Recently, I am reading a book titled "Chip Kidd", and unexpectedly found a British artist who has created fabulous book covers for Penguin China. Here are some of them.
Austen’s Pride and Prejudice:
Chickens occasionally appear in Chinese ink painting, and I think the birds themselves have a certain arrogant, disgruntled look about them so….
Kafka’s Metamorphosis:
This is a longhorn beetle, which I found in my garden. I’ve never seen a
bug like it in the UK, so for me it is a very “Chinese” beetle. The
Characters on it’s wing case spell out the book title.
Orwell’s 1984:
Taking 1984 to be a hell on earth, with Big Brother as a Chinese devil….
Melville’s Moby Dick:
I have another version of this which looks more “Chinese”, the
calligraphy making up the whales tale. Unfortunately that image was too
dark for the series, so we’ve got…
If you want to learn more about Jason Pym, please go to his blog.
A Bite of China (舌尖上的中国) is a 2012 Chinese documentary television series on the history of food, eating, and cooking in China.It first appeared at the China Central Television in May 14th, 2012, and quickly gained much popularity. Having started filming in March 2011, this seven-episode documentary series introduces the history and story behind foods of various kinds in more than 60 locations all around China. The documentary has also been actively encouraged as a means of introducing Chinese food culture to those unfamiliar with local cuisine. It's an amazing journey on Chinese food culture and history. It has seven episodes, I hope you enjoy them like me.
Nature’s Gift
The Story of Staple Foods
The Inspiration of Transformation
The Taste of Time - This episode focuses on the different preservation techniques and preserved food across the regions
A pioneer in the food world, Cecilia Chiang (江孙芸)introduced Americans to
authentic northern Chinese cuisine at her San Francisco restaurant, the
Mandarin, in 1961, earning the adoration of generations of diners,
including local luminaries such as Marion Cunningham, Ruth Reichl, and
Chuck Williams.
In The Seventh Daughter: My Culinary Journey from Beijing to San Francisco, Chiang presents a classic
collection of recipes framed by her gripping life's story. Beginning
with her account of a privileged childhood in 1920s and 1930s Beijing,
Chiang chronicles a 1,000-mile trek on foot in the wake of the Japanese
occupation, her arrival in San Francisco, and her transformation from
accidental restaurateur to culinary pioneer. The book's recipes feature
cherished childhood dishes and definitive Mandarin classics, while
showcasing Cecilia's purist approach to authentic Chinese home cooking.
Cecilia Chiang, the San Francisco-based chef who made refined, regional Chinese food part of America's restaurant scene, is to receive the 2013 James Beard Foundation Lifetime Achievement Award. Chiang, 93, is to Chinese cuisine what Julia Child was to French food.
Born and raised in China, Chiang never planned to become a restaurateur. But during a visit to San Francisco, she happened to get stuck with a restaurant lease that some friends had reneged on.
Chiang decided to plunge into the business and offer "real Chinese food" rather than the chop-suey and egg-foo-yung fare typical of Chinese eateries then. In 1961, she opened the Mandarin, an upscale restaurant serving cuisine from Shanghai, Sichuan and Beijing, all places where she'd lived. James Beard, Jacqueline Kennedy Onassis and Wolfgang Puck were among the regulars. Food luminaries like Beard, Julia Child, Alice Waters and Marion Cunningham took cooking classes that Chiang taught.
Chiang sold the Mandarin in 1991, and it closed in 2006. Her son, Philip, is a co-founder of the restaurant chain P.F. Chang's.
Called the "dean" of American scene design, Ming Cho Lee shaped the face and future of design in professional theater and opera in America beginning in the late 1960s through his work on Broadway, the New York Shakespeare Festival, and the Metropolitan Opera and by teaching design at the Yale School of Drama.
Ming Cho Lee(李名觉) is considered to be the most influential stage designer in the United States in the past forty years, and one of the most respected designers in the world. He is one of Tony Lifetime Achievement Award 2013 nominations.
Born on October 3, 1930, in Shanghai, China, Lee came from a wealthy family. His mother Tang Ying was a well-educated woman, and a member of high society in Shanghai. Tang, who also performed in some plays, often took her son to watch operas instilling in him a love of theater. She also arranged for him to be tutored by the well-known Chinese landscape painter Zhang Daqian. Lee's father was a 1919 Yale graduate who was in the international insurance business. When his parents divorced when he was six, Lee was sent to live with his father.
In 1948, Lee left Shanghai for Hong Kong with his father and completed high school there, but he was denied entry to the University of Hong Kong due to poor English skills. He then enrolled at Occidental College in Los Angeles, majoring in art so that he would not have too many English-language courses to pass. Because he came to the U.S. as a college student, Lee never felt like a part of the Chinese American community. "I never had experience of growing up as Chinese American or being part of a family who came over as true immigrants," he explains. "I never experienced that kind of prejudice. I was always accepted as a guest."
Lee then went to the University of Southern California (USC) to study film. During 1948 and 1949, he watched many films in Hong Kong where his uncle owned a film studio. But after studying film for a summer, Lee soon switched his major to speech at the University of California, Los Angeles (UCLA) after deciding he would go into the theater, and his first scene design was for a 1951 student production of The Silver Whistle, a comedy by Robert McEnroe. He received his B.A. in theater in 1953 and continued to design as a graduate student at UCLA. He impressed stage lighting designer Eddie Kook, who recommended him to the famed New York designer Joe Mielziner. Mielziner hired Lee as his apprentice in 1954. After five years he became an assistant designer.
Stage models for Electra designed by Ming Cho Lee. Photos: Shi Hao
"Essentially, I spent eight years as an assistant designer, working for Jo and some other set designers, which is a longer period than many other American designers. That is because I didn't go to Yale, I didn't know a lot of people, and I was known only as an assistant designer," he said.
After a jobless year, he worked for the San Francisco Opera as an assistant designer. Later, he was interviewed, and hired by Joseph Papp from the New York Shakespeare Festival.
1962 saw Lee's first Broadway play The Moon Besieged as a scenic designer, and this was followed by more than 20 Broadway productions."The 12 years, from 1962 to 1973, working for Joseph Papp made me become a set designer in my own right," he said.
Because of his long interest in opera, Lee later designed for many opera houses including the New York City Opera, the Metropolitan Opera and the San Francisco Opera.
Now long retired from designing, Lee devotes his time to teaching and training. Many successful set designers active in the US and on the world stage today have received instruction from Lee.
To listen to what a master stage designer said about the scenic route.
An infrequent visitor to Shanghai, Lee returned to China mostly for work projects. In 1978 he visited Suzhou with a curator from The Metropolitan Museum of Art in New York, who was looking for inspiration for a traditional Chinese garden for an exhibition at the museum.
In 1994 Lee came to Shanghai to work on a production of The Joy Luck Club with the Shanghai People's Art Theater. And at the same time, he was designing Nine Songs with Taiwan's famous Cloud Gate Dance Theater (choreographed by Lin Huai-min), and spent this time shuttling back and forth between Shanghai and Taipei.
"I have been Americanized - strictly and completely. I am American educated and trained. I have forgotten my Chinese language, while in some way I'm still aware of my Chinese identity in the background." Lee admitted that as he got older, many of his Shanghai relatives suggested he should present his life's work to the people of his birthplace.
With regards to his inspiration Lee said: "I immerse myself in a story, and ideas emerge from that story as opposed to me contemplating a certain external look."
As the co-chairman of the Design Department at the Yale School of Drama since 1979 and one of the most influential set designers and mentors in the US today, Lee has worked on more than 200 shows including Broadway and off-Broadway productions, operas and dance events both in the US and overseas. In 1983 the Broadway production K2 earned him a Tony Award for Best Scenic Design. In 2002 he was also honored with the National Medal of Arts.
The Design of Ming Cho Lee by Delbert Unruh presents the designs of this widely regarded and well known theatrical designer, mentor, and teacher. Foreword by Jon Jory. The book contains lovely illustrations of set models, renderings, production photographs, and discusses the major designs of this widely regarded and well known theatrical designer, mentor, and teacher. The story of Mr. Lee's career is accompanied by a list of his production credits, awards and nominations, and memberships.
If you are interested in story about Ming Cho Lee, please visit china.org.cn
Zheng Yue,a young woman from China
who is teaching her native language to students in this town on the
Oklahoma grasslands, was explaining a vocabulary quiz on a recent
morning. Then a student interrupted.
“Sorry, I was zoning out,” said the girl, a junior wearing black eye makeup. “What are we supposed to be doing?”
Ms. Zheng seemed taken aback but patiently repeated the instructions.
“In China,” she said after class, “if you teach the students and they
don’t get it, that’s their problem. Here if they don’t get it, you teach
it again.”
Ms. Zheng, 27, is teaching Chinese in Lawton — and learning a few things
herself about American culture — because of a partnership between an
agency of China’s Education Ministry and the College Board.
China wants to teach the world its language and culture, and Ms. Zheng
is one of about 325 guest teachers who have volunteered to work for up
to three years in American schools, with their salaries subsidized by
the Chinese government. A parallel effort has sent about 2,000 American
school administrators to visit China at Beijing’s expense.
Ms. Zheng left her teaching post at a provincial university south of
Beijing two years ago to come to Lawton. She is out of her usual element
in this city of strip malls and car dealerships surrounded by cattle
ranches and an Army base. The culture of American schools is also
different.
“My life in high school was torture, just studying, nothing else,” said
Ms. Zheng (pronounced djung). “Here students lead more interesting
lives,” partly because they are more involved in athletics, choir and
other activities.
“They party, they drink, they date,” she added. “In China, we study and study and study.”
In interviews, several other Chinese teachers said they had some
difficulties adjusting to the informality of American schools after
working in a country where students leap to attention when a teacher
enters the room.
One Chinese teacher who has built a successful language program in
Wisconsin, Hongmei Zhao, said a few students sometimes disrupted classes
by speaking English so rapidly that she cannot understand them.
“Then the whole class laughs, maybe because of my accent,” Ms. Zhao said.
Ms. Zheng said none of her students had been disagreeable, and Samantha
Weidenmaier, an assistant principal at the school, MacArthur High, said
that in Ms. Zheng’s classes “the respect levels are kicked up a notch.”
Still, Ms. Zheng said she believed that teachers got little respect in America.
“This country doesn’t value teachers, and that upsets me,” she said.
“Teachers don’t earn much, and this country worships making money. In
China, teachers don’t earn a lot either, but it’s a very honorable
career.”
If you are interested the story, please go to The New York Times for detail.
