The title of Daniel Kurtz-Phelan’s new book about US General George Marshall’s efforts to bring about peace between the Nationalists and Communists in China after the end of the Second World War should be “The Impossible China Mission”. Marshall’s ill-fated mission was the product of wishful thinking and hubris on the part of policymakers in the Truman administration.
Approximately 180km east of the Middle Kingdom sits an island state commonly referred to as “The Bicycle Kingdom”. If you live in Japan, Europe, or North America and own a bicycle, there is a good chance that a number of its parts were manufactured in Taiwan. From ultra-light carbon fibre frames and the latest electric, smart and green technologies to various bike components ranging from tires, pedals, chains, saddles, grips, and even bike carriers for vehicles, Taiwan’s bicycle industry remains a global leader despite recent declines in exports and sales.
In January 2018, Australian Senator Sam Dastyari of the Labor Party resigned. It was the culmination of a year-long scandal involving foreign donations and influence peddling. In his support for China’s claims in the South China Sea, Dastyari disagreed with the China policy of both the government and the Australian Labor Party. It was revealed that Dastyari had accepted money from Huang Xiangmo, a Chinese businessman with links to the Chinese Communist Party.
The internet was supposed to have delivered China into freedom by now. But that optimistic consensus has been proven wrong so far. In their books, academics Rongbin Han and Margaret Roberts, attempt to explain why.
The 2018 “Le French May” opened in Hong Kong with The Painting on the Wall from the Ballet Preljocaj. The inspiration for this new work is a Chinese fairy tale from the Qinq Dynasty-era Strange Stories from a Chinese Studio, collected (not unlike the Brothers Grimm, except more than a century earlier) by Pu Songling and published posthumously in 1740.
Based on her performance at the 29 April Grand Finals Concert, Wu Hongni was declared one of the five winners of the Metropolitan Opera National Council Auditions.
Wu Changshi 吳昌碩 was an extraordinary artist and a major force in late-nineteenth- and early twentieth-century Chinese art. A true literatus in a changing cultural landscape, he combined the traditional scholarly arts with popular subject matter in a manner that would revolutionize painting. The following series of “views” represent an accumulation of forays into an understanding of Wu Changshi (also pronounced Wu Changshuo, 1844–1927).