Author: Zhang Hui (Researcher, Jao Zongyi Cultural Research Institute, Shenzhen University)
"Feng Zikai , Teaching Only love " – Hong Kong's first Children's Art Creation Competition was held in Hong Kong a few days ago, adhering to Feng Zikai's art education concept of "teaching only love", and educating beauty in the shaping of "truth, goodness and beauty" outlook on life. Although Feng Zikai did not live in Hong Kong for a long time, however, from the 1930s to the 1970s, he published many works in Hong Kong and served as the editor-in-chief of Children's Paradise, a supplement to Sing Tao Daily. Looking at the cartoons and articles published in Hong Kong during this period, feng zikai is very much in line with the standard of "a poria cake" proposed by him: the beauty of form, and the educational effect, can make people mentally healthy. The seeds of patriotism and truthfulness, benevolence and beauty that he sowed in Hong Kong have been passed down in the pen of today's Hong Kong children and have blossomed into brilliant flowers.
Feng Zikai was the editor-in-chief of Children's Paradise, a supplement to Sing Tao Daily
"We will replace our tongues with our pens, and cry out, 'Resist the enemy and save the country!' ”
In the 1930s, Japan brazenly launched a war of aggression against China, which led to the destruction of Feng Zikai's home and the displacement of his family. As a result of the Japanese invasion, his elaborately constructed Homeland Yuanyuan Hall, which carries countless good memories, was blown into rubble: "On November 21 last year, Kou soldiers approached Shimen Bay. I led ten young and old people, carrying two loads of goods, left my hometown and wandered to Tonglu. On the twenty-third day, Shimen Bay was lost. Our army swore to fight to the death and regained it. Later, gain and loss, loss and recovery, so that four in and four out. Shimen Bay became scorched earth, and Yuanyuantang became a martyr of the scorched earth war. In the process of fleeing, he was blackmailed to exchange his paintings for the right to send their family to board the ship; not to mention the panic of the plane hovering overhead and the bomb exploding under his feet along the way, "seeing the misery of the displaced people along the way, and hearing the tragic news of the blood on the front line." At this time, he angrily and sadly drew a set of cartoons, one was an old lady dressed in a quail dress, with a roll under her left arm, and in her right hand, he pulled a small child who was also dressed in rags, and both of them looked at the sky in horror, and there were only three dragonflies in the air, and the inscription poem explained everything - "frightened by airplanes, afraid of seeing dragonflies.". It turned out that the refugees were bombarded by aircraft, and in the shadow of death, they were shocked to see the dragonflies. The other is of a man sitting on a lonely reef, surrounded by the sea on all sides, without food or clothing, and at this moment, he saw a small boat coming from a gentleman, and he held out his hand in surprise... However, the picture is titled "Refugee Dream", indicating that this is just a dream of refugees. Seeing the dragonfly cup bow snake shadow, terrified, trapped in the escape of the helpless, dream of being rescued, is not only the personal experience of Feng Zikai's own family, but also the epitome of the experience of thousands of refugees.
Feng Zikai's manga "Cute Little Pickpocket" was published in the Supplement of Sing Tao Daily on May 19, 1948, "Children's Paradise".
In 1938, Hong Kong's Li Pao and Ta Kung Pao published a series of anti-Japanese articles by Feng Zikai, in which Feng Zikai mentioned in "Porridge rice and medicine stones" that literary and art workers should also not hesitate to devote themselves to the cause of the War of Resistance: "We must replace our tongues with our pens, and shout 'Resist the enemy and save the country!'" We will use the pen as a knife, and charge and kill the enemy on the literary and artistic front. "In "The Way to the Subjugation of the Country, Zhishi and Han Traitors", Feng Zikai quoted Mencius's "Fish I Want" chapter to denounce han traitors, indicating that the difference between zhishi and han traitors lies in the difference between spiritual life and material life." Why are you willing to be a traitor? I think most of them are for greed and fear for death. If you are not greedy, you are not willing to bend the enemy. If you are not afraid of death, you will not only not be a traitor, but you can also become a guerrilla. In "Scattered Sand and Sandbags", Feng Zikai pointed out that scattered sand is scattered in the wind, but if sand is bagged, the enemy's guns and shells will lose fire as soon as they touch the sandbags, and the enemy's bomb pieces cannot hurt people when they meet sandbags, and the resistance of sand is greater than iron, stronger than stone. China's 40,000,000 people, once known as "a scattered sand", at the juncture of the War of Resistance, everyone should unite to become a sandbag and a foreign insult. In "Cowardice and Selfishness", he also exposed the Japanese army's feigned peace and duplicitous behavior, calling on the masses to share the enemy's hatred: "We must achieve peace, and we can only kill ourselves by borrowing their weapons, and our war of resistance is for this." ”
Because of Feng Zikai's fierce spirit of fighting to the death, some unintegrated people have made strange remarks, believing that Feng Zikai is a devout Buddhist layman who once painted the "Collection of Paintings on Protecting Life", but now advocates bloody sacrifice. Feng Zikai's words and deeds are different, so his "Nursing Life Painting Collection" can be burned. In this regard, Feng Zikai righteously and sternly debated, pointing out that this argument did not understand the purpose of protecting life and the meaning of the War of Resistance. "Protecting life" is to "protect the heart" and persuade the naughty boy not to step on the dead ants, not to cherish the ants, or to feed the ants, but to fear that the cruel heart of the naughty boy will expand and fill it, and will become an aggressor in the future, using the plane to carry a bombshell to torture and kill innocent civilians. Therefore, for the "Nursing Life Painting Collection", the reader must understand its "reason" and not cling to its "things". What is even more sober-minded is: "We are not a war of aggression, we are a 'war of resistance', we are fighting for humanity, we are fighting for justice, we are fighting for peace. Feng Zikai can be said to be non-clear and in line with Buddhist principles, because in peacetime, he should uphold the idea of benevolence and love, "sweeping the ground for fear of injuring the lives of ants, cherishing the moth yarn shade lamp", but in extraordinary times, "the tiger and wolf are in the majesty of the steps, and still talk about cause and effect", which is a roundabout. Justice is done, demons are brought to justice, and this is the greatest mercy.
Hong Kong's "Thumb Weekly" reprinted Feng Zikai's anti-Japanese cartoons, arguing that "not only can we glimpse the social outlook of the time, but also show Mr. Feng's strong national feelings, strong love and hatred, and paintings with a completely different theme style from 'ancient poetry and new paintings'." "The reason why Hong Kong welcomes Feng Zikai's anti-Japanese cartoons is because Hong Kong was also occupied by Japan, so Hong Kong people are so concerned about Feng Zikai's anti-Japanese cartoons and articles.
While lamenting the devastation of the motherland and the people, Feng Zikai also showed his belief in victory and the spirit of optimism. Another of his paintings, "The Snowman of the Scorching Sun", is Mount Fuji in the distance, and in the close-up is a huge snowman carrying a flag, on which the big book facism (fascism), this huge snowman occupies almost the entire picture, so that Mt. Fuji seems to be dwarfed; but the snowman is weeping bitterly, the original head is the fiery sun, its body is melting from the inside, indicating that fascism has begun to fall apart, the title of this painting is "The Hero of a Moment".
When Feng Zikai painted this picture of the snowman in the hot sun, his heart was full of emotions. Encouraged by his mentor Li Shutong, he went to Japan in 1921, once saw the beautiful and advanced side of Toei society, and also met the paintings of Japanese painter Takehisa Yumeji here, which inspired his own creation and made him unique in painting. But what is unpredictable is that in the 1930s, Japan invaded China, causing the land of China to be scorched everywhere, death pillows, and how could the beautiful Yamato nation in memory be so cruel. And when will this endless darkness come to an end? Therefore, Feng Zikai angrily drew this picture of the snowman of the scorching sun, and proudly signed his real name. The picture is in three languages, one is English, that is, the flag carried by the snowman is written with facism, indicating the essence of the Japanese invasion under the mask of the "Greater East Asia Co-Prosperity Sphere" and colluding with the German fascists. One is the Chinese language, that is, "a moment of heroism" and signed "Zi Kai painting", Feng Zi Kai drew such a satirical picture and signed his real name, which shows his fearless spirit of "profiting from the life and death of the country, and avoiding it because of misfortune". There is also the Japanese わがよたれぞつねならむ, which translates to the effect Chinese that "nothing lasts", which complements this comic that satirizes Japanese fascism like a snowman that melts quickly under the hot sun and cannot last long. This Japanese phrase from the Iroha Song (also translated as the "Iroha Song"), is a Japanese Heian period Japanese harmony song, written in the seven-five-tone rhythm, the content of which is the Buddhist concept of impermanence, to the effect that "the impermanence of all actions is the law of birth and destruction, the birth and destruction of extinction, and the extinction of silence as pleasure." "Iroha Song" is equivalent to the alphabet song in Japanese, and will be used when learning Japanese, because "Iroha Song" contains 47 kana, and linguistically basically uses all the kana in Japanese (except for ん, which was not available at that time). "Iroha Song" is basically a person who has studied Japanese for a period of time will come into contact with it, and it has Buddhist overtones, so Toyoko Kai, whose legal name is "Baby Line", uses it on this anti-Japanese manga, with "Everything is not long", as a summary of Japanese fascism, which can be described as "taking the other way and giving to the other body".
"Don't look at it this spring"
The War of Resistance Against Japan was finally victorious, but the civil war dragged the people into the abyss of suffering, and when the mountains and rivers were shattered and the artillery fire was incessant, the ravaged people were looking forward to the spring of victory, but year after year has passed, when will spring come? In 1948, Feng Zikai published a cartoon in the "Sing Tao Daily", through the window you can see that there are already green willows hanging down, grass long warblers flying, mountain flowers are scattered, but a literati in the room sits at the table under the window, but he puts his head in the crook of his arm, and has no intention of watching, and the inscription of the picture twists and turns to show the mentality - "Every spring to the air and rejoice in this spring, don't look." This spring refers to the spring of victory, which is the same as Lu You's "the remnants of the tears are in the dust, and the south looks at the wangshi for another year". This painting is synonymous with Du Fu's "Spring Hope": "The country is broken by mountains and rivers, and the spring grass and trees in the city are deep." When I feel the flowers splash tears, I hate the birds and be frightened. "Outside the window, spring and Jingming, the waves are not alarming, the good birds are singing, and the hissing rhymes; but "I" am in the lonely room, waiting for the dawn and waiting for the war to subside. The beauty of nature and the psychological sentimentality of "I" form a huge contrast, "writing mourning with happy scenes, writing music with mourning scenes, doubling their mourning". This is exactly the case with Feng Zikai's cartoon, which is a mixture of sadness and joy, and it is deeply moving.
In 1948, Feng Zikai published a series of cartoons in the Sing Tao Daily that exposed the Kuomintang army's scourge on the people, causing the destruction of the family and forcing the good to become a prostitute. "Daddy Don't Go" on January 30 depicts a dejected Kuomintang soldier mercilessly dragging a man to be a strong man. The man's pants leg was patched, and he looked back miserably at his own pair of children who were still childish, the daughter knelt on the ground and held his father's leg, and the son dragged the placket of his father's clothes, and they were all crying "Daddy don't go." "Child Bandits" on February 6 depicts two Kuomintang soldiers carrying bayonets one after the other, escorting two prisoners like enemies. The ropes wrapped around the prisoners' heads and bound their hands tightly, the soldiers in front clutched the ropes with both hands, and the soldiers in the back vigilantly broke the back to prevent the prisoners from escaping. However, the two prisoners who were strictly guarded were two eight- and nine-year-old children whose heads had just exceeded the waist of the soldiers, and their crime was "bandits", so even if they were children, they were "child bandits". In "The Water Rises" on March 5, a family is trapped on a reef, enviously looking at the people sitting on the boat, waiting for them to die of trapping and starvation. Feng Zikai did not shout slogans, but these grim pictures were already heard in the silence, "Water can carry boats, but also can overturn boats", how can a government that fishes and flesh the people, grass and people's lives, and causes great trauma and suffering to the people's livelihood last long?
"Admirers of children"
Hong Kong did not have its first local children's magazine, New Children, until 1941, but in the same year Japan occupied Hong Kong, children's literature immediately entered a low ebb. After the victory of the War of Resistance Against Japan, the Children's Literature Research Group established in Hong Kong set off a wave of children's literature movement in South China, and major newspapers successively established children's supplements, and "New Children" was also revived in 1946. On March 1, 1947, Hong Kong's Overseas Chinese Daily founded Children's Weekly to attract readers through essay contests and lead the organization of the "Children's Weekly Readers' Association" to actively respond to the literary and artistic policies of the mainland of the motherland through diversified literary and artistic activities. "Sing Tao Daily" founded "Children's Paradise" on April 9, 1948, at first "Children's Paradise" did not have the signature of the editor-in-chief, until the fourth issue was changed to a weekly magazine, that is, with the calligraphy and painting of "Feng Zi Kai" or "Zi Kai" as the masthead, the editor-in-chief signed Feng Zi Kai. Sing Tao Daily believes that having "child admirers" Feng Zikai as editor-in-chief can not only reflect the purpose of the supplement "child-oriented", but also "build readers' trust in editors". On the whole, most of the works published in "Children's Paradise" focus on children's playful taste, edutainment, and can inspire children's minds.
Between 1948 and 1949, Feng Zikai published a number of comic strips in Children's Paradise, all of which were "cut from the perspective of children, emphasizing children's playfulness, not only close to children's lives, but also showing vivid children's interests". Compared with life comics, there are more "naïve fantasies and strong love for the world."
On May 19, 1948, in the title painting painted by Feng Zikai, there are neat and fragrant bananas, pears, cakes, and snacks at the bottom of the picture, and the window on the left side above protrudes a small head of a little boy, looking down, saliva ticking, which means that "Children's Paradise" is a good place for children to salivate. In the same issue, there are also four-panel comics titled "Cute Little Pickpockets": First, "Stealing Turnips in the Small Vegetable Market": Mother is buying vegetables, and the hawker's uncle is weighing, but the toddler with him has happily picked up a large turnip from the basket. Second, "stealing pie on the street": Mom and Dad walk side by side, but the little baby on mom's back secretly grabs the fragrant pie inside Dad's backpack. "Stealing handkerchiefs on the tram stop": The uncle on the tram is standing intently reading the newspaper, and a small baby in a doll's shirt is tugging at the handkerchief in his pants pocket. Fourth, "the old grandmother's head steals gold ear digging": the little baby held by the mother is naughtily pulling out the gold ear digging worn on the grandmother's head. Why did Grandma wear an ear scoop on her head? Because it is a special kind of hairpin - hairpin, also known as ear digging hairpin, one end is ear digging as the head of the hairpin, the other end can be twisted bun, wearing the way is from top to bottom in the hair, shining in the sun, so children will reach out to grab. This painting also implies Feng Zikai's own childhood experience, he recalled in "My Life", when he was four years old, his father was a person in the examination, and his grandmother plucked the golden ear on his head to pay tribute to the good news, so it is very likely that this little baby who "stole" the gold ear digging from the old grandmother's head was Feng Zikai himself. The reason why Hong Kong welcomes these cartoons is that although Hong Kong has entered the modernization of people's livelihood such as trams and flush toilets earlier, many costumes and customs in the late Qing Dynasty have remained in daily life. Due to the intersection of the old and the new in Hong Kong, the special style of the fusion of East and West, so I especially like Feng Zikai's comics that look like a combination of East and West, familiar and intimate.
"A lesson behind a story"
In 1962, Feng Zikai announced to Readers in Hong Kong that he was going to translate The Tale of Genji in The Tale of Genji. The famous Japanese work "The Tale of Genji" was completed in the early 11th century, and there are already popular translations in Britain, Germany, France and other countries, but there is no translation in China. Therefore, the news of Feng Zikai is very encouraging to everyone.
Toyoko Kai has a deep relationship with the Tale of Genji and once set out to learn ancient Japanese for him. When he saw the ancient version of "The Tale of Genji" in the library in Tokyo, because it was all ancient texts that were not easy to understand, he later bought a modern translation with Tsano Jingzi, and after reading it through, he felt that it was very similar to China's "Dream of the Red Chamber", with many characters, twists and turns, beautiful words, rich connotations, and unbearable to let go. Since then, Feng Zikai has focused on the study of ancient Japanese languages. At first, he felt that the ancient texts in the Tale of Genji often had no subject, and the words were too simple to understand. Later, as if the upside-down sugarcane gradually entered a better state, I slowly realized that it was similar to the Chinese "Analects", "Zuo Zhuan" or "Tan Bow", and had the magic of "simple and complex".
Feng Zikai had translated the novella "Travel" by the Japanese writer Natsume Soseki, ishikawa Peck's "Ishikawa Woodpecker Novel Collection", and Tokufu Ashika's novella masterpiece "Better than Home", accumulating rich experience in Japanese translation, these translations were printed and circulated in China at that time, and everyone loved to read and love to read. Because Feng Zikai does not use the strange "translation cavity", but advocates first deeply understanding the original work, absorbing all the original works in the stomach, and then using the native language to convey to the natives, "to use a metaphor, it is like chewing the original text, swallowing, digesting, and then spitting it out." This is known in translation science as the "naturalized translation", that is, the translator must speak like a national author, and the translation must become an authentic Chinese. Naturalized translation helps readers better understand the work and enhances the readability of the translation. Taking "The Tale of Genji" as an example, Feng Zikai adopted the habit of Chinese Zhanghui novels, often starting with "words..." "but saying..." "and saying..." and so on, such as the first "TongJu", the fourth "Xiyan", the sixth "End Picking Flowers", etc. all began with the word "words", the third "Empty Cicada" "said that the prince of Genji was in Kii's house that night, and could not sleep", and in the eighth "Flower Feast", "and said that the lady of the hazy moon night, thinking back to the lost spring dream that night, I was overwhelmed with sorrow, and I had infinite thoughts in my heart" Wait a minute. The author of The Tale of Genji, Zi Shibu, was born into a shoka family, and his father Fujiwara was also good at Chinese poetry and japanese songs. Under the influence of his father, Zi Shibu on the one hand has a deep literacy in Chinese literature, and the text quotes a lot of poems such as Bai Juyi's "Long Hate Song", "Pipa Line", "Lady Li" and so on; on the other hand, he is familiar with Japanese waka, and there are nearly 800 Japanese songs in the text. Feng Zikai does not rigidly copy the original Japanese poems when translating, nor does he stick to words and sentences, and often uses seven words and two sentences or five words and four sentences of ancient Chinese poetry for translation. For example, in the fifth "Zi'er", there is a japanese song, which Feng Zikai translated as: "Since peeping at the fine grass and fangzi, the wandering zi qingyi has not dried up." Another example is a sentence in the second "Broom Wood", which Feng Zikai translated into a five-word sentence format: "The flowers bloom randomly, and there are many colors." Pity the summer flowers, the beauty is really matchless. "The Translation of The Tale of Genji incorporates The Tale of Genji into The Personal Experience of Feng Zikai, who in 1921 went to admire the autumn leaves while studying in Japan, and once sat under the autumn leaves on Enoshima island and looked out at the sea and drank authentic sake." At that time, the wind vibrated and the water shone in the sky. Ten miles of mangroves, such as brocade embroidery. After three cups, I forgot about the dust and almost suspected that I was in the fairy world. For 40 years, this luscious memory has always flashed in Feng Zikai's mind, so when he translated the beautiful scenery in the fourth "Xiyan", he conveyed the Japanese scenery he had seen and heard and the elegant life of the Japanese people with emotion - "At this time, the twilight is heavy, and the night sky is clear." Autumn grass before the steps, boiled yellow and wilted. The sound of insects on the four walls, the sound of mourning. The garden is full of autumn leaves, and it is as beautiful as a brocade. "It's lifelike, jumping on paper. This scene is very much like the empty shot in the movie, although there is only no one in the picture, but the core of the lens is not empty, it is like the unfinished words in the poem, but also like the blank space in the painting, using the elemental imagery of "night sky", "autumn grass" and "red leaves" to convey the flowing oriental beauty, using the high contrast of "chengbi", "boiled yellow" and "full of red" to shock the color, giving people a shock of color, and "twilight", "wilting" and "mourning" convey the "material mourning" of Japanese aesthetics.
Feng Zikai's children's stories written to Hong Kong children are also unique, such as "Doctor Sees ghosts", a certain Dr. Yanglin and his wife in the same profession married, love is stronger than Jinjian, did not expect that his wife suddenly died of typhoid fever, Dr. Lin vowed to always keep the festival for his wife, but he soon mourned and became indifferent, feeling very lonely, eating and living are very inconvenient. Thinking that his wife is dead, keeping faith in her is useless to her, but it is really a hindrance to herself. Moreover, as a scientist, he did not believe in ghosts at all, so after the Qingming Dynasty, about three months after the death of his former wife, he remarried with Ms. Li, who graduated from the university education department. Because he violated his oath and was often uneasy, he often looked sad and often whimpered in his dreams. Ms. Li asked the original committee, afraid of ghosts, often worried, so on the anniversary of the death of the former wife, the two invited the monk to chant the sutra, and reverently worship the spiritual seat, but the next day saw that the card on the spiritual seat had reflexively facing the wall. Although they respectfully turned the tablet forward, lit incense candles, and worshipped reverently, on the second and third days, each time the tablet was reversed, the two were convinced that there was a ghost, and Ms. Li was overly worried, slept irregularly, and died of fright. Dr. Lin set up a card seat in front of the hall, vowing not to sleep tonight, sitting in front of the spirits of his two wives for one night, and if there is really a ghost, please ask the spirit to spin the tablet in front of his face tonight. It turned out that it was the neighbor who played rice, so that the ground shook, and the card position on the table also vibrated, and because the table was slightly tilted, so every time it jumped, the card position must change its direction, the meter lasted for several hours, the ground shook more than a thousand times, the card position jumped thousands of times, just rotated 180 degrees, and faced the wall. By today's standards, the work seems to be hardly considered a fairy tale. However, children's literature has a narrow and broad sense, and children's literature in the broad sense includes infant literature, children's literature and juvenile literature, so this "Doctor Who Sees Ghosts" containing scientific factors is suitable for young readers to read and can be classified as a broad category of children's literature. In addition, Feng Zikai's fairy tale and foreign fairy tales also have similarities, because "Bello Fairy Tales", "Gulliver's Travels", "Min Haosheng's Travels", "Grimm's Fairy Tales", "Hoffman's Fairy Tales", "Wilde's Fairy Tales", etc., were not originally written for children, even if the recognized fairy tale master Hans Christian Andersen also clearly pointed out in his autobiography: "I call these fairy tales "Stories for Children", although my original intention is that the objects of these fairy tales can be children or adults. "Therefore, there are many works of children's literature that are suitable for all ages, and "Doctors See Ghosts" can be viewed as such. When "Doctors See Ghosts" was later combined with other articles to form the book of the same name, Feng Zikai said in the preface: "Poria cake is not only sweet, but also tonic, and can make the body healthy." Painting and writing, it is best not only that the form is beautiful, but also has an educational effect, which can make the spirit healthy. For decades, my paintings and compositions have often been based on poria cakes. Feng Zikai's "Doctor Sees ghosts" is also "Poria Cake Style": "Behind a story is a lesson." "In the process of reading, in addition to learning the principles of science and producing the chemical reaction formed by the collision of ancient superstitions and modern science, children read it with great fun, and adults read it with endless memories."
"Teach only with love"
Feng Zikai, who advocates popular art in Hong Kong, pointed out in the "Painting and Literature" of the 951st issue of China Student Weekly that very few people can understand the "pure music" expressed purely by sound; there are more people who can understand the "songs" mixed with lyrics in the music. In the same way, very few people can understand the so-called "pure painting" expressed purely by shape and color; and the so-called "literary painting" that mixes the meaning of literature in the shape and color is also more understood. Therefore, as a measure of popular art, adding flavor to literature in art is also a method conducive to universal dissemination.
In 1949, when Feng Zikai was 52 years old, he completed the third episode of the "Nursing Life Painting Collection" behind closed doors for three months, and in April he went to Hong Kong to hold three consecutive solo exhibitions, namely: From April 15 to 16 at St. John's Chapel on Garden Road, from 19 to 20 at the Si Hao Hotel, and from 21 to 22 at Pui Cheng Secondary School in Kowloon, he also gave a speech on "Youth for Artistic Accomplishment". Feng Zikai served as the editor-in-chief of "Children's Paradise" in Hong Kong, and his three exhibition experiences and speeches, as well as the numerous cartoons and articles published, sowed the seeds of truth, goodness and beauty for children in Hong Kong. On January 8, 2020, the Feng Zi Kai International Cultural Exchange Association signed a strategic cooperation agreement with Dalton School in Hong Kong to establish the "Hong Kong Feng Zi Kai Children's Art Education Center". Mr. Feng Zikai's grandson Feng Yu, Professor Jin Yaoji, former President of the University of Chinese of Hong Kong, founding directors, principals, parents and people from all walks of life who love Feng Zi Kai's art gathered in Dalton to participate, witness and start the journey of promoting Feng Zi Kai's art and culture education. In addition to cooperating in the exhibition of Feng Zikai's works on different themes, the "Hong Kong Feng Zi Kai Children's Art Education Center" also holds a series of cultural activities such as art lectures, seminars, international painting competitions, and weekend lecture halls for all Hong Kong youth, contributing to the prosperity and development of Feng Zi Kai art and Chinese excellent culture in Hong Kong.
From 2020 to 2021, Hong Kong Feng Zi Kai Art Education Center hosted the "First Hong Kong Children's Art Creation Competition", which adhered to Feng Zi Kai's art education concept of "teaching only love", and cultivated the beauty of "truth, goodness and beauty" in the shaping of the concept of life, and cultivated the noble moral sentiments and artistic qualities of children. Some of the award-winning works are tributes to Feng Zikai and add contemporary thinking. For example, in the "Most Popular Award", the small author painted the little boy in Feng Zikai's "Daddy is Back" in the picture, but added the father, mother and sister, and the narration on the screen wrote: "I work for my father, my father can spend more time with my mother and sister"; some inherit Feng Zikai's love for life, such as "Loving Animals, You and I Do", which won the third place; some are more promoted to the care of all mankind, such as "Sharing Sharing, Sharing Resources" that won the runner-up. The seeds of patriotism and benevolence sown by Feng Zikai in Hong Kong blossomed into a splendid flower.
Guangming Daily (13th edition, November 19, 2021)
Source: Guangming Network - Guangming Daily