of late, Li’s music sounds very electronic. “These are all acoustic instruments,” he clarifies. “All I’m doing is amplifying certain frequencies of their existing sound. It sounds like a synthesizer. A lot of people can’t believe the sound is being plucked from a string since it sounds like a group of instruments. But the instrument’s original sounds are all there, layered and nuanced. If you manipulate sound with acoustic instruments, you can be more flexible and create different sounds. The instrument shouldn’t be something you’re dependent on, but rather it should be a tool that represents and serves you.”


最近他又在做些听上去很电子的东西,“那些都是原声乐器,我只做了一件事,就是放大已经存在的声音的某个频率,听起来就像一个合成器。他们不相信那是一根弦弹出来的,感觉是一大堆乐器,其实那些原声状态都在,每一秒都和你的身体有共振,听起来更多微妙的层次。你用原声乐器去控制的话,更有选择更自由,也会有更多内容在那里面。是它在代表你、为你服务,而不是去依赖它。”


Side B: “Look”

 

What’s this kind of person like in everyday life?

As we chatted face to face over the table in the backyard of a vegetarian restaurant, his waist-length hair, sometimes gathered with a pin in a topknot, hung around his neck in a braid. The light breeze sprinkled parasol leaves onto our table and dishes. He brushed off the leaves and continued to eat with relish. “It doesn’t matter where you’re from. Everyone loves Chinese food,” Li surmised. “But 90% of the actual cuisine, most people probably can’t stomach. Many people have a limited palette.”


Side B:视”

 

这样一个人,在日常中会是什么样子呢?

我们在功德林后院的饭桌上面对面聊着,他及腰的长发盘在脑后、插上发簪,有时也会编起麻花辫绕在脖子上。风吹散的梧桐絮飘落在饭菜上,他撇一撇继续大口吃饭,“各种肤色的人,基本上都喜欢吃中国菜,也百分之九十吃不惯,他们的味觉比较窄。”

Curiously enough, Li—despite being a food lover—has actually been a vegetarian since he was 19. He believes we’re all animals. “People refuse to eat cats or dogs in many countries, but they’ll happily eat beef, pork, or poultry. They don’t view these things as related. But if you take the time to befriend a cow or a pig, you’ll discover the emotions they experience are the same emotions we experience. Their actions and feelings are similar enough that we shouldn’t be seeing them as only meat. I’m not a vegetarian because of dietary restrictions or an opposition to killing. It’s because these animals are products as soon as they’re born. That’s pretty bad.”


我却是好奇那么爱吃的一个人,却从 19 岁就开始奉行素食,他认为我们都是动物,“比如说很多国家的人,他不吃猫狗,但他会吃牛和猪、吃鸭吃鸡,他不会把那些当成有关系的东西,但如果你去试一下,跟一头牛或猪有感情,然后反射一下人与人之间的那些感情、各种行为,已经够接近到我们没必要去这样分。我吃素不是吃或者杀的问题,是因为从它们一存在就是一个商品,这个不是特别好。”

As we walked along the sidewalk after our meal, he carried his pipa on his back and lugged his cello behind him. Craning his neck to speak, he stumbled on a step and nearly took a tumble, but he recovered his balance with a series of comedically theatrical movements. Having spent the afternoon together, I was already quite familiar with his silliness, but the absurdity of the maneuver still left me laughing. “You know Charlie Chaplin?” he asked. “You could say that he’s a pessimist. But he wanted to make the world a better place with his comedy. I’m the same way. I know all of his choreographed movements come from the heart. I want to be the Charlie Chaplin of music. It’s my dream,” he said with a decisive glint in his eyes.


茶余饭后的路上,他背着琵琶、拖着提琴,顾着讲话就没留意人行道的上下台阶,绊了个踉跄,刚反应过来就顺势做起戏剧化的夸张肢体动作。其实聊了那么会儿,我们已在一个频道里见怪不怪,但仍旧被逗乐了,他讲:“你知道卓别林,你也许可以说他是一个悲观主义者,但他通过他的喜剧是想做些好事情,我也是。他所有的那些动作那些编剧,我知道他是用什么心在做,我跟他是一样的,我要做各种音乐卓别林,这是我的梦想。”李带菓尤其肯定的闪着光芒在说。

Later on, as I combed through all of the audio and video footage, I noticed that he would often approach the camera or the microphone to add a high-pitched “Ah!” as a coda to something he’d said. Li’s playful quirkiness, mischievous tendencies, and contagious charm have won over those who’ve been fortunate enough to get to know him.

In the past, Li used to be fond of words and language, but then he grew tired of writing and concluded that true expression didn’t need very much actual language—and that language itself could be another musical form. So he then blended words into his music, either through singing, recitation, speech, laughing and crying, or in duets with one instrument and one voice, telling a story, singing a story in the music. He also began making film shorts and theater pieces.”


在后期整理时,我发现在录音或影像的收尾,他常常会凑近镜头或者话筒发一声短促音高的“啊”作为结束。这些小细节让见过李带菓的人,也大多会被他的调皮、他的趣味、乃至他的妖娆所感染。

他以前很喜欢语言和文字,后来写多了,就觉得真实的表达不需要那么多实际的语言,它也可以是另外一种音乐表现形式。于是他接下来会把词融进他的音乐里,从好好唱,到朗诵、说话、哭笑,或者一个乐器加一个人,在音乐里讲故事、唱故事。同时,他也开始做小短片和剧目。


Li currently lives in Dali, China, a town known for its beautiful mountains, clouds, and scenery. There he can enjoy the brilliant splendor of the great outdoors.

In the natural world, all sound is improvised. What we call music is adding to or subtracting from these existing vibrations.


如今李带菓居住在大理,那里的山、云、日月都很美,可以在大太阳底下奔跑。

声音在自然声场里即兴涌动,我们对振动传播的信息做了加减法,便成了那个被叫做音乐的存在。

“Nobody can create music that resonates with everyone, everywhere, at all times,” he says. “Only the sounds of nature hold this universal appeal: the sounds of cascading waterfalls, chirping birds, rolling ocean waves, and the pitter-patter of rain. In terms of transmission strength, nature is definitely the most powerful. If you want truly stereoscopic sound, you might as well go into the wilderness and take in the sounds rather than purchase a bunch of fancy equipment. It’s extremely pure. Your mood or mental state can only affect how much of that beauty you can take in. Or from another perspective, the cars outside, the fruit vendor’s call—if you can listen to how they come together, that’s also a kind of natural beauty. Or again, if you’re not influenced by your body, by material values, but can tune in directly to the universe, that’s also a way. In that case, music and art are unnecessary—they’re superfluous, they become self-expression. So I’m just a bird, and all I’m doing is chirping.”


“没有人可以做出让所有人在所有地区所有时代都接受的音乐,只有瀑布、鸟叫、大海、雨声,可以让人应该都会产生共鸣。从传播能量的角度来说,肯定是大自然提供的是最有力的。你搞立体声,搞各种声音装置什么,不如去森林里面,没办法,那个东西是非常纯粹的,那个根是在声音里面,你的状态和情绪只会影响你能吸收那个美的多少。换个角度来讲,外面的车、卖水果的吆喝,如果你能听到他们结合的一个点,那也是他们完成的一个自然美。再或者如果你不受五脏六腑、物质价值体系的影响,而是直接从宇宙里接收信息,那也是一种方式。那样说的话,是不是什么音乐什么艺术都是不需要了,都是多余的,都是为了自我表达。所以我也只是一只鸟,我也在叫而已。”

Music is a journey for your senses, it’s a vessel, a medium that allows you to visit unknown realms. It’s something that allows you to tune into internal and external experiences. Music is indescribable.

“In a sense, music is a conversation with another universe,” Li says. “One that goes beyond all the small talk of our daily lives.”


音乐是当下的感官旅行,是一个载体、一个渠道,停在不知的边界,引你进入更内外的体验,不可描述。

“那是在另一个世界的交谈,在某种意义上,胜过今日我们听到的许多交谈。”

Website: lidaiguo.com
Xiami: ~/lidaiguo

 

Photographer & Contributor: Chan Qu
Videographers: Anais Siab, Damien Louise
Special Thanks to ChaCha & Yongfoo Elite


网站: lidaiguo.com
虾米~/lidaiguo

 

图片摄影师与供稿人: Chan Qu
视频摄影师: Anais Siab, Damien Louise
特别鸣谢 ChaCha 与雍福会

Taking It Easy with Kuoyi

Kuoyi, Issue #1 / 《可以》第一期

People in Chengdu, an old saying goes, don’t know the meaning of the word hurry. No matter how dire the situation, they never lose their calm. Maybe it’s the constant humidity of the Sichuan Basin that keeps them so unruffled, or maybe it’s the fragrant Sichuan rice they eat every night, its delicate sweetness seeping into their pores.


有人说成都人似乎不明白匆忙生活的意义,遇到任何麻烦事成都人总能温柔以待。或许是巴蜀盆地久久不散的湿气让成都人变得平和,不沉沦也不热烈,“平和之气” 伴随着每晚川米软糯的香味,渗透到成都人的骨头里。


A Celebration of Life in Chengdu

 

“In the Chengdu dialect, kuoyi signifies an attitude of contentment. It’s about taking things as they come. It’s a laid-back lifestyle—a simple, everyday happiness. That’s why we decided to use it for the name of our magazine,” says Zhang Jianlan, the co-founder, publisher, and editor-in-chief of Kuoyi.

If you whisper the word kuoyi, you can almost feel your entire body loosening up. That’s the feeling Zhang Jianlan and her co-founder Xue Rong want to bring readers. It’s an experience that extends beyond the articles themselves.

There’s value in seeking excellence in something you love, as Zhang and Xue show. With calm and perseverance, they’ve done something other people might consider crazy: they’ve started an independent magazine about the city they live in and love. They stroll down the city’s avenues and alleyways to find the most kuoyi treasures, and they’ve put that attitude of contentment and generosity between two covers.


它关于成都,关于生活态度

 

在成都话里,“可以” 这个词语被寄托了一种知足常乐的心态,是随遇而安的心境,是舒适悠闲的生活,是简单平常的快乐。所以我们的书取名为《可以 KUOYI》。——《可以》创始人、出品人、主编:张简蓝

如果你小声低吟一句 “Kuoyi”,整个人会立刻感觉松了起来。这就是《可以》创始人张简蓝和薛蓉,想带给读者们超越文字本身更多的意义。

“把自己热爱的事情做到极致便有了它的价值。” 这句话是这两个女生最佳的佐证。她们平静而坚定地去做了一件别人看来也许很疯狂的事——自己办了一本独立杂志,主题即是她们生活并且热爱的家乡成都。她们走过成都大街小巷,发掘出其中最 “可以” 的人事物,每一个文字、每一张照片都透露出这座城独有的知足与豁达。

Kuoyi is a magazine for ordinary people, without pretentious words or a flashy layout. Zhang and Xue decided that a minimal, no-frills approach would be the most honest way to tell the stories of ordinary people. “We wanted it to be down-to-earth, real, and inspirational,” Zhang says. It’s a magazine for office workers stuck in the nine-to-five rat race, for dreamers reluctant to take the leap of faith, for travelers in search of undiscovered sights, for everyone interested in experiencing the kuoyi attitude and lifestyle.


《可以》是一本属于百姓的书,没有太多浮华的辞藻,也没有复杂的排版,她们选择了一种最简单淳朴的表达方式,去真实述说 “老百姓” 的生活。“它是接地气的、真诚的、励志的。”  具像而言,是为了那些朝九晚五的人能接触到工作之外的生活,原来还 “可以” 这样;让还在犹豫是否要去追求梦想的人,增添一丝 “可以” 的勇气;让喜欢旅游的人,寻找到另一条 “可以” 的旅行路线;让更多人体会到这样 “可以” 的生活方式和态度。


Kuoyi, Issue #4 / 《可以》第四期

Faith in the Printed Word

 

Faith can make people throw caution to the wind. It all began in 2013, when Zhang quit a comfortable office job in Beijing to return to her hometown of Chengdu, a move that required no small dose of courage. Her motivation was simple: to create an independent magazine celebrating local Chengdu culture.

Asked about the inspiration for the magazine’s title, Zhang tells a story: she and her friends were out one day, crossing the street while discussing where they should go to eat. She suggested they get congee. One of her friends responded, “kuoyi, kuoyi“—roughly,”sounds good, sounds good.” An idea flashed in Zhang’s mind: they’d call the magazine they were about to launch Kuoyi. The friend who had said those words was none other than Xue, the magazine’s co-founder.

In March 2014, they started to prepare their inaugural issue. At first, they lacked both resources and content—all they had was a simple concept and their own dedication. Eventually, through friends, they met some like-minded people and gathered together a group of young people who not only became good collaborators but had also a knack for discovering the stories that every good issue needs. In Zhang’s view, a good issue requires good people and good stories. “Looking back to how we got started, it was all really very simple.”


它关于纸媒人的一份信仰

 

信仰的力量可以让勇气疯长。一切的开始是2013年张简蓝从北京辞职了,放弃一份安稳的工作去闯荡,是极需勇气的。重回家乡的她决定做一本立足于本土文化的独立杂志。

说起这本杂志的诞生,据说还有这样一个小故事:有一次和朋友在聚餐的路上,大家一边过马路一边讨论着待会要去吃哪家餐馆。张简蓝随口问了一句 “要不喝粥?”,一个朋友回答道 “可以可以”。 于是一个想法突然就冒了出来,她们决定将这本即将诞生的杂志就取名为《可以》。而那位回答 “可以可以” 的朋友,就是和张简蓝一起创办这本杂志的薛蓉。

2014年3月,她们正式开始筹备《可以》首刊。一开始她们没有任何资源与内容取材,只有一个简单概念和想做一本杂志的心。后来通过朋友介绍,认识更多有着相似信仰的朋友,就这样一群年轻人聚集在一起,不仅成了工作上的好伙伴,也得到了书中需要的好故事。对于简蓝而言,一本好的书是需要好的人与好故事集结在一起才能实现的。“现在想起当时的初衷,真的是好简单。”


Kuoyi, Issue #4 / 《可以》第四期

A Story of Perseverance

 

Listening to how Kuoyi came to be, I noticed a common theme of perseverance. A perseverance for creating print, a perseverance for providing a suitable reading experience, and a perseverance for promoting the stories and culture of Sichuan and Chengdu.

In magazine publishing, there are no shortcuts. What does it really take to put out an issue? When they started out, Zhang and Xue had no idea. In the early days, when they operated with limited funds, the two oversaw and handled everything themselves, from picking the topics, to writing the articles, to designing the layout, to printing and binding the copies. The inaugural issue came about thanks to their enormous perseverance.

But then they faced new challenges: How do you distribute to bookstores around the country? Outside of Sichuan, the first store they set their sights on was Beijing’s Fashion Lounge Bookstore. Over and over they contacted the store, and each time they were rejected. But they never gave up, and eventually they won the owners over. With that same kuoyi perseverance, they went on to secure shelf space in stores across China, from Chengdu’s Fangsuo, to Hangzhou’s Fenglin Books, to Xiamen’s Bu Zai Bookstore.


它关于一种叫做 “可以” 的坚持

 

在《可以》这本杂志里,我看到了三种坚持——坚持做书、坚持适合的阅读方式、坚持推广四川、成都文化。

出版杂志没有捷径,在一本杂志正式出版前究竟要经历多少努力?这个问题对于当时的张简蓝和薛蓉而言是无法估计的。由于初期资金有限,从选题、撰稿、排版、印刷、到装帧,全由她俩亲自监督完成。创刊号终究在她们强大的坚持下诞生了。

可是又该如何让杂志推向全国书店?省外的第一个目标锁定在北京的时尚廊书店,天知道她们尝试了多少种方法和书店沟通,一次又一次的拒绝并没有让她们放弃,最后时尚廊终于被她们打动。接下来她们持续用独特的 “可以” 式坚持,将杂志成功推广到成都的方所、杭州的枫林晚书店、厦门的不在书店等城市文化地标。

Kuoyi, Issue #4 / 《可以》第四期
Kuoyi, Issue #4 / 《可以》第四期
Kuoyi, Issue #4 / 《可以》第四期

How can print publications adapt to new reading habits? “We hope our future formats will change by paying close attention to how people’s lifestyles are changing. People don’t necessarily create to survive. Sometimes they create to live a better life,” Zhang says.

That’s the thinking behind Kuoyi‘s fifth issue, “Zazhi,” a pun on the word for magazine that might literally be translated as “snippets” or “paper scraps.” Each story in the issue is printed on a single piece of paper, in five different classic formats, sizes, and folds. The issue is split into snippets that can be read in either one minute, five minutes, 10 minutes, 25 minutes, or 40 minutes. Readers can choose what they’re interested in, making reading a way to fill their idle moments. Kuoyi is constantly experimenting and innovating to adapt to modern reading habits.


而怎么样的纸质阅读方式,才最适合当下及未来人的阅读习惯? “我们希望未来的阅读方式,是亲切地考虑到人的生活习惯的变化而改变。人类创造事物不一定是为了生存而造,有时候是为了更好的生活。” 张简蓝说道。

于是有了《可以5:杂纸》(piece)。这本 “杂纸” 的形式很特别,只用 “一张纸” 就承载所有内容,而每一个内容都单独成页。共设计五种开本大小,分别适合长短不一的碎片化阅读时间。读者可以在细碎的生活片刻里,轻松的选择自己想看的内容,让阅读变成一种填补空闲的习以为常。寻找到最适合现代人的阅读方式,是《可以》坚持创新探讨和突破的原因。

Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期

After five issues documenting the different  facets of Chengdu, some readers might wonder if Kuoyi will run out of material. “I’ve lived in Chengdu for almost 30 years, and I still don’t know enough about it,” Zhang answers.

Her dedication to preserving and promoting traditional Sichuanese culture is admirable. “Young people today are into Western music, or music from Hong Kong and Taiwan—pop, rock, jazz, folk, and more recently hip-hop. How many of them know about Sichuan opera? Qing yin? Jin qian ban? Or other forms of Sichuanese folk music? ” she asks. “We want to tell the stories of older artists and younger artists, to help more people discover them. The Yuelai Teahouse puts on authentic Sichuan opera performances, and the few times we’ve gone there for interviews, the audience was made up entirely of old folks and foreigners. So we made a silent vow that we’d devote ourselves to celebrating Sichuanese culture. We want younger people to visit the tea house, to have more people fall in love with Sichuan Opera and other folk performances. That’s the essence of what we want to accomplish.”


至今,《可以》已经出到第五期,读者心中难免会猜想,记录了那么多面向的成都,会不会最后这座城都被 “挖空” 了呢?  “我生活在成都快30年了,但我还是不够了解它。” 这是张简蓝给我们的答案。

而更令人敬佩的是她专注于保存传统,坚持推广 “川文化” 的心意。“当下的年轻人都在追逐欧美、港台、流行乐、摇滚、爵士、民谣或最近火爆的嘻哈,有多少人知道川剧、清音、金钱板等都是四川曲艺的代表呢? 我们希望通过真实的描述还坚守在曲艺岗位的老艺术家和年轻艺术家的背后故事,让更多人了解他们。在成都的悦来茶楼可以看到正宗的川剧表演,我们几次去做采访看到观众席中几乎全是老人和外国人,我们也默默地对自己说,我们一定要坚持推广川文化,有一天悦来茶楼里会坐有更多年轻人。让更多人尊重和喜欢上川剧和其他曲艺表演,这就是我们想做的。”

“All I know is, I want to keep going,” Zhang smiles.

Anyone dedicated to print media deserves admiration. Infotainment and listicles and have diluted the value of reading itself, and more and more people are abandoning print for the convenience and affordability of digital. Yet even today independent publications like Kuoyi continue to pop up, with independent editors like Zhang and Xue supporting them.

No matter your age, gender, or location, if you appreciate the world around us, then Kuoyi might be the magazine for you.

Issue 5 of Kuoyi is now available on the Neocha Shop.


“我只知道这件事我要一直做下去。” 张简蓝向我们说。每一个选择纸媒的人都是值得敬佩的,各种娱乐方式和碎片化信息在冲淡读书本身的价值,有越来越多人因为方便或价钱纷纷放弃了纸本。然而现今你仍旧能不断看到像《可以》这样的独立杂志出现,看到像张简蓝这样的独立人对于纸媒的坚持。

如果你是个热爱生活的人,不限地域、年龄、性别,我们都希望你能感受到这一座 “可以” 的城市,和这一本 “可以” 的独立杂志。

《可以》第五期现已于 Neocha商店发售。

Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期

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《可以》第五期 “杂纸”

¥158

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Additional Recommendations from Kuoyi’s Editor-in-Chief

I’d like to recommend some great independent Chinese magazines, such as Gou Yong Jiu Hao (“Good Enough”), Salt, Though, Solo, Fish, Ben Di (“Local”), San (“Three”), publications by DreamCo, releases from One Villain and 49 Horses, and so on. Why? Guess you’ll have to buy one and find out.


主编推荐:

我要推荐国内很棒的的独立杂志,比如:《够用就好》、《盐巴》、《though》、《solo》、《Fish》、《本地》、《叁》、梦办出品、联邦走马出品的等等。至于为什么?买一本看了就知道了。

Contributor: Handowin Ho
Images Courtesy of Kuoyi


供稿人: Handowin Ho
Images Courtesy of Kuoyi

Ethereal Tones

 

无法观看?前往优酷

“Sheep’s Shadow,” a music video by Chui Wan, the Beijing-based experimental psych-rock group, features watercolor animation by Tu Qian, a talented Chinese artist who we’ve featured in the past. The article, “Watercolor in Motion,” was what first brought Tu’s work to the group’s attention. “They saw the story and really liked my style,” says Tu. “One of the band members, Yu Long, got in touch with me. A lot of my friends are fans of Chui Wan, so I was really excited to hear from them.” The track comes from their latest album, The Landscape the Tropics Never Had, which was released last year.


《羊的影子》是来自北京的四人实验迷幻摇滚乐队吹万的最新专辑《热带从未有过的风景》之中的一首单曲,MV 由艺术家涂迁以水彩定格动画的方式逐格绘制。而我们两年前对涂迁的一篇专访文章《Watercolor in Motion》间接促成了这次合作。涂迁告诉我们,“乐队的玉龙通过报道联系到了我。我的几个朋友都很迷吹万,所以收到邮件的时候还是很得意的。”

The Landscape the Tropics Never Had contains six long tracks, each lasting around seven minutes. Chui Wan’s poetic, psychedelic sound, neither rushed nor slow, leaves plenty of room for the listener’s imagination, while Tu’s watercolor GIFs can quickly set a mood. The artists’ shared creative outlook made this collaboration go especially smoothly. With its ethereal vocals and soft, overlapping colors, the video draws the viewer into a rain-streaked dreamland.


《热带从未有过的风景》里有六首时长超常的歌,平均长度在7分钟左右,他们的歌不紧不慢,带有诗意的迷幻音调为听众保留出足够的想象空间。而涂迁擅长创作的水彩 GIF 动画,也同样是以意境取胜。带给观众相同的从容感。这样创作上的共通之处,似乎也让这次合作来的更加顺畅。MV 中错落重叠的柔和色彩,加上歌曲中飘渺的人声,将观众轻轻一推,推进吹万的雨夜梦境中。

As you’d imagine for such unconventional artists, the collaboration was very free. Chui Wan hardly gave Tu any limitations—they just sent some images from a tour as inspiration. “Balloons become birds, clouds turn into girls, grays gradually shade into bright red-orange, and then into a deep-sea blue,” he says, describing the video. “The tabletop horizon gives way to vertical elevator doors, and the sea’s calm surface is the boundary between the horizontal and the vertical. I want to be clear in the mood and narrative rhythm, but not too clear. I think that pretty much sums it up.”


关于 MV 的绘制过程,如我们想象的一样,这样空灵的两位(组)艺术家的合作,应当无比自由的。吹万对涂迁的视觉呈现基本没什么限制,只发来一些乐队巡演时的画面作启发。涂迁告诉我们:“比如变成鸟的气球到幻化成女孩的羊,渐近的灰转向赤热的橘再到深海一般的蓝,横向的桌面水平线到纵向的电梯大门,平静的海面是横竖空间的间隙。不论是叙事节奏还是歌词意境,我很想把事情说清楚,又怕说的太清楚,就这样随随意意交待一下我觉得就差不多了。”

Cargocollective: ~/tuqian
Tumblr
: 12amto12pm.tumblr.com
Instagram
: @chuiwan_
Bandcamp: chui-wan.bandcamp.com
Facebook: ~/chuiwanband

 

Contributor: Ye Zi


Cargocollective: ~/tuqian
Tumblr: 12amto12pm.tumblr.com
Instagram
: @chuiwan_
Bandcamp: chui-wan.bandcamp.com
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供稿人: Ye Zi

Out of the Closet

我们采访者其一的纹身,意为“生来如此”。/ One of our interviewees' tattoos.

The second season of Qipa Shuo, a popular Chinese talk show, featured an episode on the issue of whether gays and lesbians should come out to their parents. It brought tens of millions of clicks to the online video platform iQiyi and quickly became a hot topic of conversation. Then the episode was taken down by censors, on the grounds that it dealt with “sensitive issues.”

In LGBTQ circles, coming out is a dividing line. Most of those who cross it have made up their minds to be themselves, or to free themselves from a long-held mental burden.

But what happens once you’re out?

Chinese society is becoming more and more tolerant, and online programs can now discuss issues like coming out. But tolerance isn’t the same as equality. You can talk about coming out, but you can’t openly embrace your identity.

According to the “Third Annual China LGBTQ Community Survey,” published by Work for LGBT in late 2016, in mainland China only very few LGBTQ people, around 5%, are fully out of the closet (to their families, friends, and coworkers). Around 20% have come out to some family members, 56% have come out to their friends, and 30% are entirely closeted.

We interviewed seven members of the younger generation who have already come out to at least one of their parents. While none of the seven were rejected by their families, that doesn’t mean that everything’s out in the open.


《奇葩说》有一期议题是同性恋该不该向父母出柜,仅在爱奇艺平台上就引来了好几千万的点击量,之后更是引起超乎往期的热议。随后,这期节目因涉及话题敏感而被迫下架。

出柜,也就是你身边人知道你是同性恋吗?,在 LGBTQ (同性恋、双性恋、跨性别者和酷儿)的圈子里是一条线。跨过这条线的时候,大多数人是抱着我要做我自己的决心,或者是卸下自己心理上积累的负担。

然后呢?

社会变得比以往宽容了,至少网络节目可以讨论出柜;但它并没有宽容到足以平等的程度,可以讨论,但不能堂而皇之。

根据 2016 年底由“同志商务”统计的“第三届年度中国 LGBTQ 群体生活消费调查报告”显示,在中国大陆 LGBTQ 人群中,完全出柜(包括亲属、朋友和同事)的人群甚少,仅占5%。有 20% 对一些家人出柜; 56% 对好友出柜;还有 30% 的 LGBTQ 完全没有出柜。

我们采访了已经对父母(或其一)公开出柜的年轻一代,幸运的是,在我们采访的七个人中,都没有因此与父母反目的。但一切也并没有走到阳光底下。


Keep It to Yourself

 

“Over Chinese New Year I told my parents I wanted to meet them for dinner,” says Songbanniu, who’s in his thirties. “They were talking about who had gotten married, so I took the opportunity to say, ‘I’m not going to get married to a woman. But I’ll still get married, so don’t worry about me ending up alone.’ The mood turned serious. My mom cried out, ‘Are you trying to kill us?’ But my father said, ‘I always knew.'”

Even though he’d prepared, Songbanniu says he still broke out in a cold sweat at the table that day.

That dinner was, in essence, a way for Songbanniu to fulfill what he saw as his duty to be open with his parents. It was a roundabout but powerful way of saying, “Don’t worry, I’ve found love.” “I think they can probably accept it themselves, but they’re worried about other people. They don’t want me to tell anyone else—they’re afraid I could lose my job.”

Since dinner that evening, Songbanniu says, “my family has never mentioned it again.”


秘而不宣

 

80 后的松阪牛说,“我是过年的时候跟我父母说要找他们吃顿饭,他们在聊谁谁谁结婚的话题,我就顺势说:我就不准备找女朋友了,我也会结婚的,你们也不用担心会没有人跟我在一起。然后气氛就变得比较严肃。我妈听到这句话后说了一句:乃么要西了。但我爸当时就说,我早就知道了。’”

松阪牛回想起当天的场景,尽管事先有所准备,但饭桌上自己还是一身冷汗。

这一场饭局,本质上说来,就是对父母一种义务上的告知,是以一种婉转却有力的方式向父母传达我有所爱,不必担心我觉得可能他们自己可以接受,可是他们担心周围的人,让我不要跟别人说,担心我工作上会被排挤。

下了饭桌,松阪牛说,我们家之后就没有再提这件事。

松坂牛 / Songbanniu

Sitting next to Songbanniu is his boyfriend, Daxiong. “I think that in China most people who face pressure choose not to come out,” he says. “That’s the case with almost all of my friends.”

Pressure often comes from parents’ worries about their children—especially in a country like China, where family occupies such an important place. In families that aren’t as close, by contrast, there’s naturally less pressure.


在松阪牛一旁的伴侣大雄说:我觉得中国的社会,有压力的人都会选择不出柜,我身边的朋友几乎都是这样。

压力,来自于父母的关切,特别是对于中国这个尤其重视家庭的国度来说。而倘若关系疏远,就会自然导致压力的减轻。

大雄 / Daxiong
松坂牛和大雄 / Songbanniu and Daxiong

In his first year of university, Daxiong bought a DVD copy of the gay comedy Formula 17 and hid it in his backpack. It was soon discovered by his mother, who had a habit of going through his things. Yet mother and son tacitly agreed not to bring it up.

“Then one evening much later, when we were lying in bed together, back to back. Out of the blue, she asked me, ‘You like boys, don’t you?’ I began to sweat! I said, ‘I’m still not sure what I like.’ A year later, when she asked me again, I said ‘Yes, I do.'”

Today Daxiong and his mother, who’s divorced, still have a good relationship. “At home, I never encountered anything negative because of my sexuality. My mom practically raised me as a girl. When I was a kid she had me wear dresses—I guess she thought it was fun. Now the only thing she’s worried about is that I’ll get sick,” Daxiong laughs.

But Daxiong’s father, who’s not really involved in his life, is still unaware of his son’s sexuality. “Actually, when my parents got divorced, I went to live with my dad. I think he definitely knows, we just haven’t come out and said it.”


在大雄大一的时候,他买了《17 岁的天空》的“同志喜剧” DVD,放在包里没有拿出来,当时就被爱翻包的妈妈发现了,但母子二人都默契地选择了不提。

到后来有一天晚上,我跟我妈背对着睡在床上,我妈就默默地来了一句:‘你是不是喜欢男孩子?’当时我汗就下来了!我回答说:‘我可能还不知道自己想干嘛。’第二年她再问我这个问题的时候,我就说:‘嗯,对。’

如今,大雄和离异的母亲就这么相安无事地保持着联系,“关于性取向,我在家里没遇到什么负面的事。我妈从小把我当女孩子养,从小就给我穿裙子,她大概觉得好玩。现在我妈唯一担心的是我会生病。”大雄笑着说。

但在大雄生活里缺席的父亲,至今还是不知道的状态。“其实我妈跟我爸离婚的时候,我跟的是我爸。我觉得我爸肯定清楚,但只是没有说破过。”大雄说。

乐老师 / Le
乐老师 / Le

Having open-minded parents isn’t necessarily a precondition for coming out. In fact, there’s a certain correlation between how distant family relationships are and how easy it is to come out.

Parents who are distant from their children often lead very independent lives. Whether or not their children are queer is like whether or not they have a tattoo, or which city they live in: it’s their life.

Le, a teacher in his thirties, says, “When I came out I didn’t feel any pressure. Now my parents know. After I told them, nothing changed, because I was never very close to them . . . My parents are the kind of people who don’t want trouble. They’re open-minded in the sense that they don’t want to be bothered.”


其实,出柜的前提未必是一对开明的父母,家庭关系疏离和出柜的难易程度存在一定关联。

与孩子关系疏离的父母,大多都拥有自己独立的世界,至于孩子是不是同性恋,和他们要去哪个城市生活、有没有纹身一样,是他们自己的世界。

已出柜的乐老师也这样跟我们说,出柜一点都没压力,他们就这样知道了。后来也没什么不一样,因为我原来和爸妈也不是很近……因为我爸妈本质上是怕麻烦的人吧。他们的开放,是基于不给他们添麻烦。


Acceptance

 

In China, who decide to come out to their family often think their parents will eventually come around since they love them so much. And most parents of LGBTQ children do in fact accept them. Yet such acceptance comes qualified with a request: keep it quiet. It’s as though they don’t want the family’s dirty laundry to be aired in public.

Almost every young person in China today is an only child, and most parents have poured all their love and energy into them. No matter what their child does, they’re forgiving, tolerant, and accepting. But even though parents can find a way to accept their children, once they face the outside world, they’re again beset by worries: “This isn’t good,” they think. “This isn’t natural.”


接受

 

选择出柜的人心里会抱着这样的期许:父母那么爱我,最终会理解我的吧。事实上,出柜后被父母接受的人并不在少数,但这种接受要加一种形容——“默默地 。仿佛是,家丑不可外扬。

在中国,当下的年轻人大多是独生子女,大多数父母对自己的孩子倾注了所有的爱和精力。无论孩子做了什么事情,选择包容、接受、承担是为人父母的天性所致,也是因为特殊的社会环境,让这唯一的孩子变得不可失去。所以面对孩子,他们会千方百计地调整自己去接受;但是一旦面对外界,他们的内心依然残留着这不是件好事”“这不正常的暗示。

小锤子 / Chuizi

Unlike the men above, Chuizi has always been close to her parents. When she was growing up, there was nothing they couldn’t talk about.

“When I was in middle school, I told my teacher to make my parents take me to a psychologist,” recalls Chuizi.

She was in boarding school when she first realized she was different. “I confessed to my parents that I liked girls. I was really sad . . . I don’t know what prompted it, probably a kind of middle-school terror.”

A visit to the doctor didn’t reveal any medical problems, of course. “In the hallway of the clinic, waiting for the so-called doctor to talk to me, it suddenly made sense: I liked girls, so what?”

“But back then I was still young. Maybe my parents thought I was joking—they didn’t take it very seriously,” she says. “But they must have known. I wasn’t like other kids, I gave them more than a few headaches . . . Actually I planted a seed, and they began to worry.”

Chuizi’s parents really came to understand her sexual orientation when she was in college because she’d often talk to them about her romantic problems. “I used to take walks with my mom, and I’d talk about which girls I liked, that sort of thing. I wanted to share it with them. That’s also why I came out: I wanted to be closer to them,” she recalls.

Her whole coming out process, and her parents’ process of acceptance, took a long time, but eventually, they came around.

“Now, at family gatherings during Chinese New Year, when my relatives ask questions like when I’m planning to get married, they’ll deflect them for me, and say ‘she’s still young, she still needs to work,’ that sort of thing,” says Chuizi. “Though even that’s really great.”


不同于上面几位男士,小锤子和父母的关系一直很亲密,在成长过程中,可说是无话不谈。

我是初二的时候,直接跟老师说,让爸妈带我去看心理医生的。小锤子说。

在寄宿制初中的时候,她就认识到了自己的不同,我那时候就和爸妈很坦白地说,我喜欢小姑娘,我很痛苦……我不知道是什么触发了我,大概初中时候那种悸动吧。

当然,看医生没看出什么病症,其实在医院的走廊上,等所谓的医生跟我讲话的时候,我就想通了,我就是喜欢女生,又怎么了?

但那时候年纪还小,但父母会觉得是玩玩,他们没有把它认作一个很认真的事情。可他们应该知道,我和一般的小朋友不太一样,就是有点不省心’……我其实给他们埋下了一个种子,他们开始不安了。

小锤子的父母真正明白她性向的时候,是大学时她因为感情问题反复和父母说过好几次。我以前和我妈散步的时候,会跟她讲,喜欢哪个女生啦,之类的。我想跟他们分享。出柜,也是因为我想和他们更亲近。小锤子说。

她整个出柜的过程,父母认同的过程,路漫漫,终于看到了光亮。

现在过年的时候,亲戚吃饭总会问到什么时候结婚这类的,爸妈就会帮我挡一挡,说她还小,还要工作这类的。小锤子说,虽然这样已经很好了。

Crown
Crown 家中与女友的拍立得合照 / A polaroid of Crown and her girlfriend at their home

Crown had a very different experience. Her mother took the news very calmly, in an ordinary moment over a meal. “She just asked me point-blank—’Are you?’ She said my grandmother wanted to know. I said I was. Then she replied, ‘Oh,’ and went on eating her noodles.”

It was Crown who didn’t take it calmly. The next day, she excitedly told her friends. It just seemed so rare: not every mother can ask such a question and calmly accept the answer. Crown says her mother has a very Western way of thinking. “She really respects my private life. She rarely stops by, and even when she does, she politely waits at the door. She’s not like other parents, who just intrude. I think my mom is unusually open-minded—she’s really awesome.”


相比之下,Crown 的妈妈却是在一个很寻常的吃饭时刻,很坦然地接受了这个事实,她就问我是不是,说我外婆想知道。我就说是的,妈妈就了一声,继续吃面条了。

真正不淡定的反而是 Crown,她隔天就告诉了好友妈妈开口问她性取向的事,因为这太难得了,不是所有母亲都有问出这个问题并坦然接受的能力。Crown 说妈妈的思想一直很西化,她很尊重我的私人生活。她很少造访我家,即使要来,也会先礼貌地站在家门口,不会像其他家长那样主动侵入。我觉得我妈妈特别开明,特别牛。

Crown

Like Chuizi, Crown feels she’s had a closer relationship with her mom since she opened up about her sexuality. A lot of things she couldn’t say in the past she can now gradually start to talk about. “But sometimes my mom thinks she did something wrong, or wonders whether I turned out a lesbian because of something she did,” she says. “Whenever she says that, I always object, and say, ‘No, it’s not! I was born this way.'”


和小锤子一样,和妈妈坦诚了性向之后,Crown 觉得母女之间的关系更近了,很多以前不会讲的话,现在也慢慢打开了话题。只是妈妈有时候还是会觉得是自己的错,是不是因为自己的原因,让我变成了同性恋?碰到这种情况,我就会很激烈地反对说,不是的!妈妈,这是生来如此的。她说。


Side by Side

 

For LGBTQ groups, the challenge is to overcome society’s prejudice and injustice, and to speak out for themselves—for ourselves—and for the community.

For the parents of LGBTQ people, the question is how to accept something that doesn’t fit with—or is even at odds with—their values, how to accept being forced to mentally change sides.

It’s hard to reexamine an entire value system and overturn long-held beliefs. In this sense, it’s not LGBTQ people themselves who face the biggest challenge in coming out—it’s their parents.


并肩


对于 
LGBTQ 群体来说,他们的挑战在于战胜社会的不公和偏见,为自己、为这个群体发声。

对于 LGBTQ 的父母们来说,他们面临的问题是如何让自己接受已有价值观里不存在的,或者是反感的存在,如何被迫接受这一场内心的倒戈

推翻已有的,建立新的——并且是从整个价值观上重新来过。这一点上,面临出柜最大难题的不是他们本身,而是他们的父母。

Bon

Bon’s mother learned of her sexual orientation when she eloped with her college girlfriend.

“I was with my girlfriend at the time, and her parents were opposed to us being together, so we eloped. After that, both sets of parents met and made a scene—it was really ugly,” she recalls. “But my parents actually didn’t put up any opposition. They’re very open-minded, so there was no struggle. Looking back on it now, I think the way I acted was really not right. Later on, my mother met other girlfriends of mine.”

Now that Bon has a stable girlfriend, her mother often comes to eat with them,  and she treats them as a couple.

At breakfast one day, her mother said, “I accept you. Unlike other parents, I accept you. I just want you to be happy. For me, it’s like I have two daughters now—I’m pretty lucky.”

“I just want you to be happy”: often parents say this for their own sake. But wanting their children to be happy is reason enough for them to stand by their side—and to stand up to the world’s prejudices.


Bon 的妈妈,则是在她与大学时期的女友私奔时,知道她的性向的。

我和当时的女友在一起,她家里人不同意,我们就私奔了。然后双方父母都见了面,闹得很难看。” Bon 说,但其实我父母没什么不同意的,他们是很开明的父母,没有什么斗争吧。现在想起来,觉得当时自己的做法欠妥。后来我妈妈也见过我的一些历任女友。

而现在的 Bon 和女友维持着稳定的感情,她的妈妈也常会来一起吃饭,见到她俩成双入对。

在一次早餐时,Bon 的妈妈对她们说道:我接受你们,不像其他父母,我接受你们。只要你们开心就好。对我来说,我就像养了两个女儿,挺好的。

只要你开心就好,很多时候,这句话是父母说给自己听。但这一条理由也足够让他们和自己的孩子站在一起,共同抵抗外界的偏见。

Bon
Bon 与她女友 / Bon and her girlfriend

Of all the people we interviewed, only Kiya had experience with a sham marriage.

The marriage was mainly her family’s idea. They didn’t pressure Kiya herself but targeted her mother, who was in poor health. “Look what you did to your daughter!” they’d say. “At her age, she’ll never get married.” Such comments had their effect. “My mom’s the kind of person who cares about appearances,” Kiya says. “So she also wanted me to get married. She said that if I didn’t, she would never be able to look them in the eye.”


Kiya 是我们这次采访中,唯一有过形婚经验的人。

她的形婚,很大程度上因为亲戚的压力。他们并不施压于 Kiya 本人,转而对准 Kiya 身体抱恙的母亲。他们跟 Kiya 的母亲说,你看都是因为你影响了你女儿到那么大了还嫁不出去,这样的话,听上去简直像针似的扎人。我妈妈一开始还算是个比较要面子的人吧。”Kiya 说,所以她也希望我结婚,觉得我不这么做的话,会让她在亲戚面前有点抬不起头来。

Kiya

She decided to get married when she was 33. “The pressure from my mother was too great,” she says.

“I found a gay man, and we started planning a sham marriage. At first, everything was very clear. I said I wasn’t going to have children, so we’d split everything split down the middle. Then everything would be handled normally. We did a lot of preparatory work,” she says.

She also talked to a lawyer friend about many of the issues involved. Almost everything was ready. But then something inside snapped.


33 岁的时候,Kiya 决定踏出这一步,因为妈妈压力太大了

我找了个 Gay,准备形婚。一开始都说得很清楚,我说我不生孩子,所有东西都 AA 制。然后所有东西都按照正常程序处理,做很多准备工作吧。

Kiya 也找了个律师朋友,咨询了很多相关的内容。

万事俱备只欠东风的时候,Kiya 爆发了。

Kiya

“My lawyer friend said, ‘an agreement is just an agreement. If you go ahead and get legally married, everything is subject to the law.’ When I got home that day, I’m not sure why, I suddenly broke down. I went back to my mom and said, ‘Mom! I’m not getting married, okay?’ I remember I spent the whole day crying. I just can’t lie. I thought, if I get married, how many excuses will I have to come up with to fill out that lie? What’s the point in putting on this show?”

Seeing her daughter burst into sobs, Kiya’s mother also began crying.

Through tears, mother and daughter finally saw eye to eye.


朋友跟我说,协议只是协议,如果真的办了结婚证,都是法律来控制的。然后那天回来,不知道什么原因,我就忽然崩溃了。回来就和我妈说,妈,我不结婚了,行吗!?我记得我那天就一直哭,一直哭。我不是个会说谎的人啊,我想着要是结完婚之后,我要编多少借口去圆这个谎呢?要骗一辈子吗?去做这一场秀,有什么意义呢?

Kiya 压抑已久的痛哭声中,妈妈也泪流满面。

这场母女间的理解在眼泪中达成。

Kiya

The day we stopped by Kiya’s home, her mother happened to be there too, and she knew why we’d come. She greeted us with excitement, then quietly closed the door behind her and went to cook dinner for her daughter. As dinner time approached, she opened the door again and asked if we’d like to eat with them.

Her mother’s accepting attitude had gradually formed a protective cover around Kiya, providing a source of strength and motivation. She’ll no longer have to fight alone. When neighbors see Kiya and her girlfriend nearby and start to ask nosy questions, her mother makes a point of saying, “That’s my adopted daughter!” and Kiya beams with delight.


我们到访 Kiya 家里的那天,她的母亲正好也在,也了解我们究竟缘何而来。一阵热闹寒暄后,她悄悄带上门去为女儿烧晚饭。临近饭点时,Kiya 的妈妈还热情地推开门来,问我们要不要一起留下吃个便饭。

母亲的接受态度,慢慢在她周围形成了保护罩,给她勇气,也给她动力。她不再会像从前那样一个人孤军奋战,Kiya 说,现在还有些街坊邻居会看到 Kiya 和女友在附近活动,转而来问东问西的时候,她妈妈就会主动和别人说:啊,那是我干女儿! Kiya 向我们形容的语气里,满是幸福。


How Much Further?

 

Many LGBTQ people in China encounter incomprehension, coldness, or verbal abuse when they come out to their parents. Sometimes parents even break off contact. The seven people we interviewed happen to all be fortunate, but their good fortune is a far cry from widespread acceptance.

The parents of the people we interviewed mostly had the following reactions:

“I see.”

“I still love you.”

“Your happiness is all that’s important.”

Yet even the most accepting parents are seldom willing to say, “Gays and lesbians are regular people. I’ll come out with you.” They accept their children, but ultimately what they’re accepting is how their children are different, not how they’re the same as everybody else. Their acceptance comes most often out of love.

This shows that there’s hope, but also that progress in society at large still has a long way to go.


还有多远?

 
我们身边也有很多人,和父母出柜后遭遇各种不解、冷漠、恶言相加,甚而断绝关系。只是采访的这七个人,恰巧都是幸运者而已——但这幸运背后,离彻底的接受又存在着距离。

这些父母的态度大多数是:

我知道了。

我依然爱你。

你开心最重要。

但哪怕是这些幸运者,也没有出现同性恋本来就是正常人,我来和你一起走出去这样的父母。他们只是接受自己的孩子,但究其实质,是接受孩子的不一样,而非和大家一样。他们的接受,更多是出于爱。

这让我们看到希望,也看到了社会大环境的进步依然缓慢。

Kiya

Our last interviewee, Kiya, told us, “Just two months ago, I accidentally hurt my foot and had to get surgery. At the time I really wanted my girlfriend to sign some consent forms for me at the hospital, but they wouldn’t let her. I can’t help but think, when I’m older, if something really serious happens, my girlfriend will have no way to sign in my place, since she’s not my ‘family.’ Maybe they won’t even let her in the operating room. What do I do then?”

After coming out, there’s still a long road ahead.

On this long road, hopefully the people you love and who love you will walk alongside you, lighting your way.


在采访的最后,Kiya 和我们说,就在前两个月,我的脚意外受伤,不得不住院手术了。当时手术我特别希望是我女朋友给我签字,但是没办法。我会忍不住去想,但以后我年纪大了,老了,真要有什么事,我的女朋友根本没办法替我签字,她不是我的亲属,可能连手术室也进不去。怎么办呢?

出柜之后,路还很长。

在这很长的路上,希望爱你们和你们爱的人会在左右,掌着你心里的灯。

Contributor: Chen Yuan
Interviewer: Shou Xing,  Chen Yuan

Photographers: David YenCrown Wang


供稿人: Chen Yuan
采访人: Shou Xing,  Chen Yuan

图片摄影师: David YenCrown Wang

Balancing Act

Holes

Shanghai-based artist and designer Tan Chengyan paints only a handful of subjects: women’s bodies, mushrooms, circles, and holes. Simple shapes fit her abstract style. She views her art as a balancing act between emotion and logic, and a desire for balance likewise runs through her life, both as she alternates between art and design and as she selects the tools to produce her work.


上海艺术家和设计师谭成彦笔下的主题——女性身体、蘑菇、圆圈和洞——寥寥可数,与她的抽象派风格相得益彰。艺术对她来说,是感性与理性之间的平衡,也是贯穿了她的生活的渴求:无论是艺术和设计之间的思维转换,或是具体到绘画创作时的工具选择。

Mushroom Mushroom Mushroom 1
Women on the Blue Tree

Water and ink represent her emotional side. The first thing she does when creating a new painting is to dampen the paper with water and draw the main shapes in ink. Then she watches as the ink bleeds onto the wet surface. “The procedure of brushing paper with water is particularly important—it leads me to a state beyond consciousness,” says Tan. Seeing ink merging with water, her mind enters a zen space, and that’s when the shapes start to materialize.

Then her logical side, represented by acrylic, gouache, and colored pencils, takes over. She draws the shapes with acrylic or gouache on top of the initial layer and waits until their edges blur. Only at that point does she have a clear idea about the painting’s subject. She then adds details and clarifies subjects with colored pencils.

Underneath these soft and feminine shapes lies a slow process of creation that she describes as “primitive and organic,” and which gives her works their vital simplicity. These themes are also part of an organic process.


水和墨如同她感性的一面。作画时,她会先把画布和纸全部涂湿,用墨在上面做出基本图形,看着水和墨互相交融,形成自己的模样,“上水这一步对我来说特别重要,因为它是让我进入到 ‘意识外’ 状态最关键的一步。”当墨与水相互交融,她慢慢沉浸其中,画面便开始在脑中成形。

而丙烯、水粉和彩色铅笔则代表了她理性的一面。用丙烯或水粉在第一层上画出形状后,随着图形边缘慢慢晕开,她脑中才会出现对主题的定义。最后则会用彩色铅笔铅勾线,去以凸显图形并让主题更加清晰。

她的画作常由柔软、婀娜的形状组成。其中循序渐进的创作过程——用她自己的话说是 “原始、有机的”——带来了简洁、充满生命力的效果。而这个主题的成形也是一个有机的过程。

A Big Woman and an Orange Girl
A Big Woman and an Orange Girl (process)
A Big Woman and an Orange Girl (process)

Tan first began drawing circular, hole-like shapes in high school, though at the time she didn’t know what prompted them. In middle school, she had struggled under the intense pressures of academic competition, and when she was admitted to an arts high school, the relaxed, free environment made her feel as though “she had suddenly opened up.”


从高中开始,她就在纸上记录这些图形,虽然当时并不知道特别原因。在那之前,她就读的是普通初中,常常被排名和学业的压力闷得透不过气,而在高中考上了艺术院校后,自由和放松的环境让她感觉 “自己一下子就释放了”。

States 7, No. 2
State 5, No. 8
States 5, No. 9
States 8, No. 2

Looking back, Tan thinks her adolescent years set the stage for her later work. A budding sexuality left her at times feeling lost and at times full of hot-blooded passion: “I just felt an energy I needed to release. What was it? I don’t know, but on the paper before me, I saw those forms.”

College was another dark period, and Tan took refuge in the library, where she discovered, in art books and journals, the work of pioneering artists like Yayoi Kusama and Georgia O’Keeffe, who profoundly influenced her approach to artistic expression.


回望过去,她觉得对性懵懵懂懂,时而失落、时而满血复活的青春期,奠定了她后来创作主题的雏形——“觉得心中有种能量想要释放出来,那是什么样的东西呢?我不知道,但就这样自然而然地出现在了我面前的纸上。”

大学对于她来说,是另一个黑暗时期。于是,图书馆变成了成彦最爱去的地方,她也在当时大量接触了草间弥生(Yayoi Kusama)、乔治亚·欧姬芙(Georgia O’Keeffe)等以女性主题闻名的先锋艺术家家的作品。这对她自身的艺术表达方式造成了深远的影响。

Three Women and the Sunset

A turning point came in 2009, when, after graduating from college, Tan decided to move to the Netherlands to pursue a master’s in fine arts. Not only was this her “most prolific” period, it also, more importantly, helped her give expression to the forms she had been seeing in her mind all those years.

“Women’s bodies, mushroom shapes, holes, and circles: all these connect me to energy of the universe. When I paint these shapes, I always feel I’m elevated to a higher spiritual plane beyond material things,” she says, “I start to think that a lot of problems in my life aren’t really problems, because when I enter that level I’m more tolerant of everything that occurs in life.”


2009年可以她艺术创作的折点,当大学毕业后,成彦选择了去荷读艺术硕士。时间最“多”的候,也让长中的一一呈现。

的身体、蘑菇形状、洞和圆圈接通我和宇宙能量我就感觉自己被带到了超越物质层面的更深层的精神空间成彦,“我会现实中的很多问题问题了,因到了那个层次之后对生活中的一切都变得更加包容。

Do the female forms she creates represent herself, then?  Tan doesn’t think so. “It would be too restrictive to say this is me.  Through the female shapes I paint, I want to explore a path to the universe.”

In terms of life, if art is her emotional side, her logical self comes forward through design. In 2017, Tan and her partner, Carmelo Ferreri, founded the design studio Melo & Yan, which specializes in branding and illustration. In her opinion, and in her practice, art and design are not opposed to one another, but rather nourish each other. “Design reflects the times, and can also inspire my art. It’s a balance,” she says. That’s also her attitude toward art: “It’s only good when all elements reach a balance.”


那么,画中的女性代表了她自己吗?她并不这么觉得:“如果说这是自己,有点太限制了,因为我想通过创作的女性图像探索通往宇宙的通道。”

在生活层面,如果说她在艺术创作时是感性的,那么她理性的自己则会在做设计时出现。谭成彦在 2017 年和另一半 Carmelo Ferreri 成立 Melo & Yan 设计工作室,专注品牌设计与插画。在她眼里,艺术与创作并不矛盾,而是有着相互滋养的关系:“设计更加能体现时代的信息,也可以给创作带来灵感。就是个平衡,” 这也是她对画的态度,“一张画,能达到平衡才是比较优秀的作品”。

Website: chengyantan.com
Instagram: @chengyan_tan

 

Contributor & Photographer: Jiang Yaling
Additional Images Courtesy of Tan Chengyan


网站: chengyantan.com
Instagram: @chengyan_tan

 

供稿人: Jiang Yaling
附加图片由 Tan Chengyan 提供

The Adventures of an Odd Duck

《飞克船长》系列:摘星计划

Beijing-based illustrator Tiepi Guaiya (meaning “An Odd, Iron-clad Duck” in English) is an artist whose love for sci-fi and adventure shines through in his work. Each stand-alone frame is an immersive story that pulls viewers deep into the scene. With surreal details peppered throughout his work, his drawings invite viewers to journey into the depths of his active imagination. Summing up his own art, he describes it as consisting of “space, aliens, monsters, wild animals, skateboards, bicycles, pimped-out rides, fashion, sexual desire, local Beijing culture, and everything else that seems cool.”


来自北京的插画师铁皮怪鸭,画中充满着探索的气息与科幻的意味,每一幅画都像在讲述一个故事,具有引人入胜的魅力。铁皮怪鸭的插画融入了很多幻想的元素,把一些天马行空的想法变成了现实,“比如说太空宇宙、外星人、怪兽、野兽、街头滑板、自行车、改装汽车、服饰潮流、欲望性感和北京文化,以及一切很酷的想法”。

《飞克船长》系列:等你很久了
《飞克船长》系列:飞克船长谜一样的笑容
《飞克船长》系列:飞克船长在土星玩玩具
《飞克船长》系列:当飞克船长变成老船长 依然可以把你迷倒
《飞克船长》系列:飞克船长在复古迪厅
《飞克船长》系列:船长的实验室 她们都说船长认真研究的样子非常英俊 眉毛一挑世界地动山摇
《飞克船长》系列:飞克船长航海计划
《飞克船长》系列:摘星计划
《飞克船长》系列:北海公园营救计划
《科学怪青年》系列:北京飞碟
《科学怪青年》系列:驾驭自己的梦想
《科学怪青年》系列:发现外星人

Weibo: ~/铁皮怪鸭

 

Contributor: Chen Yuan


微博: ~/铁皮怪鸭

 

供稿人: Chen Yuan

The Taste Reminds Me of You

猪排三明治 / Pork cutlet sandwich

“My name is Ye Zhijun, I’m in my 20s, I’m a virgo, and I love photography, drawing, and food.”

Endearing and direct, just like her drawings, Ye Zhijun’s description of herself can’t help but bring a smile to your face. Ye’s works rarely strike a gloomy or grumbling note, because most of the time the people in her drawings are too busy happily stuffing their faces.

That’s the unique charm of Ye’s words and images: you feel like you’ve known her all your life.


我是叶纸君90 后处女座,最大的爱好是拍照画画和吃东西。

这样坦白却可爱的自我介绍,和她的画一样,看起来让人不禁莞尔一笑。她的作品很少有那种“悲天悯人”“我见尤怜”的感觉,因为画中的人,大抵都在眉开眼笑地吃吃吃。

是的,这就是叶纸君从文字、从画面传达过来的个人魅力,让人倍感亲近。

肉夹馍 / Roujiamo, or Chinese hamburger
烤肉 / Grilled meat

When Ye graduated from University of the Arts London, she felt lost: “I was drawing every day, but I didn’t know what I was going to do with my life.”

Back then she’d often go out to eat at little hole-in-the-wall restaurants. No matter how perplexed or lonely she felt, when seated in front of something delicious, “for a few moments my entire body felt cured. So I thought, why not put all these dishes into my drawings?”


三年前从伦敦艺术大学毕业后,叶纸君觉得很迷茫,在那段不长不短的时间里,“虽然每天都在画画,但不知道未来的人生会怎么样。”

当时,她经常会独自去很多小店吃东西,却意外地发现,无论再多迷惘和孤独,当面对美食的那一刻,“整个人就瞬间被治愈了,心想着那不如把这些美好的食物画出来吧。”

泡菜炒饭 / Kimchi fried rice
咖啡店 / Coffee shop
法式蛋糕 / French pastries

“The first thing I drew was a super simple but extraordinarily delicious bowl of noodles with scallion oil,” she says. “You put the chopped scallions on the strained noodles, add a bit of sugar and light soy sauce, then pour the hot oil on top. You can hear the noodles sizzle, and then the fragrance of scallion fills the entire kitchen. You mix it all together and take a big bite. It simply fills your heart with joy.”

Since then, eating and drawing have become the two main parts of her day. “Drawing accounts for 60%, eating accounts for 35%. But when I draw, most of the subject matter is still food related.”

After toiling away for an entire year, in 2016 Ye published her first comic book, It’s Not Fun Until It’s Drawn: London.


“动手画的第一道菜是超级简单却又十分美味的葱油面。小葱切末,放在沥干的面条上,撒入生抽和白糖,热油浇在面条上,此刻你会听到滋滋滋的声音,再过一会儿,整个厨房都弥漫着葱油的香味。搅拌均匀,大吃上一口,简直是心满意足。”

自此之后,吃与画,成为她日常的绝大部分。“画画占60%,吃吃吃占35%,不过画画中大部分的主题还是跟吃相关了。”

一年多后,叶纸君出版了自己的第一本绘本《一定要画出来才好玩:伦敦》。

  • 第四话《居酒屋》

From rice bowls to roujiamo (a Chinese hamburger), from French pastries to Oreos, from snacks to hors-d’oeuvre to main courses, Ye’s drawn it all—and of course, she’s probably eaten it, too.

Asked why she’s so obsessed with food, Ye gives a serious answer: “Food does more than just fill your belly—it can also comfort your soul,” she says. “Behind every dish there’s a story. There may always be something even tastier than what you’re eating, but the people and ingredients that made that dish can never be replaced. They linger in our hearts and are hard to forget.”


从肉夹馍到煲仔饭,从奥利奥到法式蛋糕,各种或传统或新奇的零食、小吃和主食,叶纸君都画——当然,也可能是都爱吃。

要问为什么对吃如此执念,叶纸君的回答很正经:“美食不仅仅可以填饱肚子,更能抚慰人心。每一道菜的背后其实都蕴藏着一个故事,菜的味道或许能随时被更好吃的东西代替,但所关联的人与事,是无法取代的。它能够久久留存在我们心里,难以割舍与忘记。”

浪味仙 / Lonely God snack puffs
栗子饭 / Chestnut rice

In fact, Ye’s favorite dish, fried Chinese bread, is something she loves because it’s filled with love. “That was the first thing Chef made for me,” she says.

Chef is her boyfriend, and as his nickname suggests, he’s the one who does the cooking. “I remember once when driving back to Beijing with Chef I said I’d never met anyone who was so good to me. I’d never felt such kindness. Chef laughed and said, ‘I love you, that’s why I like to cook for you.’ That simple sentence utterly moved me. Every day I say, ‘I’m so happy I met you.'” Sweeter words are hard to imagine.


殊不知最让她喜欢的一道菜,“煎馒头片”,也正因为其承载了满满爱意。“因为这是大厨给我做的第一道菜。”叶纸君说。

大厨是她的男友,也充当着日常主厨的角色。“记得和大厨开车回北京的高速上,我说从来没有遇到过一个人对我这么好,第一次体会到这样的温暖。大厨笑着说,因为我爱你啊,这些饭菜都是我愿意为你做的。大厨简单的一句话,却让我感动到不行。每天都在感叹,遇见你真是太好了。”言辞之间,尽是甜蜜。

奥利奥 / Oreos

Ye says that the pudgy girl in the drawings is “one side of me.” Everyone has something to share, and the girl in the drawing is her window for sending the world faith, hope, and love.

“What I want to tell people is, not everything you experience in life can be perfect. But whether something is good or bad is up to you to decide. I hope everyone who sees my drawings can live without fear, and enjoy the people and things they encounter in life.”

In other words, “eat, drink, and be merry.”


画里那个肉嘟嘟的女生,叶纸君说那“算是我的一部分”,因为每个人都有想表达美好的意愿,而画中的女生,就是她输送爱、希望与信仰给这个世界的窗口。

“我想告诉大家的是,人生中遇到的所有事情不可能是完美的,但好与不好的处决权在自己的手中。希望看到叶纸君漫画的朋友,无畏结果,都可以尽可能地享受生命里遇到的人与事。”

毕竟,那句诗怎么说的,“弃捐勿复道,努力加餐饭”。

Douban: ~/leaf0831
Weibo: ~/leafstyle

 

Contributor: Chen Yuan


豆瓣: ~/叶纸君
微博: ~/叶纸君

 

供稿人: Chen Yuan