Qianyun Returns to the Clan

The national style is prevalent in the world, but it is mostly a collection of superficial shapes. The white space is lost and the charm is broken. The true core of oriental aesthetics for thousands of years has long been misinterpreted and forgotten by the noisy world. The ancient city of Yunzhou houses the eight orthodox aesthetics of China, including pen and ink, silk weaving, music, gardens, utensils, clothing, tea, poetry and painting, all of which inherit ancient methods and maintain the cultural context. Su Qingyan, who was born in a family of craftsmen, is the only successor in the world who is proficient in the Eight Meridians. He has been immersed in ancient arts since childhood and understands that Chinese aesthetics is never rigid and retro, but a thousand-year-old philosophy of the coexistence of reality and reality, and the unity of nature and man. When the superficial pseudo-national style floods the market, when traditional ancient methods are questioned as outdated, and when the beauty of Eastern freehand brushwork fails to match the trend of Western realism, she preserves the thousands of ancient books and centuries-old artifacts inherited from her grandfather, restores the original roots with the ingenuity of a young person, and deeply cultivates thousands of years of traditional skills. By chance, Shen Jingheng, a scholar who is deeply involved in Chinese and Western aesthetics, set foot on Yunzhou. From the conflict of aesthetic concepts to the integration of each other, the two took ancient methods as their roots and the times as their wings, dismantling the oriental essence of blank spaces in calligraphy and painting, brocade patterns containing seals, ancient music to create landscapes, and gardens to hide the world. They shed off the glitz and glamor of national style, restore lost craftsmanship, decipher the romance and character hidden in the ancients' pen, ink, thread, pavilions and utensils, and break the barriers between ancient and modern times and the barriers between China and the West. This is an aesthetic journey that spans thousands of years, with no clichés, entanglements, or sublime plots. With elegant pen and ink, the most authentic charm of Chinese aesthetics is vividly restored, and the ancient national style is broken and reborn, so that the oriental elegance that has accumulated for thousands of years will finally return to the mountains and rivers and continue to be passed down.