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It is said that in the Sung Dynasty a recluse named Lin Pu fled the lures of fame and fortune to lead a solitary life planting flowers and raising cranes near China's beautiful West Lake. People say that he married plum blossoms and had cranes for sons. There's a man a bit like him in Taipei today, Mr. Chou Chung-chiu. He is in love with Chinese antiques, so much so that he has little or no time to spare after work for anything but his lovely collection of pottery, porcelain and bronzes. We went to see Mr. Chou some time ago and from the moment we entered his apartment, we were stunned by the profusion of lovely objects. Classical porcelain bottles, pots vases and dishes lay scattered over the sofa and tables and looked out from open closets. Three bronze statues of the Goddess of Mercy stood on the TV set. Another three stone-carved statues of Buddha had sole possession of a rack in one corner of the room. A painting by the famous artist Pu Hsin-yu hung on one wall; books were piled everywhere. No corner of the four-room apartment seemed without its precious art works, hardly leaving room for the master himself. Despite the seeming disorder of the arrangement, a kind of cool self-possession marked the statues, lending a weird kind of dignity to the rooms. The collector was anxious to explain about his treasures. He comes from Lungmen, a site in the old kingdom of Northern Wei. He's made of stone, and he was excavated along with many others. Can you imagine? At Lungmen more than a thousand grottos house over , Buddha statues. You cannot imagine how magnificent a sight this pageant of Lungmen can be! But I don't know how it is today. I've heard that many of the stone Buddhas were beheaded by robbers for sale to collectors. I fear for our cultural legacy and national treasures. Your descendants will look fatter in the T'ang Dynasty. Chou pointed out a bottle with a glaze as red as cow's blood. His story was that in he caught sight of this bottle at a provincial antique exhibit held in Hsinchu. He resolved to have it whatever the cost. The bottle's owner said that it was not for sale. But Mr. Chou did not have that much money at that time. He first gave all the money he had with him as a down payment. Then he hurried back to Taipei to borrow money from his friends. He even pawned his best suits to complete the amount needed. At last he had the money all together. But August 7, l was the day of a great typhoon. Against his friends' advice, Chou went to Chiayi. When he walked out of the railway station, it was already eight in the evening. Water was knee-high in the streets. No cabs were running, and no one was in sight. He took off his shoes and plunged ahead. The water rose higher, and he lost his way. Two hours later he was wondering if he would ever make it, when finally he got to the owner's house. The man looked at him as if he were a lunatic. His lips were purple from the cold, his face bloodless, but his eyes shone with a fanatical ecstasy. At last the owner recognized the wild man before him as the person who ten days before had cared so much about the red glazed bottle. He took him in, and Chou in this way satisfied his desire to own the masterpiece which had almost cost him his life. The bottle which meant so much to Chou turned out to have been fired from the Chun kiln sometime during the Sung Dynasty. In looks, it is rather metaphysical; thin mists and clouds seem to keep surging and swelling. The fascination of that dreamy glaze seems to draw one into its quietly moving solitude. According to legend, one artist in the Sung Dynasty was so disappointed with the way his red glaze turned out that he jumped into the kiln and committed suicide. His spirit clung to the works of other masters. Some regarded works by these masters as evil, and smashed them. Others treated them as rare treasures drawn from the essence of the kiln's fire. In fact, this mysterious gossamer of red glaze came from the oxidization of the iron contained in the clay. Today sodium oxide is added to the glaze by some pottery makers to obtain this magnificent effect. Chou says: 'When I see a beautiful piece, or even think of one, my hair stands on end. But looking at this man, dressed in plain clothes, rather slight to medium in figure, wearing a pair of gold-rimmed eyeglasses, one wonders where and how he was touched by the divine fire. What force brought him into such an inseparable relationship with antiques? His childhood had something to do with it. He was born in Changsha in Hunan Province, not far from many of the country's leading kilns. As a child, he ate off porcelain made in the near by town of Chingteh during the reign of the Kuang Hsu Emperor of the Ching Dynasty. He remembers the beautiful patterns of those dishes. Also, he often sat by the roadside to watch the dust-covered old kilns puffing white smoke. At night their chimney fires reddened the skies. Later, he joined the army, and in his travels he saw many famous ancient sites and some of the works associated with them. When he came to Taiwan, though short of money, he continued to buy such small treasures as agate and jade. One day he bought a standing statue of the Goddess of Mercy from the owner of an old house being demolished. The goddess had a buxom figure and a fair face; her hair was coiled in a bun; she wore a crown; in her left hand she held a heart purifying bottle; her right hand was raised in a gesture of blessing and condolence; her naked feet stood on a lotus pedestal. Three glazes of green, purple and yellow had been applied on the red pottery base. Chou began to consult authorities and to look up data. After a month, he was sure that his lady was indeed a Goddess of Mercy from the T'ang Dynasty. He was lost, From this time, his interest grew and grew, and he would travel any distance, suffer any hardship to get to where he had heard there might be a good piece. Over the years, Mr. But he added: 'In fact, to me these antiques are priceless. They represent the hearts and skills and dedication of generations of artists. For those who don't love them, they are worthless, but for those who do, they are almost more precious than life itself. Chou, 'You have to have a lot of experience; you have to know something of history, words, different kinds of glazes, even the Chinese philosophy involved. Notice the primitive dragon painted on the surface. Notice the simple and crude lines. And look at the dragon; it has four claws. This is called a crawling dragon, and such dragons were made only before the Han Dynasty. In the T'ang Dynasty, the body of the dragon becomes elongated and more animated. Dragons of the Ming Dynasty tend to be fierce and threatening, while those of the Ching Dynasty have heads somewhat like beetles and are painted in gorgeous colors. Decoration of porcelain is an art in itself. Some floral patterns spread all over the surface, some are knife carved, others pierced by needles, some printed on wood, or even inlaid. Glazes are baked to show the patterns of melted candles, starry clouds, willow leaves, and plum blossoms. Some look like modern abstract paintings. In the Ching Dynasty, some artists painted specific areas on the surface of a bottle already spread with floral patterns. Thus, the craft reached its peak after it was combined with painting techniques. Although it takes a coming together of time, place, and superb handiwork to give birth to masterworks of pottery and porcelain, almost all the great artists in this field have been anonymous. They historically have not had any scientific know-how. Their experience was passed down from generation to generation. They were always potters in a long line of potters. They knew how many firebrands should be added on rainy days and how to time their furnaces in mid-summer. These anonymous workers, unpraised and unsung, have given China one of the deepest and most vital parts of its cultural heritage. In the future, Mr. Chou plans to write a book on Chinese antiques. He would also like to start a small museum so that he can share his riches with the interested public. But he says: 'I don't know if my dream can materialize. My thoughts are big, but my salary is small. At the conclusion of the interview, the interviewer asked Mr. Chou if he had ever considered getting married. He smiled without giving an answer but just looked around the room at his many loves, always perfect, always unchanging. Since interviewing Mr. Chou, the writer has often walked among the curio and antique shops which abound in and near Taipei. Pedestrians stop and look at the antique tripods, cooking and eating vessels, vases and plates, serene Buddhas and mysterious Goddesses of Mercy. Some look at the antiques with scorn, almost anger. Others, however, look in the windows with a kind of longing. For them, these curios are endowed with a sustaining power, something to lift them from the humdrum of today to the magic of the past. The antiques themselves regard both the sceptics and their admirers with the same remote and cool gaze, beyond time. Opposite: This green porcelain tower is masterpiece of the Tsin dynasty Buddha images are carved on the tower, showing the first spread of Buddhism in China. The roof is removable. Below from left are a plate with three-color peony motif of the Sung dynasty, a pre-historic style urn with small mouth and large body of the Tsin dynasty, and a Ming dynasty bowl. A Sung dynasty urn with peony relief. Sung dynasty ink slab with illustration of two fish. A blue and white wine bottle of the Ming dynasty patterns after a full moon. From left: A unicorn baked in a state-owned kiln of the Sung dynasty, a Buddha statue of the Northern Wei Kingdom, and a wine pitcher of the Sung dynasty. Green porcelain Buddha niches made in the Tsin dynasty. Colorful urn painted with peony and lion patterns. Five pieces of porcelain in purple hue which are imitations of instruments used in sacrificial ceremonies, fired in the Chun kiln of the Sung dynasty. This blue-and-red standing vase decorated with illustrations of dragons and plum flowers, was fired during the reign of Emperor Hsuan Teh of the Ming dynasty. Wine cup with two handles left decorated with gold inlay on dark ground and lifelike characters, is a masterpiece of the Ching dynasty. At right is a jade-blue vase of the Yuan dynasty. The arcade space outside the studio is hung with numerous handmade lanterns of various designs. Depicted on them are personalities including the four great field marshals In an age of consumerism, an infinite array of cutting-edge products jostle for our attention, but we remain fascinated by the unassuming beauty of objects that used to bolster the daily lives of our rural communities. While not all are suitable for modern ways of life, their beauty, cultural Taiwan is the publishing hub of the Chinese-speaking cultural sphere, and ranks second in the world in the number of titles published. Where do we go from here? How about even further abroad? Taiwan caught the interest of the international community during the Covid pandemic. As the pandemic w In February of , badminton player Chou Tien-chen announced that in early he had been diagnosed with early-stage colon cancer. While the planet finds itself sweating under the blazing sun, a feeling of fraternity is spreading across the globe like wildfire. As the host of the first Olympic games since the end of the Covid pandemic, Paris is the cent Six national scenic areas selected for Green Destinations Top Stories. Related Readings. Crafting with Bamboo: Tradition and Modern Design In an age of consumerism, an infinite array of cutting-edge products jostle for our attention, but we remain fascinated by the unassuming beauty of objects that used to bolster the daily lives of our rural communities. Building Bridges with Books: Taiwanese Texts Travel the World Taiwan is the publishing hub of the Chinese-speaking cultural sphere, and ranks second in the world in the number of titles published. Trending Articles. Making a Racket on the Way to Success —Badminton Player Chou Tien-chen In February of , badminton player Chou Tien-chen announced that in early he had been diagnosed with early-stage colon cancer. Winning Together! Six national scenic areas selected for Green Destinations Top Stories This website uses cookies to help us provide you with an optimal user experience. By clicking 'I agree' or by continuing to access this website, you consent to our Cookie Policy. For more information please see our Privacy Policy. I agree.

Counterfeit drug scandal rocks hospital in Chiayi

Chiayi buying Ecstasy

Many people were appalled when it was found that some vocational high school students at San-sin High School have been working as sex workers for the purpose of buying drugs, as was reported by CNA on May 5. The public may also be wondering why some young people are becoming addicted to drugs and why these kids have gotten lost in modern society. This can shed some light on how and why these young people are lost in the world of sensual pleasure. Unlike Chen, some of our young kids do not know who they are, nor can they identify where they want to go. By doing charity work, as Chen does, youngsters would be able to find greater fulfillment in their lives. Youths will thus be able to realize what true happiness is through the process of community service and charitable work. We should safeguard our young generations and lead them to a bright future through appropriate behavior provided by formal education, parents and the whole of society. The movie is a funny, yet tender, comedy about the trials and tribulations of a pair of happy-go-lucky Filipino foreign laborers working in a factory in Taiwan. The film is both a comedy and a tragedy, with a storytelling touch that is as sublime as it is divine. And the star of the movie, the inanimate yet colorful star of this wonderful cinematic masterpiece, is a red sofa. To the two Filipino factory workers from overseas, working in Taiwan to make money for their families back home in Manila, the red sofa is a dreamed-of ticket to comfort, and a kind of dream machine. The various attempts to push, pull, carry and even float the sofa to their spartan dormitory room is at the heart of this laugh-out-loud tragicomedy that would make even Shakespeare proud — yes, the comedic Shakespeare. Pinoy Sunday is not just a movie about Taiwan. I think this movie has a chance at winning an Oscar. National defense plans are generally focused on preparing to defend against the military aggression of an adversary. In the case of Taiwan, such plans center on China, which possesses a dramatically larger and more powerful military. However, a recent tabletop exercise conducted by the Taiwan Center for Security Studies and other institutions revealed several nonmilitary vulnerabilities in Taiwan, particularly in the areas of economics, cybersecurity and energy. The exercise, set in and simulating crises such as cross-strait tensions and global conflicts, demonstrated that modern conflicts often extend beyond traditional military aggression, underscoring the need for new defense strategies and continuous. The relationship between India and Taiwan is evolving, driven by a shared understanding of the need for enhanced cooperation across various sectors. While the semiconductor industry has captured significant attention due to its strategic importance and mutual economic interests, it is equally important to explore and address other areas of potential collaboration between the two countries. It offers financial support covering up to 50 percent of project costs for fabrication plants and related initiatives, aiming to establish India as a key. There is no more watertight demonstration of the predictability of an event than that it was accurately predicted long before it happened. Most Popular 1. You might also like. India cooperation beyond chips Front Page. About Us.

Chiayi buying Ecstasy