The historical cultural relics of the Forbidden City moved south and west, creating a miracle of protecting human cultural heritage in World War II. What are the tribulations in this history? What kind of science is the "Forbidden City Study" advocated by Zheng Xinmiao? In a lecture called "The Palace Museum and Palace Studies", Zhang Hongwei described the reason. This article is selected from "Thinker: I Listen to a Lecture at Beijing Normal University", which is a byte selection of transcripts and related papers from the "Expert Lecture" of Beijing Normal University Library on October 22, 2020, and is abridged and modified from the original text, and the subtitle is added by the excerpt editor, not the original text, and the illustrations used in the text are all from the book. It has been authorized by the publishing house to publish.
"Seekers: I Listen to Lectures at Beijing Normal University", edited by Beijing Normal University Library, Beijing Normal University Press, September 2022.
In 1931, Japan launched the "918" incident, the three eastern provinces were occupied, Pingjin was shaken, and North China was in an emergency. Beiping was in danger, and colleges and universities were deployed to move south. In view of the arrogance of the Japanese invaders, once they invaded North China, the cultural relics of the Forbidden City were in danger of being destroyed or looted in the war. In order to ensure the safety of cultural relics, the Executive Yuan of the National Government decided that the Palace Museum would select the finest cultural relics in its collection and move them to other places for storage.
The preparation of cultural relics to the south is to select fine cultural relics and do a good job of packing them. This time the packing can be said to contain most of the essence of the cultural relics of the Forbidden City.
In January 1933, Shanhaiguan fell into the hands of the Japanese army, and Pingjin was in danger. The Palace Museum decided to move the cultural relics that had been boxed south in batches starting January 31. When the news came out, public opinion was in an uproar for a while. Some people believe that the transportation of antiquities out of Peiping when the soldiers are under the city is bound to shake people's hearts and cause social unrest, and call on the government to put the protection of the national territory and the stability of the people as the priority, stop the southward migration of antiquities, and should not adopt a compromise and concession attitude towards the enemy, and that antiquities "cannot be recombined once scattered", and should never be easily moved to avoid being lost.
On January 23, various public offices and chambers of commerce in the Beiping Autonomous Region established the Beiping People's Antiquities Protection Association in Zhongnanhai, sent a telegram opposing the southward relocation of the antiquities of the Forbidden City, and publicly stated at the people's meeting that they would use force to stop the southward migration of antiquities, vowing to coexist with national treasures. Some Forbidden City staff also received threatening letters, and some claimed to plant bombs along the railway to stop the southward migration of cultural relics. Yi Peiji, president of the Palace Museum, sent this telegram to Song Ziwen, president of the Executive Yuan: "(Commander-in-Chief of the Pingjin Garrison) Yu Xuezhong sent letters and telegrams from various groups opposing the southward migration of antiquities, and there was a big uproar. In this case, if the local government does not actively assume the responsibility of protection, as soon as the items leave the palace, there is a fear of accidents. To personal danger, put it out early. Pistols, bombs, threatening letters, every day. ”
At this time, the government issued its attitude towards the southward migration, reassuring the people: the cultural relics of the Forbidden City are the cultural crystallization of the country for thousands of years, and one less is destroyed. The people staying in Beijing could help the government defend against the Japanese invaders, and cultural relics remaining in Peiping were only possible to be plundered and destroyed. There is still the day of the restoration of the country, and once the culture dies, there will never be a remedy!
The Palace Museum, Beijing.
From the early morning of February 6, the first batch of antiquities was shipped, and a total of 13,427 boxes and 64 bags were shipped out in 5 batches (there were also 6,065 boxes of 8 bags and 8 pieces of cultural relics from the Antiquities Exhibition Office, Taimiao, Summer Palace and Guozijian). These southbound cultural relics were first stored in Shanghai and then transported to Nanjing, and the Nanjing Branch of the Palace Museum was established.
On July 7, 1937, the Japanese army launched the Lugou Bridge Incident and began a full-scale invasion of China. On July 29, Peiping fell. On August 13, a large-scale attack on Shanghai began, and Nanjing was in danger.
In order to protect these national treasures, the Nanjing government ordered the Nanjing Branch of the Palace Museum to immediately move the antiquities west in batches to the rear. Three ways to move west, we will not talk about the specific process, we can only say that the antiquities have spirits, can not be bombed, broken and not broken, often the cultural relics just walked on the front foot, the Japanese invaders' plane bombing followed; The vehicle carrying cultural relics has also turned over the bridge, if the car is loaded with porcelain and other things that are afraid of breakage, it is finished, loaded with archival books and other paper products, not afraid of falling, although the car turned into the river, there is no water here, and the bridge is not high, the box is not shaken much, and there is no damage. In short, the cultural relics are safe and sound. This batch of cultural relics began to move west in November 1937, and all returned to Nanjing in June 1947, a full 10 years in the rear. The cultural relics of the Forbidden City moved south and west, and the cultural relics were not greatly lost, creating a miracle of protecting human cultural heritage in World War II.
In 1948, Chiang Kai-shek's defeat of the Kuomintang was decided, and the directors of the Palace Museum in Beijing held a meeting and decided to select and transport the cultural relics that had moved south to Beijing and shipped them to Taiwan. From December 22, 1948 to January 29, 1949, there were three batches of cultural relics transported to the platform, with a total of 2,972 boxes, accounting for about 22% of the cultural relics of the southward migration of the Forbidden City in 1933, most of which were the essence of the southward migration cultural relics. In November 1965, the Taipei National Palace Museum was built in Shuangxi, Shilinwai, Taipei City.
National Palace Museum, Taipei
The cultural relics that were not removed in time remained in the Nanjing branch of the Palace Museum. After the founding of the People's Republic of China, most of these cultural relics were successively transported back to the Palace Museum in Beijing from 1951, and the national treasures that had been around for more than a decade finally returned to their original homes.
The House of Treasures and the Beginning of the Study of "Palace Studies"
The southward migration of the Forbidden City cultural relics and the southward migration of cultural relics to Taiwan have become well-known. Many people think that the cultural relics of the Palace Museum have moved south, and the fine products in it have been transported to Taiwan. This is naturally a misunderstanding. Moving south, I decided to select as many fine products as possible, but in fact I couldn't do it completely. Since the founding of the People's Republic of China, the Palace Museum has collected more than 240,000 cultural relics allocated by the state, donated by individuals and collected by acquisition, many of which are national treasures.
The Palace Museum is a treasure house, and the number of movable cultural relics announced to the public is 1863404 (sets), including ceramics, currency, jade, oracle bones, bronzes, sealing clay seals, glassware, carved stone cultural relics, sculptures, inscriptions, calligraphy cultural relics, painting cultural relics, Dunhuang and Turpan cultural relics, religious relics, lacquerware, enamelware, weaving and embroidery and clothing, gold and silver ware, copper, tin and leadware, bamboo and wood tooth hornware, pottery, craft bonsai, pen, ink and paper, fan, halogen book ceremonial guard, musical instruments, armed cultural relics, scientific instruments, clocks and watches, Medical equipment, opera cultural relics, lighting equipment, daily miscellaneous goods, entertainment equipment, modern transportation and communication equipment, books, book boards, drawings, public opinion maps, archival documents, etc.
The Palace Museum has published 60 volumes of the Palace Museum's Complete Collection of Cultural Relics, and now it is publishing the Palace Museum's Collection, which is estimated to reach 600 volumes, all of which are exquisite catalogues. Friends who have the conditions can go and flip through it. Today, I solemnly recommend a small book to you, but it is very weighty, that is, "Tianfu Forever Collection-An Overview of the Cultural Relics Collection of the Palace Museum on Both Sides of the Strait" by Mr. Zheng Xinmiao. The book not only provides detailed data on the quantity, type and quality of the collections of the Palace Museum on both sides of the strait, but also carefully sorts out and analyzes the source, composition and circulation of the cultural relics of the Forbidden City, and finally conducts some theoretical discussions from the perspective of Palace Studies, which is a rare masterpiece.
There is only one Forbidden City, but the Palace Museum has two (Shenyang Palace Museum is in another sense). In the past, the Palace Museum in Beijing did not organize and study the collection as a whole, especially the publicity was not enough, so that ordinary people did not understand the truth inside. The book clearly describes the aggregation, dispersion and return of the cultural relics of the Palace Museum, clarifies the ins and outs and current situation of the royal collections of the two Palace Museum, and comprehensively discusses the source, composition, circulation, current situation, classification, quantity and related historical facts of the cultural relics of the Palace Museum on both sides of the strait. Although the text of the book is not much, it has a huge capacity, describing the dynamics of the collections of the two academies on both sides of the strait, dividing the collections of the two academies into 12 categories, counting and comparing their own ins and outs, their own characteristics and characteristics, and whether they are more or less, and sorting out the huge and complicated cultural relics of the Forbidden City with the same origin and diversion.
85% of the collections of the Palace Museum in Beijing and 92% of the collections of the Palace Museum in Taipei come from the old collection of the former Qing Palace, which is the root of the same name of the Palace Museum on both sides of the strait; The total collection of the Palace Museum in Beijing is far more than that of the Palace Museum in Taipei, and the quality of cultural relics is far more than the Palace Museum in Taipei on the whole, not as some people think that "the southward migration of cultural relics has emptied the Palace Museum in Beijing"; In terms of type, although the Palace Museum in Beijing is richer, the collections of the Palace Museum on both sides of the strait cover various ancient artistic treasures of the mainland, and are also the most important treasures of Chinese culture and art in the world. The author does not consider the victory of the collections of the two Palace Museum, but regards the Palace Museum as an overall culture, and objectively organizes and introduces the collections that belong to the cultural relics of the Palace Museum but are stored in the two museums separately for the above reasons, so that this cultural heritage can first be introduced and discussed within the theoretical framework of Palace Studies.
"Tianfu Forever Collection: An Overview of the Cultural Relics Collection of the Palace Museum on Both Sides of the Strait"
Mr. Zheng's "Tianfu Eternal Collection" is not a general data combing, not an inventory of cultural relics, but a research-oriented cultural collation, a study of cleaning up cultural relics, and its significance goes far beyond the scope of the inventory of cultural relics collections. The distinctive features of this work are threefold:
First, it is objective and accurate. Based on a large number of first-hand materials, the book realistically establishes a cultural genealogy of cultural relics and cultures connected by the roots of one Forbidden City and two Palace Museum; The information obtained and verified in detail, the structure is complete and rigorous, the text is concise, and the figures are accurate, which will surely deepen people's understanding of the value, significance and status of the Forbidden City.
The second is the cultural relics vision of big history and culture. Half of the book is devoted to an unprecedented classification and comparison of the collections of the Palace Museum on both sides of the strait. In addition to traditional calligraphy and painting, ceramics, jade, bronze, etc., more attention is paid to excavating the historical and cultural value of court, religious and architectural cultural relics with more court characteristics, such as court cultural relics, and 16 categories such as imperial seals, halogen book ceremonial guards, court costumes, scientific instruments, opera, medicine, carpets, etc. are sorted out.
Selected treasures of the Forbidden City, enamelware, collection of the Palace Museum.
The third is to reflect the integrity of the "Palace Studies" research initiated by the author himself. Although the main body is movable cultural relics, it is always placed in the framework of the relationship with the immovable Forbidden City and the relationship with the history and culture of the court, that is, in the overall organization and research of the Forbidden City culture marked by "Palace Studies". Therefore, the book not only clearly analyzes the treasures of the Forbidden City for readers, but also guides people to look at the most eye-catching treasures of the Forbidden City from the perspective of history, culture and art, rather than from the perspective of so-called treasures, so as to truly understand the significance of "national treasures" to the country, the nation, the people and the world.
Finally, the author analyzes the value of the Forbidden City and its collections from the perspectives of history, science and art, points out the responsibility of contemporary people to guard the Forbidden City and its collections as the precious cultural heritage of mankind, and proposes to establish the Palace Palace Studies through the joint efforts of all parties to carry out systematic research on the architecture of the Forbidden City, cultural relics collections, palace historical and cultural remains, Ming and Qing Dynasty archives, Qing Palace classics, and the history of the Palace Museum, and establish the Palace Studies of the imperial culture represented by the Forbidden City and with the emperor, imperial power and imperial palace as the core. It is hoped that the study of the Palace will coordinate and promote the management, scientific research, exchange, display and promotion of the Forbidden City and its collections to a new and more conscious height.
Selected treasures of the Forbidden City, calligraphy (partial), collection of the Palace Museum.
The Forbidden City is not just a royal palace, nor is it just the largest museum in China
In 1924, as soon as Puyi was expelled from the Forbidden City, Li Yuying, one of the founders of the Palace Museum, explicitly proposed to "recruit more scholars and experts to open up the book for academic purposes" when he "handled the aftermath committee of the Qing Chamber" of the business group, and later proposed that the Palace Museum "academic development should be carried out in cooperation with various cultural institutions in Peiping". Due to the May Fourth Movement, Peking University has become the pioneer of the whole society in the research of ideas and new disciplines at that time, and in the investigation of palace objects and the later business construction of the Palace Museum, Peking University Research Institute has made the greatest contribution to the study of Chinese culture. At that time, scholars who participated in the work of the Forbidden City and engaged in research included Ma Heng, Liu Bannong, Qian Xuantong, Chen Yuan, Meng Sen, Rong Geng, Shen Jianshi, Shen Yinmo and so on.
Palace Museum plaque (1925 Li Yuying edition)
After the establishment of the Palace Museum, its main energy was used to inventory and sort out the collections of the Qing Palace, including cultural relics, archives and books, and at the same time paid attention to announcing to the public and publishing cultural relics, documents and archives. In 1925, he began to publish the "Report on the Inspection of Objects in the Forbidden City". In order to meet the needs of academic research, 10 special committees were established in 1935, including calligraphy and painting, ceramics, bronze ware, fine arts, books, historical materials, opera musical instruments, religious scripture and image instruments, and building preservation and design. The special committee members are divided into special contracts and correspondence, and in addition to the staff of the court, they also employ well-known experts and scholars in the society. From the lineup of researchers, it can be seen that the academic research of the Palace Museum has a high starting point from the beginning, and has the characteristics of openness and sociality.
The founding of the People's Republic of China has enabled the Palace Museum to have a stable development environment, and all work has been carried out in an all-round way, introducing a number of famous artists such as Tang Lan, Xu Bangda, Luo Fuyi, Sun Yingzhou and so on. Before the "Cultural Revolution", the Palace Museum proceeded from its own reality in accordance with the basic requirements of the museum, mainly to carry out basic construction work. After the Third Plenary Session of the 11th Central Committee of the Communist Party of China, the academic research of the Palace Museum ushered in a new period, full of vitality and remarkable achievements. The Palace Museum is famous for its special status, magnificent architecture and millions of treasures, and it pioneered book publishing, and was the first to cooperate with publishing institutions in Hong Kong and Taiwan, such as the Hong Kong Branch of the Commercial Press, and began to publish widely influential albums such as "Forbidden City Palace", "National Treasure" and "Qing Dynasty Court Life" in the early 80s of the 20th century.
The Forbidden City is the academic Forbidden City, and the Forbidden City scholars have passed on the torch, especially after 1977, the academic works of old experts and new scholars have been continuously launched. The scholars of the Palace Museum have made important achievements in Qing history research, ancient Chinese painting and calligraphy, ancient ceramics, epigraphy archaeology, craft research, court library and literature research, ancient architecture research, and historical research of the Palace Museum.
An important basis proposed by "Palace Studies" is the relevant research results that have been accumulated for a long time. Zheng Xinmiao, then Vice Minister of Culture and President of the Palace Museum, formed the idea of Palace Studies based on the understanding and positioning of the Palace Museum and the Palace Museum, the current situation of academic research in the Palace Museum, and the investigation and investigation of the history of the study of the Palace Museum over the past 80 years. He believes that the Forbidden City is closely related to the Palace Museum, and the degree of understanding of the value of the Palace Museum affects the understanding and functional positioning of the Palace Museum. Through the deepening of the understanding of cultural relics, the importance of ancient architecture, the excavation of court history and culture, and the inheritance of intangible cultural heritage, we realize that the Forbidden City is not only "China's largest cultural and art museum", but also one of the very few museums and cultural heritage in the world that has the characteristics of art museums, architectural museums, history museums, palace museums and other characteristics, and conforms to the internationally recognized basic principles of "original site protection" and "original state display", and is a vast and profound treasure house of Chinese history and culture. This is a brand-new academic concept, which has raised the research of the Forbidden City to an unprecedented height, and has attracted great attention from academic circles at home and abroad.
"Without the practice and results of 80 years of Forbidden City research, it is impossible to accurately put forward the concept of Forbidden City Studies, and the proposal and establishment of Palace Studies will bring the study of Palace Studies into a conscious stage, which will improve the level of Palace Studies as a whole." In Zheng Xinmiao's view, the Forbidden City is not only a royal palace, nor is it the largest museum in China, it is a cultural whole that integrates various elements such as architecture, cultural relics, and classics, and is the crystallization of China's 5,000-year-old traditional culture. For "Palace Studies", Zheng Xinmiao's interpretation is: it is not a scholastic-style cumbersome argument, nor is it a rigid study from book to book, it directly faces the cultural relics, ancient buildings, archives, documents, etc. of the Forbidden City, and is a comprehensive study that regards the Forbidden City as a cultural whole.
Zheng Xinmiao said frankly that the material carrier of the content of "Palace Studies" is, of course, the vast collection of the Forbidden City. To understand the value of the Forbidden City, we need to look at the Forbidden City from the perspective of Palace Studies, not only to recognize the important value of the ancient buildings and palace cultural relics of the Forbidden City, but also to see that historical relics have the same important significance; More importantly, ancient buildings, cultural relics, historical relics and what happened here are an inseparable cultural whole. This understanding is an important basis for the emergence of the Forbidden City, and is also conducive to further exploring the historical and cultural connotation of the Forbidden City. This integrity of the Forbidden City culture also gives the Qing Palace cultural relics and archival documents scattered outside the courtyard, overseas and abroad an academic destination. The purpose of "Palace Studies" is to continuously promote the comprehensive research of the Forbidden City and explore the profound connotation of the Forbidden City culture.
Use the vision of "Palace Studies" to re-examine the value of the Qing Palace script
Using the vision of "Palace Studies" to re-understand the Forbidden City, there will be a new understanding. Let me give an example a Qing Palace script that is very inconspicuous in the Forbidden City collection. In July 1935, Zheng Zhenduo published "What is the Development of Qing Dynasty Court Opera" in "Hundred Questions on Literature", discussing the reasons for the decline and fall of Kunqu opera in the Qing Dynasty from the characteristics of court opera performance, arguing that Qing palace opera needed "extremely complex stages and sets, extremely crowded actors and cuts" and was not widely circulated; Playwrights have low creativity, "often plagiarizing Yuan and Ming's plays as their own things." The result is a lifeless work... Cut yourself off from the people, and you can't go down the road to extinction at the same time." When we re-examine the value of the Qing palace script from the perspective of "Palace Studies", we come to a completely different conclusion.
First, the script is one of the material carriers of the drama and the basis for the rehearsal of the play. The glorious dramas of ancient China did not leave many scripts, and the opera singing left even fewer scripts. Most of the scripts in circulation now are to meet the needs of society for appreciation, reading, and literary research, and do not represent the rehearsal scripts of the performance group, in fact, they are already variations of the script. Moreover, the drama performances in the society are generally performed by the actors of the folk theater team, in order to save money and increase the audience, most of the theater team does not have a fixed performance place, and the mobility is strong. This characteristic determines that the script is not easy to preserve informationally, some plays are even oral transmission between master and apprentice, some actors are not literate, do not pay attention to the script, and leave fewer scripts for rehearsal. The drama undertaking activities of the Qing court were carried out in accordance with the will of the emperor, and there were strict institutional systems and management methods for the management of the plays, and the scope of activities was fixed, limited to the palace garden, thus leaving a large variety of Nanfu and Shengping Department scripts, most of which were actual rehearsal scripts, each with different content and purpose books. There are An Dian books for the emperor and the empress dowager, and more plays for the performances of the actors, which are divided into general scripts, musical scores, outlines, skewers and pomp and circumstance. The Qing Palace script is a treasure trove of performance scripts. These plays must have been performed in the palace, providing a version of how the play was performed at that time. It is now known that the National Palace Museum in Taipei, the China Academy of Art, the National Library of China, the Capital Library and other units with a large collection of Qing Dynasty court scripts have a total of less than 2,000 items, and the number of volumes has not been found for a while. The Palace Museum in Beijing has a large collection of 11,491 volumes, each of which has different contents and uses, and many of the plays are rare and unique books that have not been recorded in other opera works. This is a batch of extremely valuable opera materials, a physical proof of the Qing Dynasty's court drama activities, and of great significance for restoring the old appearance of Qing court acting and carrying forward the Chinese opera tradition. The current understanding of the value of these scripts in the history of theater development is far from enough. I thought that its value, which only we have not yet recognized, cannot be estimated.
Second, the Palace Museum has a wide range of themes and art forms in the collection of Qing Dynasty court scripts, including miscellaneous plays and Ming and Qing legends created by famous playwrights of the Yuan and Ming Dynasties, as well as Liantai plays and various undertaking plays adapted from classical novels and Buddhist classics by the Qing Dynasty Lyric Minister. The art forms of the performance include Kunqu cavity, Yi cavity, random bomb, Bangzi cavity and Xipi Erhuang, etc., and some scripts are also accompanied by performance actions or music scores, and the lyrics are gorgeous. This point seems to be rarely discussed by scholars. It is also worth paying attention to the performance program reflected in the wearing syllabus. Some of the Forbidden City plays were only performed in the court, and few people knew about it outside. There were also scripts for social performances, and the emperor appreciated the needs, introduced into the palace, and retained the outside plays at that time. The outside has been lost, and after many years, the palace is also different from the outside. Nothing outside is as rich as here. The source of what is spread outside can be found in the Qing Palace. The court drama system has played an important role in regulating and enhancing the art of opera. The study of the exchange and mutual influence between the court and folk performances needs to be deepened. As far as the development of opera itself is concerned, the history of Qing opera is the process of the decline of Kunqu opera, and the germination, growth and maturity and refinement of Peking Opera. In the process of this dispute between flowers and elegance, court drama played a very important role and played an inestimable role. The emperor was willing to participate in the creation because of his own preferences, and he was not only the audience, but also the director and producer, and he directly participated in the creation, which was very different from previous dynasties. The emperor's participation, from supporting the elegant Kunqu opera and Kunyi, rejecting folk drama to later accepting folk drama, under his guidance, court drama became more standardized and refined, and some of it was "politicized". The Kunyi opera performed by the court was adapted, why it was so adapted, and how it was performed after the adaptation, you can see the aesthetic orientation and appreciation of the emperor. Due to the special status and influence of court drama, the emperor's attitude towards the flower department and the dispute between the flower and the elegant at that time played an important guiding role. It was the emperor's love of random bombs that greatly encouraged and promoted the developing Huabu opera, and influenced the creation, performance and development process of opera. It was formed by Peking Opera in the Guangxu Dynasty, and in the twenties and thirties of the 20th century, it reached its peak and formed many genres, which have not declined to this day. In short, the history of court acting in the Qing Dynasty reflects the objective law of the development of drama, that is, it originated from the people and gradually improved, and the aristocracy elegantized and used it, excluding dramas other than Kunqu opera. Other genres developed vigorously and healthily, finally breaking through the prejudices of the ruling class and developing in the court, attracting the emperor to also get involved in it, and promoting the interactive relationship formed by new dramas. The vitality of folk opera is the source and inexhaustible driving force.
Third, the Shengping Dynasty's manuscripts and archival materials are not only the history of Qing Dynasty inner court dramas, but also a microcosm of the rise and fall of the Qing Dynasty. The living conditions of the country and the nation also affect the creation and performance of opera. A history of Qing Dynasty court opera is a miniature Qing history, from extreme glory to decline. Qing Dynasty court opera not only allows us to understand the development trajectory of Qing Dynasty opera, but also provides valuable historical materials for the study of Qing Dynasty politics, economy, culture, social life and other levels. Most of the research on Qing court acting focuses on the setting of acting institutions, and the essence of the changes in the etiquette system behind the institutional settings has yet to be deeply explored. The role and development of opera art in the Qing Dynasty in the cultural life of the Qing Dynasty Empress is of great value. Court drama documents retain rich cultural information about court life in the Qing Dynasty, and are first-hand sources for studying the history of the Qing Dynasty's court. From a glimpse of the whole leopard, under the perspective of "Palace Studies", the value of the Forbidden City needs to be re-recognized.
This article is selected from "Thinker: I Listen to a Lecture at Beijing Normal University", which is a byte selection of transcripts and related papers from the "Expert Lecture" of Beijing Normal University Library on October 22, 2020, and is abridged and modified from the original text, and the subtitle is added by the excerpt editor, not the original text, and the illustrations used in the text are all from the book. It has been authorized by the publishing house to publish.
The keynote speaker is magnificent
Excerpt丨 Yasuya
Editor丨Yuan Chunxi
Proofreader丨 Zhao Lin