Newly-built Landmark Opens the Tour of Vientiane. Fuzhou’s first core business district with a heavy luxury shopping center was unveiled at the Drum Tower.

  Fuzhou Vientiane City unveiled its veil, and international norms and fashion trends swept one side; Xijiekou new stores have been opened one after another, and the slow-paced fireworks are soothing. On the 18th, with the appearance of brand-new consumption scenes, the tens of billions business circle in gulou west area officially opened. Vientiane City Business Circle is the first core business circle located in Fuzhou as a luxury shopping center. It is also a high-end urban complex integrating shopping centers, Grade A office buildings, creative spaces and block shops, which will lead the city to build a compound and beautiful life.

  The city of Vientiane leads the city to focus on luxury flagship business

  There are crowds in front of international brand stores, and the introduction of the world’s top art exhibitions is immediately obvious. The beauty of Xichan Temple in front of the floor-to-ceiling windows makes people linger … Opposite Xichan Temple, the "crystal box" of Vientiane City Shopping Center in Fuzhou is dazzling, and the ancient and the present are on both sides of Gongye Road in Gulou District.

  As the first luxury shopping center in Fuzhou, i.e. luxury shopping center, Vientiane City in Fuzhou gathers international luxury brands, and nearly 250 brands have settled in, making 40% of the first brands and over 50% of the city’s high-standard stores to build a flagship business of urban luxury. Here, Nanyang Garden, the corner of abundance, the land of leisure and childlike interest create a social consumption scene with imagination and experience.

  The three main stores, Olé Boutique Supermarket, Vientiane Studios and Amateur Bookstore, will revitalize the high-end consumption experience in the new city. Twenty-five international first-line beauty boutiques gathered together, and CARVEN, Sandro, maje, self-portrait, ba&sh, IRO, etc. built a matrix of international luxury fashion brands.

  The first restaurants in nearly 30 catering cities are also gathered here: Min Nan, which has inherited the 33-year-old Minnan radish rice fire, Zheping Eel Man, which has been the "Recommended Restaurant in Michelin bibendum" for four consecutive years, and Taixiangmi Thai Restaurant, which has the most certification and has been popular for 18 years …

  "I’m very surprised. I saw so many new high-end brands in Fuzhou shopping mall for the first time. My boyfriend and I decided to punch in a gourmet shop here for a week. " Ms. Wu, who came to shop, planned this.

  Focusing on high-quality details, Vientiane City has built the first tea culture theme member center in China and the first mamacare Vientiane Maternal and Child Center in Fujian, and launched the first maternal and child parking area in Fuzhou, featured barrier-free parking area, 24-hour personal butler 1V1 and other special services.

  In addition to providing citizens with traditional shopping experience, Vientiane City also organically integrates art, humanities, nature and commerce, and builds a new highland of urban art aesthetics with world-renowned art exhibitions and immersive art space. On the same day, the three major art feasts made their debut in China, expanding the vision of urban art with world avant-garde art.

  "While visiting the mall, you can also visit the art exhibition, and perfectly embed art into public space, which is creative!" Wu Can, an art lover who came to the exhibition, said.

  "Dong Cheng Xi Jiu" creates a business card level and walks around the block easily.

  Have a cup of fragrant coffee and see the bustling street view of the city … Passing through the shopping center of Fuzhou Vientiane City, you come to Xijiekou, an open block composed of 65 shops in the third phase of China Resources Vientiane City.

  Compared with the positioning of international norms and fashion trends of Vientiane City Shopping Center in Fuzhou, Xijiekou block is younger, more open, more friendly and tolerant, and more local culture. The two positioning complement each other and lead to the same goal.

  "Xijie Street echoes Dongjiekou Scenic Resort, and the word’ Xi’ means bustling, representing commercial prosperity and high popularity. I hope it can become a city card of Fuzhou in the form of a combination of static and dynamic, like Chunxi Road in Chengdu." Zhang Zhaodi, general manager of Huizhi Yingshang, a block operation service platform, introduced.

  The brands that have settled in Xijiekou have built their stores with the national "top matching" and upgraded standards. Reasonable planning of the format of the block will not only avoid the competition of the same type of stores, but also realize the complementarity of the customer groups of each store; Unified and standardized management, not only achieve unified quality requirements, but also retain the personalization of thousands of stores.

  Below the iconic mascot of Vientiane City is luckincoffee. Different from ordinary stores, this is a "master store", which means that all new products in Luckin Coffee will be put on the market at JaeHee Street for the first time.

  OnlyShe· and Flowers, which will be opened soon, will reinterpret the healthy attitude of women in the new era to select natural and organic ingredients, create their own inspired food recipes with creative desserts, and select quality flowers every day to provide exclusive services for party life.

  ……

  Whether it’s food and beverage from all corners of the country or a characteristic experience with attitude, you can find it in this "easy walk block". Zhang Zhaodi said: "Xijiekou has identified five major formats and planned 50 brands. At present, it is still optimizing investment promotion, and various trendy new stores will be opened one after another."

  Dual-core linkage construction of international consumption center city core area

  The Drum Tower has been a prosperous gathering place in Fuzhou since ancient times, with a long history and a flourishing business vein.

  Dongjiekou Scenic Resort business circle is located on the central axis of the city, connected with three lanes and seven lanes, and has a history of more than 1,700 years. As the first three-dimensional business circle in the province, Dongjiekou Scenic Resort continues to consolidate its position as a provincial demonstration business circle.

  Vientiane City Business Circle is adjacent to the Millennium Temple Xichan Temple, Fuzhou University, Jinniushan Park and Xijiangbin Park. It is rich in historical, cultural and natural landscape resources, and its surrounding routes extend in all directions.

  "The opening of Vientiane City in Fuzhou will become a new carrier and engine for Gulou District to stimulate economic growth, and provide assistance for Fuzhou to create an international consumption center city." The relevant person in charge of Gulou District said that the newly unveiled Vientiane City business circle will form an east-west pattern with the Dongjiekou Scenic Resort business circle, and through the dual-core linkage, it will create an integrated city-level business circle that promotes mutual progress.

  Entering the "Fourteenth Five-Year Plan", Gulou District is implementing a special action to expand domestic demand. In 2021, the total retail sales of social consumer goods in the region was 137.71 billion yuan, accounting for about 1/4 of the whole city.

  Combining with regional historical traditions, natural conditions and location advantages, Gulou strengthens the overall planning of urban commercial layout, guides various complexes to clarify market positioning, promotes consumption upgrading by classified policies, and forms a differentiated development pattern.

  At present, the Drum Tower is accelerating the cultivation of two billion business districts, Dongjiekou Scenic Resort and gulou west, developing three characteristic business districts, namely, the May 4th Road business new white-collar workers, the Wuyi Square subway new economy, and the slow life around the provincial-level city, building the core area of an international consumption center city and helping the Drum Tower to make every effort to build the "most beautiful window" of a modern international city.

Name is better than car cow? Prospect of BYD Ocean Series New Cars

  [car home Information] Landing ships, cruisers, destroyers, dolphins, seagulls … are the names of some forums that make you wonder what you are visiting. Yes, these are the names of cars. You are really looking at car home. After the Great Wall released itself, BYD began to do things, and the true face of the "ocean" was also revealed in front of us.

Home of the car

■ Is it really e-net skinning?

BYD BYD e1 2019 Yao Edition

"BYD E1"

  To say the origin of this "ocean net", we have to mention the original "E net". Let’s take a brief look at the timeline. In the first two years, in addition to the dynasty series that spread all over the country, BYD also had a series of products belonging to the "E series" and sold by the "E-net". Representative models include e1, e2, e3, etc. e1 has a face that you can tell who his grandfather is at a glance, while e2 and e3 smell like "Dragon Face", like Qin’s two brothers.

BYD Dolphin 2021 Concept

"Previously released (|), which is now the dolphin"

  For some reasons, e-net’s products did not reach the top as the Dynasty series. Until this year’s Shanghai Auto Show, an EA1 was unveiled. It adopted a completely different "marine aesthetics" design concept from the Dynasty series, and it was replaced with BYD’s brand-new LOGO. This car was the predecessor of the dolphin listed at the Chengdu Auto Show at the end of August.

BYD ocean-X 2021 Conceptual Model

ocean-X

  At the launch conference of BYD e platform 3.0 in early September, ocean-X met us, and also revealed BYD seals, sea lions, seagulls and other models based on e platform 3.0. The concept of "ocean" was further strengthened.

BYD destroyer 05 2021 basic model

Destroyer 05

  During the 2021 Guangzhou Auto Show, destroyer 05 was born, which made the naming of automobile products go to a new level and enriched the concept of "ocean". At the same time, BYD official said that the existing BYD Dynasty Network and E-network have been adjusted to Dynasty Network and Ocean Network, and the existing E-series models and ocean series models belong to Ocean Network.

  At this point, it can be seen that the products of Ocean series are obviously different from E series, from "low price" to "young". Externally, they have completely different design styles, but underneath, the ocean series are built on a new platform. But at the same time, Ocean Series also inherited the old products of E Series. We summarized the current marine sales network and its products as follows:

Byd ocean net marketing network series position car make and model Ocean net Marine life series Car series dolphin ocean-X Warship series Car series Destroyer 05 Destroyer 07 SUV series Cruiser 05 Cruiser 07 MPV series landing ship E series Car series (subsequent or updated classification) e1 e2 e3 e6 e9

■ Dolphin: A cute car full of gas.

BYD Dolphin 2021 401km Knight Edition

BYD Dolphin 2021 401km Knight Edition

BYD Dolphin 2021 401km Knight Edition

  As the first car of the ocean, this dolphin is really charming and lovely, and its front face looks like a puffer fish, which has its own characteristics compared with the stable dynasty series. And it also has a leapfrog wheelbase of 2700mm, and the space performance is good.

BYD Dolphin 2021 401km Knight Edition

BYD Dolphin 2021 401km Knight Edition

BYD Dolphin 2021 401km Knight Edition

  Dolphin’s interior is also unusual. Unlike the simple technology or luxurious atmosphere that is popular now, this interior has a little too many elements, whether it is a strange door handle or a roller control area. In terms of battery life and power, Dolphin shows a standard that BYD should have-all blade batteries, with a battery life of 301/401/405km. In terms of power, except for the top version equipped with a 130kW motor, the rest are 70kW. As for the dynamic level, please click "Set sail and test drive BYD Dolphin 405km Fashion Edition" to understand.

Home of the car

  Dolphins are priced at 938-121,800 yuan, mainly focusing on the new energy car market of about 100,000 yuan. However, at present, the structure of the new energy car market is that the low-priced products represented by Hongguang MINIEV and the middle and high-end products represented by Model Y control sales, while the 100,000-class products do not dominate the mainstream; The small car market is a barren land with small capacity. And the good cat at the same level is really cute, a beautiful face attracts many consumers, and there are advantages in battery life. We refer to the big data of competitive products of good cats, and we can probably infer who dolphins will face at present and in the future.

  In this market environment, the sales performance of dolphins is not bad, with 3,000 vehicles sold in September, 6,018 vehicles sold in October (the difference with the data in the figure is due to the different data sources) and 8,809 vehicles sold in November, showing a steady upward trend to catch up with good cats, and gradually squeezing the market of fuel-powered small cars. And since the end of November, the good cat has been caught in the chip storm, giving the dolphins a chance to develop. The caring ladies can consider dolphins as pets.

  Although dolphins are moving forward steadily, they are not as stable as the dynasty series, or as irreplaceable and recognizable as products such as Model Y. As a new series of young BYD models, it also shoulders the heavy responsibility of opening up family popularity and grabbing the market with fuel vehicles.

■ Destroyer 05: Does the car have no name?

BYD destroyer 05 2021 basic model

  Originally, I thought it was ridiculous to call a car a "big dog", but I barely understood that Kodiak was also a brown bear. But I really didn’t expect BYD to come directly to a "destroyer", but thinking about land cruisers, BYD is not impossible.

  The destroyer 05 car itself is not as bluffing as its name. It is a DM-i model with a wheelbase of 2718mm and a dedicated 1.5L high-efficiency engine for Xiaoyun (the wheelbase and power are the same as those of Qin Pro DM-i), and the price is between 120,000 yuan and 150,000 yuan. According to the previous declaration information, the car was originally named F5.

BYD destroyer 05 2021 basic model

BYD destroyer 05 2021 basic model

BYD destroyer 05 2021 basic model

  In terms of design, the destroyer 05 does not follow the dolphin style, but it is also different from the design style of the existing Dynasty series and the E-net series. It adopts a polygonal large-size front grille shape, and the interior is decorated with dotted elements. With BYD’s brand-new LOGO and large-size vertical air intake openings on both sides, it also looks sporty. Although the interior has not yet been released, it is expected that the rotating screen +DiLink will be basically standard.

  Judging from the comprehensive size, power and price, destroyer 05 is a compact product with a lower positioning than Qin PRODM-I. Although it is also young in design, it is not the same way as dolphins. The two seem to separate the marine series from each other in style, which is really a bit confusing.

  Judging from the rising sales of Qin Pro DM-i and other DM models, people’s goal is very clear, to turn over fuel vehicles. Then destroyer 05 is bound to aim at 150,000 fuel vehicles, which is complementary to Qin PRODM-I. What LaVida Sylphy sagitar Corolla, as well as Japanese hybrid and electric vehicles, you should be careful, save fuel+have no endurance anxiety, but you can eat everywhere.

■ ocean-X: How strange! Take another look!

BYD ocean-X 2021 Conceptual Model

BYD ocean-X 2021 Conceptual Model

  Ocean-X is the prototype of Ocean series cars, which is smaller in size than Han. Although this car also adopts the brand-new design concept of "marine aesthetics", it doesn’t look round and soft like a dolphin as a whole. The headlights and rims are shaped like scales of an animal, and the whole car looks very individual.

  Of course, the concept car is just showing the design concept, and the appearance of the final production version is still inconclusive. Judging from BYD’s performance in design in recent years, there should be no need to worry too much; But I also hope that BYD won’t squint at the X-face sedan. I’m tired of watching this thing, so that I can’t stick to one pattern when I look at the Mecha Dragon.

Home of the car

  As a more advanced product, ocean-X comes standard with 89% ultra-efficient eight-in-one electric powertrain, and its battery life is expected to exceed 1000km. At the same time, it is equipped with 800V electric drive booster charging technology to solve the problem that the high-voltage platform can’t be charged and improve the charging power. It can be charged for 5 minutes and the battery life can reach 150km.

  Interestingly, the blade battery equipped with ocean-X can also achieve the integrated design of battery and body, and the description is somewhat similar to Tesla’s CTC;; Moreover, based on the characteristics of pure trams, the exclusive power transmission path of pure electricity is constructed to improve the rigidity and collision performance of the whole vehicle. Ensure the passive safety performance of the whole vehicle. In the end, what form this car will be presented to us, and we have to wait for BYD to reveal it.

  Judging from the current market situation, young and medium-sized products that are "slightly smaller than Han and slightly larger than Qin" have a certain market space, which can meet the subtle needs of young people who are "bigger but not so big", depending on how BYD interprets it.

■ Future models: Let’s see how BYD toss.

Home of the car

  The product naming logic of Ocean Series is that all the products named after marine animals are pure electric models, and all the products named after warships are DM-i hybrid models, in which destroyers are cars, cruisers are SUVs, landing ships are MPV, and the numbers behind them are grades. At present, it is revealed that the animal series will include sea lions, seagulls, seals, etc., among which sea lions may mark Model Y;; The warship series has larger destroyers 07, MPV landing ships, SUV cruisers 05/07, etc., which seems unclear. Originally, we thought that the Great Wall was unique in naming the car. It seems that BYD is even more open-ended, and I will be able to board the landing ship soon without saying much.

  However, as far as the current information is concerned, the above models can be regarded as satellites released by BYD, and how to land is still waiting for BYD to toss. I hope BYD can add a fire to this increasingly involuted but increasingly anti-involuted auto market.

■ e platform 3.0: the cornerstone of the success of ocean series

  Finally, I have to talk about this E platform 3.0. After all, this is the cornerstone of BYD’s next generation products. Dolphin is the first model of this platform, and the future ocean series is also inseparable from this platform.

  E-platform 1.0 in the oil-to-electricity era is not wordy. Let’s start with the 2.0 era. During the listing of BYD Yuan EV in June 2018, BYD began to promote the E platform and put forward the mysterious code "33111", which refers to the three-in-one drive motor, the three-in-one high-voltage controller, the multi-in-one low-voltage controller, a power battery and an intelligent networked central control panel.

Home of the car

Home of the car

Home of the car

  The 3.0 released this year has upgraded a lot of contents, such as adopting an eight-in-one electric drive assembly, and the electronic control unit will adopt a new generation of SiC power semiconductor components, so that the battery life of lithium iron phosphate batteries can reach 1000km;; It also supports 800V overcharge and 100kWh battery pack charging. It only takes about 15 minutes to charge from 30% to 80%, which can greatly improve the user’s charging experience. In terms of intelligence, the electronic and electrical architecture and operating system (named "BYD OS") with domain controller can support high-level automatic driving function.

  In this era when consumers are more and more knowledgeable about cars and intelligence, and it is becoming more and more difficult to fool, strong technical barriers are the cornerstone of the success of car companies. Judging from the historical law, only flashy cars will eventually be eliminated. If you want to succeed in the future ocean series, you must not rely on fancy names, strange appearance and satellite launch. BYD’s solid technology, well-known brand and reputation are the magic weapon to win.

■ Edit comments

  To sum up, the ocean series is a contradictory and novel series, which is all-encompassing, outrageous and reliable. Dolphin this little thing is really innovative, but destroyer 05 is just like that. The future products are not yet complete, but the E platform 3.0 behind it is full of hope. Although the name of the car is fancy, BYD is an enterprising and powerful car company. It dares to quickly reduce the sales of its own fuel vehicles, goes to the embrace of new energy without hesitation, and is free from the suppression of suppliers in core technologies such as batteries and semiconductors. It is really a rare strong car company in China. In its glory, the ocean series seems to have the potential to catch fire.

  It’s almost 2022, and the earliest new car-making forces have delivered 100,000 units. Actually, new brands have been born, and all kinds of wonderful or amazing new cars have appeared. In this case, I have already stopped the new products and brands of poisoned milk. But as a half-fan, I hope that the Ocean Series will have a bright future, so what do you think of BYD Ocean Series? Welcome to leave a message in the comments section. (Text/car home/Xing Yueyang)

Ministry of Industry and Information Technology: All cities have 5G coverage.

  CCTV News:580,000 new 5G base stations were added, the shipment of 5G mobile phones was 144 million, and the number of 5G terminal connections exceeded 200 million … … This year, China’s 5G is flying fast. Wen Ku, director of the Information and Communication Development Department of the Ministry of Industry and Information Technology, said at the press conference held by the State Council Office today (24th) that up to now, the goal we set at the beginning of the year, that is, all cities have 5G coverage, has also been achieved.

  Wen Ku introduced, terminal, 1-mdash; In November, the domestic market shipped 144 million 5G mobile phones, and there were 199 new models on the market, accounting for about half of all mobile phones, one was 51.4%, and the other was 47.7%. In terms of the number of users, the growth is very fast, and the number of 5G terminal connections has exceeded 200 million. In terms of application, this year’s third contest collected more than 4,000 5G application cases reported by everyone. These projects have shown unexpected and very useful effects in hot areas such as intelligent manufacturing, medical care and energy.

  In the next step, the Ministry of Industry and Information Technology will work with relevant departments to further optimize the layout of data center construction, improve the level of application development, and gradually improve the application types, cloud service capabilities, application depth and software richness, which will strongly support the digital development needs of 5G and all walks of life.

  In addition, Wen Ku also stressed that he hoped that local governments would have a comprehensive and reasonable expectation for the development of 5G, not only focusing on the goal of network construction, but also making more efforts in the application of 5G. Although the promotion of 5G applications in various places is very strong now, it is far from enough compared with the difficulties we are facing and the future development needs. It is necessary to further strengthen the summary, promotion and exploration and innovation of 5G applications in combination with the development of local economy and industry, and form a benign development model of "promoting use with construction and promoting construction with use".

Kenny Lin’s interpretation of Tung shing Yee, the third young master in Northeast China, was also a "small fresh meat".


1905 movie network news On November 30th, the film premiered in Beijing, with director Tung shing Yee and starring Kenny Lin, Jiang Yiyan, Jiang Mengjie, Caobin Gu and Wang Zhao. Kenny Lin reproduced the classic lines in Northeast dialect, while Tung shing Yee described the origin of cooperation with Tsui Hark. The film will be officially released on December 2.

 

The third young master is sitting in a high-end real estate.

 

Xie Xiaofeng, the third young master, is a famous successful person in Gu Long’s novels. He is famous as a teenager and handsome in appearance. He has a high-end real estate like Excalibur Villa, and there are countless gossip girlfriends. Kenny Lin, who plays Xie Xiaofeng, pointed to the two heroines, Jiang Yiyan and Jiang Mengjie, and said, "They are the only ones exposed at present." According to Kenny Lin, Murong Qiudi played by Jiang Yiyan hates him because of love, and the doll played by Jiang Mengjie is a friend in need. "If it is Kenny Lin, both girls should love it."

 

For Kenny Lin’s introduction, the two heroines also added. Jiang Yiyan said: "It’s a pity that Yan Shisan didn’t come today, otherwise I could ask him to help me kill Xie Xiaofeng." Jiang Mengjie said with a smile, "You said he was rich, but when I met him, he was poor, so I certainly didn’t like him for his wealth. Although it is a bit dirty, it can be seen after washing. "

 

Zhu Yeqing is a key figure in The Sword of the Third Young Master. As the name implies, Zhu Yeqing is elegant and full of fairy tales. He was born as a model in Caobin Gu who played Zhu Yeqing. He had no performance experience before. "Actually, I was picked up by Er Dao on the plane. He said that he saw my photo in a magazine on the plane, and then he sent me a private message on Weibo to find me. At first, I thought it was a liar."

 

Wang Zhao plays a hermit swordsman in the film. A few years ago, he played a drift in Tung shing Yee’s neutral colors. In "I am a passerby", Wang Zhao is a group performance who is cynical and lazy to sleep because of his handsome appearance. "Er Dao really changed my life. I dare not be lazy this time, otherwise I am really sorry for him."

 

Tung shing Yee’s third young master is only for Tsui Hark.

 

The Sword of the Third Young Master is a famous work by Tung shing Yee when he was a junior in Shaw. Before joining the group, Jiang Yiyan specially read the 1977 edition of The Sword of the Third Young Master: "At that time, my guidance was so tender!" Jiang Yiyan also said that after the cooperation, it was found that Tung shing Yee was actually the real version of Murong Qiudi: "It was really a heart-wrenching and extreme love. I thought I was a perfectionist. After seeing him, I found out that I was not. He was the real perfectionism."

 

After years of remaking his famous work in person, Tung shing Yee said: "I have no affection for the Third Young Master. My affection is to cooperate with two directors I admire most, one is Xu Anhua and the other is Tsui Hark. There are only movies in their lives, such as traveling or eating a good meal, and they don’t even think about it. " Earlier in Tung shing Yee, he had cooperated with Xu Anhua, and The Sword of the Third Young Master finally brought him together with Tsui Hark.

 

Tung shing Yee revealed that he was deeply shocked by Tsui Hark’s 3D shooting when he visited the class. "Many people are afraid that I will quarrel when I cooperate with Tsui Hark. In fact, this is not the case. Tsui Hark did not quarrel when he cooperated with Stephen Chow, nor did he quarrel when he cooperated with me."

It’s about food, clothing, housing and transportation! The working meetings of various ministries and commissions have set these important events for people’s livelihood.

  Xinhuanet Beijing, January 3 (Chen Junsong) Recently, the National Development and Reform Commission, the Ministry of Finance, the Ministry of Housing and Urban-Rural Development and other national ministries and commissions held annual work meetings to deploy key tasks for the new year. These meetings contain many new policy paths, revealing a new prospect of benefiting people’s livelihood this year.

  Housing: increase the effective supply of rental housing.

  "Houses are used for living, not for speculation." At the National Conference on Housing and Urban-Rural Construction, the Ministry of Housing and Urban-Rural Development reiterated this position, and stressed that this year we should continue to maintain the continuity and stability of regulatory policies with the goal of stabilizing land prices and housing prices.

  Judging from the contents of the meeting, developing the rental market is one of the tasks that the Ministry of Housing and Urban-Rural Development pays close attention to. The meeting made it clear that the short board of rental housing should be filled, and the measures should be exerted from both ends of supply and demand.

  Supply-side measures include increasing the effective supply of public rental housing in megacities and big cities, accelerating the construction of rental housing, and promoting the pilot work of collective land construction of rental housing; The demand side is to improve the renting ability of renters, such as deepening the reform of housing provident fund system, studying the establishment of residential policy financial institutions, and increasing the support for low-income families and new citizens in cities and towns to rent houses.

  The State Council recently officially released the Interim Measures for Special Additional Deduction of Personal Income Tax, which stipulates that special additional deduction includes housing rent. For renters, this is undoubtedly a great new year’s benefit.

  In addition, the Ministry of Housing and Urban-Rural Development has included "accelerating the solution to the housing difficulties of low-and middle-income groups" as its central task this year, including developing shared property housing according to local conditions and promoting the transformation of shanty towns.

  On December 29, 2018, the C1508 train of Xintong High-speed Railway left Ganqika Station. On the same day, with the official opening of the new (Xinmin) Tong (Tongliao) high-speed railway, Inner Mongolia Autonomous Region was merged into the national high-speed railway network for the first time. Xinhua News Agency reporter Yan Dongsheng photo

  Transportation: 3200 kilometers of new high-speed railway line has been put into operation.

  The working meeting of the Ministry of Transport proposed that in 2019, the investment in fixed assets of highways and waterways should be about 1.8 trillion yuan, 200,000 kilometers of rural roads should be newly rebuilt, and major projects such as Beijing Daxing International Airport should be completed as scheduled.

  At the same time, a comprehensive three-dimensional traffic network planning outline for the next 30 years will be compiled to meet the needs of building a transportation power, and the construction of a comprehensive three-dimensional traffic corridor in the Yangtze River Economic Belt will be accelerated.

  It is worth noting that the revision of the Highway Law, Toll Road Management Regulations and Rural Highway Regulations has also been placed in an important position in the work of the Ministry of Transport next year.

  The above-mentioned "one law and two regulations" began to solicit amendments on December 20 last year, among which the "Regulations on the Management of Toll Roads" attracted much attention. There are six major changes in the revised draft of this regulation, including raising the threshold for toll roads, and not charging for new first-and second-class roads, independent bridges and tunnels.

  The regulation also requires the implementation of the State Council’s request to promote the cancellation of provincial toll stations on expressways. At the end of last month, Jiangsu, Shandong, Chongqing and Sichuan, as the first batch of pilot provinces, took the lead in canceling 15 provincial toll stations on expressways.

  The revised draft of Highway Law has also carried out a top-level design for cost reduction, in which it is clear that in the future, highway development should focus on non-toll roads and appropriately develop toll roads.

  On the railway side, the working meeting of the National Railway Corporation requires that the national railway fixed assets investment should be maintained at a strong scale, ensuring that 6,800 kilometers of new lines will be put into operation in 2019, including 3,200 kilometers of high-speed rail. The data shows that by the end of 2018, the mileage of China’s high-speed rail has exceeded 29,000 kilometers.

  On November 16, 2018, students from Jizhou District Vocational Education Center in Hengshui City showed their paper works. In recent years, Jizhou District, Hengshui City, Hebei Province has continuously increased its capital investment in vocational education, and trained order-based professional talents through "school-enterprise combination" and "work-study combination", which has been welcomed by employers. Xinhua News Agency reporter Wang Xiaoshe

  Employment: Make every effort to ensure a stable employment situation.

  In the recent working meeting, the Ministry of Human Resources and Social Security put "improving and implementing policies and measures to stabilize employment and making every effort to ensure the stability of the employment situation" at the top of the six key tasks this year.

  Employment is the biggest livelihood. At present, China’s economic operation is changing steadily. Under this background, the role of employment as a "stabilizer" is particularly important.

  In fact, recently, measures to stabilize employment have been intensively introduced. The Ministry of Human Resources and Social Security and other three departments jointly issued the "Guiding Opinions on Promoting All-round Public Employment Services" at the beginning of last month, requiring public employment service institutions at all levels to provide 10 basic services such as vocational training, vocational introduction and vocational guidance free of charge.

  In November last year, the State Council issued "Several Opinions on Doing a Good Job in Promoting Employment at Present and in the Future", which clearly stated that it is necessary to increase the support for stabilizing posts. For insured enterprises that do not lay off employees or lay off fewer employees, 50% of the unemployment insurance premium actually paid in the previous year can be returned.

  Employment assistance for key groups is also steadily advancing. For example, the Ministry of Education put forward a number of specific measures to guide college graduates to work at the grassroots level and to small and micro enterprises.

  On November 7, 2018, Michael Hurley of Voith Company took a group photo with the product at the China International Import Expo(CIIE). Xinhua News Agency reporter Fang Yushe

  Consumption: Cultivating Domestic Market and Expanding New Growth Point of Consumption

  A number of ministries and commissions proposed to cultivate the domestic development market and promote consumption. It can be expected that with the intensive release of policy dividends such as increasing income and reducing taxes in 2019, the new space for upgrading consumption will continue to expand.

  Consumption has become the first driving force of China’s economy. Data show that in the first three quarters of 2018, consumption contributed 78% to economic growth. Since January this year, a number of income-increasing bonus packages have been fully implemented, such as the special additional deduction policy for personal income tax.

  The National Development and Reform Commission proposed that this year we should actively expand new growth points of consumption, promote the formation of a strong domestic market, and improve the overall level of the national economy.

  At the National Business Work Conference, the Ministry of Commerce made comprehensive arrangements in terms of innovating circulation methods, optimizing the consumption environment, and expanding the supply of goods and services to further promote consumption upgrading in 2019.

  The Ministry of Industry and Information Technology proposes to continuously upgrade and expand information consumption, support product innovations such as wearable devices, consumer drones, intelligent service robots and virtual reality, and guide local governments to build a number of new information consumption demonstration cities.

  At the same time, the Ministry of Industry and Information Technology will also take measures to release the potential of the digital economy, such as continuing to speed up and reduce network fees, promoting a substantial reduction in roaming charges between the mainland and Hong Kong and Macao, promoting the expansion of inter-network bandwidth, upgrading the existing websites and apps with IPv6, and accelerating the deployment of 5G businesses.

  Shangnan Road, Rangtang County, Sichuan Province, is nearly 40 kilometers long and meanders in the mountains above 3000 meters above sea level. At the end of 2017, after the reconstruction and expansion of Shangnan Road, it facilitated the travel of Tibetan herdsmen and became the "heavenly road" for local Tibetan herdsmen to get rid of poverty and become rich. This is Shangnan Road photographed by a drone on August 20, 2018. Xinhua News Agency reporter Jiang Hongjing photo

  Get rid of poverty: ensure another 10 million rural poor people are reduced.

  The Central Economic Work Conference emphasized that in order to fight the tough battle against poverty, we should make concerted efforts, focus on solving the outstanding problems facing the realization of "two guarantees and three guarantees", and increase the efforts of poverty-stricken areas and special poverty groups such as "three districts and three States" to fight poverty.

  Poverty alleviation has entered the most critical stage. The national poverty alleviation and development work conference requires that next year, prevention of returning to poverty should be placed in a more important position to ensure that the rural poor population will be reduced by about 10 million. In addition, it is necessary to remove the hats of about 300 poverty-stricken counties and basically complete the planning and construction tasks of ex situ poverty alleviation and relocation in the 13 th Five-Year Plan.

  The Ministry of Housing and Urban-Rural Development has proposed that in 2019, all the remaining 1.6 million dangerous houses with four key targets, such as poverty-stricken households with established files, will be included in the annual renovation plan. The Ministry of Transport also requires that qualified towns and villages be paved with hardened roads before the end of this year, so as to complete the task of traffic poverty alleviation.

  The National Development and Reform Commission, the Ministry of Finance, and the Ministry of Agriculture and Rural Affairs all proposed to win the battle against poverty. Among them, the Ministry of Agriculture and Rural Affairs clearly stated that "it is necessary to ensure that the fight against poverty cannot be delayed and resolutely win the battle against precision poverty".

  It can be expected that with the joint efforts of many parties, the living conditions in poverty-stricken areas will be further improved and the work of getting rid of poverty will be solidly promoted.

Illustrate the Dragon Boat Festival "change" and "keep": don’t forget the original to move towards the future

CCTV News:Every year, the Dragon Boat Festival is today.

In the hearts of a thousand people, there are a thousand memories about the Dragon Boat Festival.

From the distant farming civilization to the present Internet age, the traditional festivals in China bear the long history and culture of China, and also endow the Chinese nation with a solid collective consciousness and profound value background.

Dragon Boat Festival is one of the four traditional festivals in China, and it is also the first festival in China to rank among the world intangible cultural heritage.

For more than two thousand years, the Dragon Boat Festival is not only the inheritance and continuation of traditional customs, but also the portrayal and extension of the spirit of the times.

After thousands of years of magnificent history, what has changed is the style of the times, and what remains unchanged is the cultural core.

Chinese excellent traditional culture is the spiritual lifeline of the Chinese nation, and it is also a solid foundation for us to gain a firm foothold in the world cultural agitation.

If you don’t forget the original, you can move towards the future.

Dragon Boat Festival brings us not only a heavy history, but also a renewed awakening of cultural self-confidence and national spirit.

Supervision system: Wang Jingdong

Planning copy: Sun Xiaoyuan

Visual Coordination: Gu Qunye, Zhang Guangshuai, Tian Jinliang.

Screen design: Zhang Yi, Cheng Wenjing.

Picture drawing: Zhou Xiaohong, Li Yuexin and Chen Mengqi.

Typography: Li Yang, Wang Wenxue, Li Ziqiao

Highlighting policies and leading the introduction of high-end talents | Eleven law firms in our city issued policies on the introduction of talents for lawyers in Hong Kong and Macao, drawing a new b

  On July 6th, Guangdong-Hong Kong-Macao Greater Bay Area welcomed the first batch of Hong Kong and Macao lawyers who were allowed to practice in nine mainland cities. More and more Hong Kong and Macao lawyers are shining in the hot land of 56,000 square kilometers in Greater Bay Area. Jiangmen City is one of the nine pilot cities in mainland China. Based on their functions, the Municipal Bureau of Justice and the Municipal Lawyers Association acted quickly, focusing on the goal and task of "giving full play to the advantages of overseas Chinese resources, deepening the project of" Empowering Overseas Chinese "and creating an important intersection of domestic and international double cycles" put forward by the 14th Party Congress, and further promoting the integrated development of Guangdong-Hong Kong-Macao Greater Bay Area’s legal service industry. It is suggested that local law firms in Jiangmen actively introduce an import policy with local characteristics of Jiangmen, an overseas Chinese capital, to provide high-quality service guarantee for Hong Kong legal professionals and Macao practicing lawyers who have obtained the qualifications of lawyers in nine cities in Guangdong-Hong Kong-Macao Greater Bay Area. The purpose is to introduce a number of pragmatic measures through the connection of rules and mechanisms, create a new practice pattern of Greater Bay Area, a lawyer from Hong Kong and Macao, promoting integration and common development, and empower the "soft connectivity" of legal service rules in Guangdong, Hong Kong and Macao.

  At present, eleven law firms in our city have actively responded to the initiative, and in accordance with the development requirements put forward in the Outline of Guangdong-Hong Kong-Macao Greater Bay Area Development Plan, the Policy on the Introduction of Practitioners from Hong Kong and Macao to Greater Bay Area has been tailored for Hong Kong and Macao lawyers. The policy covers many aspects, such as practice subsidies for Hong Kong and Macao lawyers, office expenses reduction and exemption, settlement subsidies, training mechanism of law firms, regular promotion meetings and provision of practice assistance services, etc. Each law firm will also formulate and issue the Measures for the Introduction of Practitioners of Hong Kong and Macao Lawyers in Greater Bay Area in light of its own reality to provide all-round assistance and support for Hong Kong and Macao lawyers to live and practice in Greater Bay Area.

  The release of Jiangmen City’s Policy on the Introduction of Practitioners from Hong Kong and Macao Lawyers to Greater Bay Area has further consolidated the legal popularity of Guangdong, Hong Kong and Macao, integrated into the "9+2" urban agglomeration in Greater Bay Area, enhanced Jiangmen lawyers’ spirit, and strengthened the "confidence" in the construction of Jiangmen under the rule of law, effectively improving the internationalization level of the legal service industry and making due contributions to Jiangmen’s construction of the safest, most stable, fair and just demonstration zone with the best legal environment in the province.

  

  On July 29th, the Party Committee of Pengjiang Law Firm actively responded to the call of its superiors, and organized a joint press conference on "Overseas Chinese Federation gathers talents from Hong Kong and Macao" —— "Policy on Introducing Practitioners from Greater Bay Area, Hong Kong and Macao Lawyers of Pengjiang Law Firm in Jiangmen City" by seven law firms, including Fajiang and Long Qun. Relevant responsible comrades of Pengjiang District Party Committee Organization Department, Pengjiang District Judicial Bureau, Pengjiang District Overseas Chinese Affairs Bureau, Municipal Lawyers Association and all members of Pengjiang District Lawyers Party Committee attended the event as guests. At the press conference, seven law firms, including Yingke (Jiangmen), Legalist, Long Qun, Jiannuo, Bangneng, Fang Yiyuan and Hongxin Junrui, jointly produced a publicity video clip on the talent introduction policy, distributed brochures on the spot, and threw out an olive branch for the majority of Hong Kong and Macao lawyers to find employment in the city.

  Guangdong liangjiang lawyer office

  Introduction Policy of Practitioners in Greater Bay Area for Lawyers from Hong Kong and Macao

  

  Beijing Yingke (Jiangmen) Lawyer Office

  Greater Bay Area, Hong Kong and Macao Lawyers Talent Award Policy

  

  Guangdong Yuanhao (Jiangmen) Lawyer Office

  Introduction Policy of Practitioners in Greater Bay Area for Lawyers from Hong Kong and Macao

  

  Guo Xin Xin yang (Jiangmen) lawyer office

  Introduction Policy of Lawyers from Hong Kong, Macao and Greater Bay Area

  

  Guangdong south China lawyer office

  Scheme for introducing Hong Kong and Macao lawyers’ services

  

  Guangdong fajiang lawyer office

  Introduction Policy of Practitioners in Greater Bay Area for Lawyers from Hong Kong and Macao

  

  Guangdong zhuoqun lawyer office

  Introduction Policy of Practitioners in Greater Bay Area for Lawyers from Hong Kong and Macao

  

  Guangdong jiannuo lawyer office

  Measures for Introducing Practitioners from Hong Kong and Macao Lawyers to Greater Bay Area

  

  Guangdong hong Xin jun Rui lawyer office

  Measures for Introducing Practitioners from Hong Kong and Macao Lawyers to Greater Bay Area

  

  Guangdong bangneng lawyer office

  Measures for Introducing Practitioners from Hong Kong and Macao Lawyers to Greater Bay Area

  

  Guangdong fangyiyuan lawyer office

  Measures for Introducing Practitioners from Hong Kong and Macao Lawyers to Greater Bay Area

  

  In the future, the Municipal Bureau of Justice will closely follow the development goal and direction of Guangdong-Hong Kong-Macao Greater Bay Area, innovate independently and strengthen cooperation. In the new wave, it will find the right way of cooperation, further integrate the resources of high-quality law firms in our city, continue to promote Jiangmen policy to the majority of Hong Kong and Macao lawyers, attract Hong Kong and Macao lawyers to practice in Jiangmen, increase the "stickiness" between Jiangmen lawyers and Hong Kong and Macao lawyers, integrate resources to steadily improve the level of foreign-related legal services in Jiangmen, and accelerate the projects of "Empowering Overseas Chinese" and "Multiplying Talents" to boost.

Haier Zhijia: Go "new" and create a "world-class intelligent living ecological enterprise"

  

  Text/Global magazine reporter Zhang Haixin

  Editor/Le Yanna

  Home, a place closely related to people’s lives, a place where productivity changes are easily detected.

  "Print 3 beef labels", as soon as the voice falls, the labels of ingredients with shelf life will be automatically printed and entered into the ingredients database synchronously. Every time a package is taken, the number of beef in the background will be updated synchronously, so there is no need to worry about the ingredients being expired and wasted.

  To wash clothes, the washing machine automatically detects the residual amount of laundry liquid, and once it is insufficient, it immediately beeps and gives an alarm, and it can also automatically lower the laundry liquid storage basket for easy access.

  If you want to take a nap, the bedroom lights will automatically adjust the illumination according to the weather conditions, and the air conditioner and humidifier will jointly customize the professional-grade sleeping atmosphere …

  One venue, 101 original technologies, and dozens of intelligent scenes-this is the appearance of home depicted by Haier Zhijia Pavilion at the 2024 China Household Appliances and Consumer Electronics Expo (AWE 2024), and it is also the new appearance of "traditional home" when it meets new quality productivity.

  In the 1980s, Haier has become one of the important representatives of traditional manufacturing in China. Today, it has become an important window to observe the new round of productivity changes. Why is it always Haier? The reason may be not only the success of its products, but also that it has found a paradigm, a way for traditional industries to "new". Along this path, China’s huge traditional industrial resources can be activated and become an important position to cultivate new quality productivity.  

Go for the "new"

  In this year’s government work report, "vigorously promoting the construction of modern industrial system and accelerating the development of new quality productive forces" is listed as the first task. What is the new quality productivity? How to develop new quality productivity according to local conditions? All walks of life are actively exploring.

  Many industry experts believe that the new quality productivity is roughly composed of three "new", namely, new manufacturing, new services and new formats.

  The first dimension: new manufacturing. New manufacturing lies in new technology. What can be called "new quality productivity" must not be ordinary scientific and technological progress or marginal improvement, but subversive scientific and technological innovation. It is precisely subversive products and technology that push the production possibility curve of Haier Zhijia and realize new expansion and leap.

  The research and development of home appliance industry is like an iceberg, from module to product to user experience, which belongs to the part above the water surface of the iceberg. The general research and development of the industry is at this stage. For example, if an air purification module is carried on a certain product, a new product with air purification function can be obtained. However, the research and development of Haier Zhijia is to find a way in theory and principle, that is, to carry out research and development and innovation in the deep water below the surface of this iceberg.

  For example, in the past, the preservation of meat was usually achieved by freezing, but after freezing, ice crystals would destroy the cells of meat, resulting in nutrient loss and poor taste. In view of this, Haier Zhijia has successfully developed the "magnetic control cold fresh technology" for three years, which can keep the taste of cold meat unchanged for 10 days.

  This is just a silhouette of Haier’s wisdom family bravely breaking into the deep water area and insisting on in-depth research and development. Haier Zhijia also has a 3D perspective drying technology specially developed to solve the problem of drying down jackets and other clothes. There are "flat-embedded refrigerator" and "full-embedded invisible range hood" specially designed to solve the problem that traditional products can not be flush embedded and affect the appearance; The "wild pot anti-dry burning" gas stove specially developed to avoid the risk of dry burning, etc …

  In the past year, Haier Zhijia has listed more than 1,000 original technical products, adding 37 international leading scientific and technological achievements. Today, Haier Zhijia has been the first scientific and technological position in the industry in four aspects: patents, standards, national recognition and industrial design.

  These original technologies are the powerful foundation for the traditional manufacturing enterprises to upgrade to high-end, intelligent and green with the new quality productivity characterized by high technology, high efficiency and high quality.

  The second dimension of Haier’s wisdom to be "new" is new service. In 1966, the famous economist Greenfield put forward the concept of producer service when studying the classification of service industry. Since then, producer service has become an increasingly important part of the total GDP of developed countries around the world. In other words, to realize Chinese modernization, we must accelerate the development of producer services; To achieve high-quality manufacturing in China, we must also develop high value-added producer services. Haier Zhijia has been working hard for it.

  In the past, Haier Zhijia was able to respond to users’ after-sales service demand at the first time and provide professional and sincere after-sales service. Haier Zhijia is synonymous with good service in China. In the era of Internet of Things, users’ needs are changing. Haier Zhijia has built a digital platform for users in the whole process of pre-sale, mid-sale and after-sale, opening up online and offline global contacts, bringing more efficient and convenient smart service experience and redefining the concept of user service in the new era.

  Haier Zhijia entered the stage of fully implementing digitalization, and carried out the digital transformation of the whole process from intelligent manufacturing, logistics management, online and offline integrated sales to after-sales service. After the intergenerational breakthrough of the big model, the intelligent process of Haier Zhijia’s customer service accelerated and its service ability jumped sharply.

  In Haier Zhijia, the story of "sincerity forever" continues, but it has a new service connotation in the new era.  

Reconstruct a new format

  An ant has no wisdom, no desire and no plan, but if many ants gather together, it will give birth to the wisdom of creatures that do not belong to this dimension. This is the emergence phenomenon described by John Holland in Emergence: From Chaos to Order.

  This is also the third dimension of Haier’s intellectual development of new quality productivity-the ultimate form of new format. Take yourself as a platform and build an unbounded ecology. After everything is connected, wisdom will emerge.

  Through years of exploration, Haier Zhijia has built a cross-regional and cross-industry co-creation and sharing platform by using globalization and digitalization. Haier Zhijia has built an efficient global supply chain collaboration system, laid out a global 10+N open innovation system offline, and built a HOPE innovation ecological platform online, linking 1 million+first-class resources and 250,000+experts around the world.

  The infinite integration of resources has opened the evolution of Haier’s intellectual family. First of all, it promotes the optimal combination of production factors and opens up globalization and collaborative innovation in all fields. For example, in the United States, the most common laundry scene is that one laundry needs two machines, which not only takes a long time to wash and dry, but also consumes a lot of electricity. In this regard, GE Appliances, Haier Qingdao and Haier Europe "joined forces" to develop a Combo ultra-efficient washing and drying machine, which shortened the washing and drying time that the industry generally takes 6 hours to complete to 2 hours and saved energy by 50%.

  Secondly, it breaks the shackles of industry boundaries and allows the wisdom of different industries to coexist. For example, in the traditional concept, although home and home appliances are highly related, they have always been in two parallel worlds. People should consider the unity of styles of home appliances, home furnishing and home improvement, and the size, color, shape and location should be perfectly matched. Three-winged bird will open up the home appliance and home furnishing industries, and consumers can customize the overall solution of home appliances and home furnishing in one stop according to their own needs. This new mode of home appliance integration subverts the traditional whole-house intelligent mode, but also brings new opportunities to some traditional home appliance and home appliance distributors, distributors and store operators. The construction of the brand of Three-winged Bird Scene has transformed Haier Zhijia from a smart home appliance to a smart home, opening up a new growth space, and at the same time realizing the transformation from products to scenes, bringing users the best life experience. By the end of 2023, Triwinged Birds had provided smart living solutions for 413,000 families.

  Finally, the transformation of productive forces will also reconstruct production relations and open a new form of integration between consumers and producers. The identity of consumers will change greatly. They will become a "producer" from a single consumer and participate in the design and production process of enterprise products. On the user side, the intelligent interaction engine proposed by Haier Zhijia can customize the perception and stimulate effective demand through personalized interaction; On the supply side, flexible production can be realized through network collaboration and accurate allocation of resources. In this way, consumers can participate in the whole product design process. In Haier’s view, consumers are not bystanders, but promoters of new quality productivity.  

Towards "world-class intelligent living ecological enterprise"

  Haier Zhijia, which is going "new", has not only opened a new chapter in the upgrading and transformation of traditional household appliances, but also pushed it to "world-class intelligent living and ecological enterprise" and achieved global leadership.

  At present, Haier has ranked first in the global retail volume of large household appliances brands in Euromonitor for 15 consecutive years, and achieved the first market share in six countries including the United States, Japan and New Zealand, and entered the top three in nine countries including India and Italy, and entered the top five in five countries including the United Kingdom and the Philippines.

  Behind the dazzling achievements, Haier Zhijia insisted on the road of independent brand creation for more than 30 years. This road is risky, costly and has a long payback period, but it is a "difficult and correct road". In the 1990s, domestic enterprises set off a tide of "going out to sea", but most enterprises chose to do trade, because the threshold of OEM is low and it is easy to obtain immediate profits and scale. However, Haier Zhijia gave up such a relatively experienced way of "going out to sea" and chose to "make a brand" to carry out the "trinity" localization layout of R&D, manufacturing and marketing overseas.

  The investment is large, the cost is high, and the financial data is not good-looking. Haier Zhijia’s "going out to sea" model has been questioned, and the road to brand creation is difficult and long. However, Haier Zhijia firmly believes that it is necessary not only to sell its products to the world, but also to take root in people’s hearts.

  "I am a Haier fan. After I went to college, I chose Haier’s new life package. The product has been with me for four years; Now that I have graduated for more than ten years, I have taken up my job, got married and got married. I once again choose Haier household appliances. I think Haier is the representative of excellent brands. Haier is making progress and is trustworthy. I want more people to know this fact. " Mr. Yamato, a Japanese user, explained why he chose Haier Zhijia. After many years, Haier Zhijia finally ushered in the harvest period and gained a lot of fans overseas.

  Haier Zhijia achieved the first market share in the United States and Japan through its own brand Haier and the acquisition of GE Appliances and AQUA. Moreover, it took Haier Zhijia only two years to turn GE Appliances, which had suffered losses for many years, into profit, and it took Japan Sanyo Household Appliances only eight months to turn losses.

  How did Haier Zhijia do it to bring the enterprises that have suffered losses for many years back to life? This is due to the localization of its "trinity" and the mode of "one person and one person", which enables enterprises to achieve zero distance with users. It is also in the mode of "one person and one person" that employees’ enthusiasm is stimulated, and many innovations tailored to local conditions emerge one after another, which also makes Haier Zhijia gain a firm foothold in markets such as the United States and Japan.  

  With the footsteps of Haier Zhijia traveling all over the world, more miracles of win-win cooperation are still happening. When the "brief history of the future" of intelligent manufacturing opens, this new-quality productivity revolution, which originated in China, will also inject new vitality into the world economy.

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Gongda Yan: Reflections on Contemporary Calligraphy Culture

  editorial comment/noteThis article is selected from the collection of "2019 China Higher Calligraphy Education Forum". From the artistic creation of contemporary young and middle-aged calligraphers, it comprehensively combs the basic situation and characteristics of the calligraphy world, the existing "common faults" and the remedies for rectification, so as to comprehensively expound the current calligraphy ecology, the aesthetic way of contemporary creation and the promotion of Chinese aesthetic education spirit, and make clear the direction from the philosophical speculation of art to complete the task of creative transformation and innovative development.

  Creativity and gains and losses — — Discussion on the Artistic Creation of the Book Circle at Present

  With the 40 years’ reform and opening-up in China, today’s book world has seen a scene of all-round prosperity, and it has also trained a group of elite talents. They are self-confident, mature and enterprising! In the history of China’s calligraphy, this is undoubtedly a special cultural phenomenon. Young and middle-aged calligraphers in today’s book world have been tempered and become the main force in today’s book world. They are energetic in artistic creation, active in aesthetic thinking, rich in integration orientation, solid in traditional pen and ink, and novel in form creation … … The broad vision and multi-dimensional perspective confirm that they are explorers and practitioners who are heading for the ideal world in today’s noisy and complicated book craze. In a certain sense, it can be said that the artistic practice of this generation of young and middle-aged calligraphers has made today’s China book world richer and more energetic. To sum up, the artistic creation of today’s book world presents four characteristics:

  The first is the call for the return of tradition.Whether it is the study of calligraphy, the study of steles or the integration of steles, the China calligraphy circle has gradually moved towards stability and health in the past forty years. Multi-approach and colorful unity, whether it is the style of two kings, the style of Ming and Qing dynasties, the style of bamboo slips and so on, are all a return to tradition. Returning to tradition is not copying tradition. Many works in previous national exhibitions have shown a strong style of personalized artistic language symbols on the basis of tradition, highlighting the cultural concept of advancing with the times in contemporary art exploration, which is the main theme in today’s life aesthetics.

  The second is the degree of form innovation.Needless to say, the exhibition era needs the diversification and richness of the exhibition forms of calligraphers’ works. With the opening of society and the diversification of aesthetic ideas, the space art of calligraphy has added the fashionable color of plane composition, which is the inevitable aesthetic demand of the public today. Once upon a time, due to the multi-layer effect of social fast food culture and fashion pursuit, fresh, exciting and colorful "surreal" and "ancient relics" filled all kinds of national book fairs, which seemed to have become the established custom of visual effect adjustment in the exhibition hall conduction space … … With the passage of time and the deepening of professional artistic creation, the works of the national exhibition have gradually moved towards simplicity and nature, and returned to the true nature of the natural writing of Chinese characters.

  The third is the strengthening of freehand brushwork poetry.The extension of calligraphy, the pursuit of interest, personalized creation, boldness, agitation, publicity and unrestrained … … It embodies the mainstream style of aesthetic feelings in the current book world. At the same time, with the complementarity, reference and integration in the inheritance of calligraphy, all kinds of freehand brushwork styles with strong personality consciousness are gradually formed. Regular script is integrated into the meaning; Borrowing from seal to grass; The cursive script (big grass) structure is open and closed; The cursive script is interactive and gradual; The effective exploration, the transformation of ideas and the birth of interest have become the remarkable characteristics of young and middle-aged calligraphy creation today.

  The fourth is the improvement of humanistic quality.A gratifying phenomenon is that many authors have gone far beyond the single calligraphy skill training and entered the in-depth study of Chinese traditional poetry. The phenomenon of the author’s self-written poems and the in-depth study of ancient calligraphy theory presented in various exhibitions indicates the comprehensiveness of calligrapher’s cultivation.

  It is true that we must face up to all kinds of problems and tendencies in contemporary exhibition works. This is the "common fault" in China’s calligraphy creation at present. In short, I think there are four aspects that must be paid attention to:

  First, despise brushwork. The calligraphy theories of past dynasties have strict and high standards for using pen and ink. As an internal form of calligraphy, brushwork is the most important. Some works in all kinds of exhibitions in China pay more attention to form than connotation; Pay more attention to interest than line quality. The brushwork is arbitrary and the brush array is mixed. For example, the seal script is out of balance and the loan is improper. According to Liu Xizai’s "A Brief Introduction to Art", reverse entry, astringency and tightness are the keys to writing. When writing seal script, the word "astringent" is often ignored, and the brush is dragged along the stroke, not to mention wrapping the front and turning it around, which goes against the trend. The big grass is to make the degree of transition and the actual situation suitable. If you don’t know how to use a pen, you will often open and close the switch casually, resulting in exaggerated spatial layout. The midline is thin and erratic, and the reality is improper. Confuse the brushwork of big grass and small grass, and get lost in the unconscious state. Ou Yangxun’s "On the Use of Pen" "The experience of using a pen by a husband must be hooked and glued, and the ladder will not be wasted, so there must be a reason. Wandering and pitching, tolerance and airflow. " Dong Qichang’s "Essays on Painting a Zen Room", "Where you send a pen, you must be able to raise it and not let it suppress itself … … If you don’t trust the pen, you will have a master at every turn. The word "turn" and "beam" is a clever tactic for calligraphers. Today’s people are only masters of the pen, and they have never carried a pen. " Liu Xizai’s "An Outline of Art and Books" "The calligrapher is in agreement with the word" press ",but there is no separation. Therefore, it is necessary to lift the pen when it is heavy, and press it when it is light, so as to avoid falling and drifting. " These classic book theories of the ancients,How important it will be to today’s calligraphy art creation! We can see that in the exhibition, some cursive works are full of papers and clouds, full of romantic ideas, and the brushwork is mixed. Even Lian Bi didn’t mention it, so they just dragged their feet. In addition, the "twisting" in the calligraphy style is different from the pen tip. The writing style of small characters is used to write large characters casually, and the linearity of small characters is used to replace the linearity of large characters. This phenomenon is more prominent in many works. It should be said that the art of calligraphy needs form and pays attention to momentum, but it is also based on linear essence.

  Second, the ink is single. As the ancient saying goes, "Calligraphy is only difficult to reach with charm", and its key lies in the richness and variability of pen and ink. At present, there are many people who neglect to use ink in calligraphy, especially in the creation of seal script, and the ink is generally too solid, and even the ink method has not changed throughout. "Where there is power in the dark, there is not enough time in the white" is the critical remark made by Mr. Huang Binhong when he first met Lin Sanzhi at the age of 32. The method of using ink is thick, light, moist, thirsty and white. Its main point is that "with dryness, it will be moist, and it will be dry" (Sun Guoting’s Book Spectrum). With dryness, it will be moist, and with concentration, it will show its strength. In the brushwork, it will show ink colors and ink tones and enhance the artistic expression of calligraphy. I am eager to live, but I am eager to be gorgeous. I am eager to take risks, and I know how to keep black. At present, many calligraphers’ ideas have not broken through the barriers of epigraphy in the Qing Dynasty, and they have inherited the habit of using ink in the Qing Dynasty, and they are not good at and dare not use thirsty ink. "Dry front, namely thirsty pen. The calligrapher’s double pipe has the word "dry pen", which is totally different. If you are thirsty, you will not be moist, and if you are dry, you will die. " (Liang Tongshu’s "On the Book of Polo Temple") The way to thirst for ink is to use water. "The cleverness of operation lies in one heart", the thirsty pen uses less ink, the astringent pen is retrograde, and it is vigorous and vigorous, writing out the white silk in the stippling. In the application of thirsty ink, it is often inseparable from astringent pen. The pen is awkward, the mistake is difficult, and there is something left in the line. Cai Yong’s "Nine Potential" said, "The astringent potential lies in the tight method of fighting.The ancients said, "If you support a water boat, you will try your best to stay where you are.". Mr. Lin Sanzhi put it well in Talking about Art — — "Huai Su can seek a pen without ink, and write embellish in dry pen, and the bones and muscles are among them." "The monument depends on the blank space" and "seek cleanliness in chaos, and distinguish between black and white". He also said: "The most difficult thing to change from rigidity to softness in the Book Score is to write insect-eaten lines, and the strokes are like insects." Hiding the show in the sky is really pale. Our era today is neither in the Qing Dynasty nor in the Tang Dynasty. I thought today was an era of freehand brushwork and fiction. Zhuangzi’s "emptiness", "quietness" and "clearness" and Laozi’s "striving for emptiness, keeping quietness and fidelity" also require us to realize today that a good work must emphasize emptiness, not reality.

  Third, the gas cell drops. Calligraphy is most bookish. The ancients often warned future generations with the words "calligraphy and painting should be viewed as rhyme" and "the calligrapher’s pen is precious". "Vivid charm" is the first of Sheikh’s "six laws". Guo Ruoxu commented in the Northern Song Dynasty that "the six laws are refined, and it is not easy to last forever". Qi and rhyme have always been the philosophical speculation of China’s calligraphy art and the main theme of his calligraphy creation. At present, the problem is to oppose charm and form, pay attention to stippling skills and ignore breath rhyme. Or the form is exaggerated too much, or the artistic realm is degraded by pursuing the superficial interest of pen and ink too much. We can see that many works in various exhibitions emphasize publicity, lose purity, blindly pursue individual style and ignore the artistic character of the works. As a result, the book is familiar and the weather is weak. Zhao Huanguang commented in "Cold Mountain Broom Talk" that "the article is based on the system and the sound is the tone; The style of writing is the case, and the front is the tone. If it is not ancient, it will be vulgar, and if it is not rhymed, it will be wild. " This just proves that all literature and art take Qi as the most important. "The ancient quality of this article also, the base quality and your article. Writing is easy to change, which is in line with deep feelings. Those who are qualitative are like classics, and those who are literate are like weft. If Zhong and Zhang are branches and two kings are Chinese leaves, beauty is beautiful … …” (Zhang Huaiguan’s "Six-body Calligraphy Theory") Pen and ink skills are rooted in subjective feelings. Pen and ink is the mind of writing people, although it comes from the hand, it is rooted in the heart.The ancients commented "… … I am full of meanness, and I am at ease. I feel sorry for my feelings. How can I rush to the God of Mu? " Therefore, only when the heart is mellow can the pen be harmonious, and only when the mind is aware can the pen be hot.

  Fourth, the innovation is superficial. "Change" is the basic law of China’s calligraphy development. Today, the survival significance of calligraphy has changed from practical value to artistic function. The original "daily writing" of calligraphy has become "artistic appreciation". Therefore, today’s calligraphy should be based on artistry, not only linear schema, but also the appeal of humanistic spirit. We advocate "natural writing", which means to express a high degree of artistry in accordance with artistic laws and theories, aesthetic elements and laws. Taking Mr. Lin Sanzhi as an example, he stated in "Self-Narration" that his cursive script "takes two kings as the mantle, Huai Su as the ancestor, Wang Juesi as the friend, Zhu Xizhe and Dong Xiangguang as the guests". We can see that Lin Lao’s creation entered the realm of transformation in his later years. Appreciating his cursive works when he was 90 years old, he showed a scene of turning long into short, making a living from maturity, turning a circle into a square, turning a connection into a break, turning complexity into simplicity, and turning reality into emptiness. It can be seen that it is not easy to change the times of calligraphy. It is not a single form change, but a transformation of the essence and the elevation of the spirit. At present, some works in the exhibition show off their skills one-sidedly, learn from the ancient and superficial, and take a superficial approach. "Innovation" is only a superficial visual effect. From writing to painting, we only seek the prominence of personality style, the publicity of modern consciousness, the exaggeration of form and the neglect of essence; Or on the basis of an ancient calligrapher’s style, enlarge the fine brushwork into a large-character paradigm and change the form.As a result, the lines are stiff and wavy, the ink is dignified and there is no real or false care, and the charm of the works is insufficient, which obviously lacks vitality and vitality. I think that the artistic innovation of an era must organically integrate the traditional characteristics, the characteristics of the times and the characteristics of individuality, and rationally verify the aesthetic characteristics of calligraphy art with China’s traditional philosophy, so as to complete the construction of personal artistic style.

  To sum up, the current calligraphy art creation must deal with the triple relationship, namely: the persistence of tradition and the promotion of modernity; Strengthening of skill and poetic expression; The variety of forms and the attention to the essence. The social aesthetics of "the person with strong spirit comes first, and the person with beautiful function comes second" will be strengthened in the life aesthetics in the new period. This is the cultural spirit of "style and feelings are the first, technique is the second", which will be further paid attention to.

  Burst and loss — — Thoughts on the current calligraphy ecology

  In the past 40 years of reform and opening up, China’s calligraphy has experienced a period of exploration and development from traditional study art to public display space; It has experienced a stable and deepening period from the pursuit of artistic visual form to the modern transformation of classic techniques; It also went through the period of cultural thinking when artistic creation thought pursued to the integration of form and content. This course just proves that calligraphy art, like other national arts, is a part of the aesthetics of popular cultural life. With the advancement of reform and opening up, the art of calligraphy is constantly evolving and improving with the evolution of social ecology and the demands of people’s spiritual world.

  Forty years of "calligraphy craze" has contributed to the mass calligraphy movement that has never been seen before in the history of China, reflecting the mass psychology and aesthetic pursuit carried by contemporary culture since the reform and opening up, and expressing the "road map" that the mainstream culture of contemporary calligraphy will inevitably advance. This has painted an extremely splendid page for the contemporary culture of China! However, it goes without saying that in the period of social transformation with rapid economic development and great changes in people’s life forms, our nation did not construct the cultural ideal of the times in advance or at the same time, resulting in the alienation of social value judgment and behavior orientation into the standard of "time is money", while the ultimate direction of cultural value and cultural creation fell to the price index.

  It should be noted that the 40-year contemporary "calligraphy craze" has undoubtedly brought about the prosperity of mass culture and the inheritance of national lifestyle, but also brought about the diversity of values and the search for leisure interests. It is manifested in the shift of some national cultural positions of calligraphy, the subversion of traditional artistic value system and the lack of aesthetic judgment standards.

  Over the years, there are also various unsatisfactory places in contemporary book circles: impetuous mentality, flashy art, grandiose form, superficial comments and superficial communication. The artistic fashion is clamoring, the creative spirit is mediocre, the classic calligraphy is alienated, and the core values are stolen … … In the pervasion of the utilitarian consumer market, which is characterized by diverse social patterns but so homogeneous, the poverty of philosophy, the lack of culture, the pallor of thoughts and the danger of the traditional lifeline being connected and broken are approaching us at all times … … All kinds of phenomena embodied in artistic creation, such as the supremacy of form, the phenomenon of "ugly books", the expansion of customs and the aphasia of criticism, give the majority of calligraphers a wake-up call and reflection!

  Then, the fundamental reason why calligraphy spreads these phenomena is the imbalance of social and cultural ecology.

  Since the reform and opening up, contemporary calligraphy has entered an unprecedented artistic and historical transition period from inheritance to innovation, and also faced a secular generalization period of social and cultural ecological crisis and loss of humanistic spirit under the vigorous development of market economy. When we look back at the colorful history of contemporary calligraphy today, we can’t help sighing for the promotion of the two levels, with mixed feelings. The collision of various artistic trends of thought and the dispute of schools have made calligraphers of all walks of life step into the wrestling field of artistic innovation and change with great energy, and explore and analyze the track of the evolution and development of wave after wave of calligraphy style … … Such a noisy book world is rich and varied, vivid and vulgar. East and west, conservative and innovative, all kinds of ideas meet and collide with each other. In the vanity fair of social and economic transformation, impetuousness and shallowness, eagerness and urgency often make people feel confused and helpless in the interweaving of multicultural ideas! People can’t help questioning again and again: Have we lost our introspection and awe about tradition, and lost our responsibility and prospect about the times?

  It is true that from the historical point of view, the forty-year "calligraphy craze" has provided such rich dramatic changes and intriguing cultural thinking for contemporary social art. Isn’t this the joy and loss anxiety of a win-win situation with social development in the "natural growth period" of today’s book world?

  "Lost anxiety" is unavoidable! On September 30th, 2009, China’s calligraphy China seal cutting was successfully applied for, and the national calligraphy craze rose again, which is undoubtedly a good thing. "National Calligraphy" has brought great impetus and prosperity to the study, communication, popularization and dissemination of traditional calligraphy art, won a broad social space for calligraphy as the inheritance of the Chinese people’s lifestyle for thousands of years, and demonstrated the spiritual appeal of mass life aesthetics for the return of traditional culture.

  However, we can’t help but seriously reflect on the essence and trend of this "socialization" from the many works of "national calligraphy" exhibition, dissemination and even transaction — — The first is the generalization of artistic ontology. It shows contempt for classics, giving up the basics, vulgarizing and inheriting, crude imitation, deviating from the law of artistic creation, and lacking the spirit of great country craftsmen. Calligraphy exhibition only seeks to publicize the prosperous landscape in the noisy downtown. The manufacturability replaces the purity of traditional natural writing. The second is the generalization of creative mentality. People are no longer calm and indifferent, but they are used to competing to express themselves in the heat wave of calligraphy display, auctioning "achievements", packaging and dressing up, and publicizing their individuality. Impetuousness and urgency, superficial fame and small profits … … In the traditional sense, the aesthetic of elegance and quietness has been eliminated by socialization. The third is the generalization of cultural values. Art speaks by height. We need width, but we need depth and height more. The "prosperity" of virtual fire’s national calligraphy can only bring us profound lessons! History does not allow to confuse calligraphy with non-calligraphy in the generalization of social art.

  When we look back many years ago, when the situation of "socialization" spread rapidly and competed for beauty, we can see that the readability, amiability, preciousness and appreciation of traditional calligraphy art have gradually moved towards the vulgar, charming, strange and hateful behavior process of performing arts, and calligraphy has gradually moved from the self-cultivation of national culture to the dilemma of social entertainment & HELIP; …

  Therefore, we should stick to the aesthetic bottom line of China’s calligraphy, the reverence and piety of national culture, and the character and integrity of intellectuals in the new era, which requires us to look up to historical classics and safeguard the nobility and dignity of calligraphy culture. We should seek a reasonable fulcrum for the integration of tradition, times and individuality, purify and enhance the "sociality" and aesthetic height of national calligraphy, and carry forward China’s humanistic character of combining beauty and use with knowing and doing.

  Today, when we rationally analyze the social ecology of contemporary calligraphy, we first need to return calligraphy as a national culture to the identification of social value system. There must be a threshold for understanding and expounding the artistic language of calligraphy, and non-calligraphy language cannot be tolerated. Without tradition, just as a nation loses its orthodoxy, its nationality and purity disappear; Without self-discipline, calligraphy language will have no rules of its own, and the art of calligraphy will inevitably be artificially distorted. Therefore, the relationship between calligraphy language and creators is temperature, strength and depth. Only by sticking to the bottom line can we win the height of social and cultural popularization in the times.

  Tolerance and choice — — The aesthetic way of artistic creation in the times

  In the new era, we advocate pluralism and tolerance. So, what is pluralism? Pluralism is not only the free expression of different views, but also the consensus among dissidents, the consensus on social core values, and the unanimous recognition of the rules of the game. Without the recognition of values and rules, pluralism will lead to the chaos and disintegration of the art world.

  The emergence of pan-aestheticization has expanded the diversity of aesthetic forms. The beauty, sublimity and harmony of traditional classical aesthetics have been broken by the "contemporary art" introduced by the west. It dispels the standard of Chinese traditional aesthetics and subverts the cultural standpoint of traditional aesthetics. The works made by reproduction, technology, decoration and craft, with mass media as the main means, are filling the current cultural space and art market and supporting the increasingly secularized popular aesthetics.

  The change of contemporary artistic concept also directly affects the purity and spirituality of traditional calligraphy art. From "contemplation" to "noise", from "aesthetics" to "appreciation of ugliness", from elegance to vulgarity, from simplicity to vulgarity … … This is the shadow of western postmodernism’s attitude towards traditional culture with historical nihilism, which has caused the growth of liberalism in the book world.

  Postmodernism, as an irrational thinking, forces art to extend in the direction of alienating cultural values such as "canceling the subject without aesthetics", which dispels the original aesthetics and sublimity of artistic creation, confuses the differences between eastern and western cultures and blurs the public’s judgment standards on artistic aesthetics. In order to show the form, we deliberately ignore the quality, fade the quality, create novelty, attract the attention of the public with unconventional "arguments" and unconventional behaviors, and form a "landscape". Whether it is painting or even calligraphy, grotesque and disorder are the selling points, ugliness is the appeal, and mainstream values are the criterion, which can not but arouse high vigilance and reflection in the painting and calligraphy circles!

  It is true that we should have a clear and clear appraisal of "ugly books". The "ugly book" we refer to here is a bad phenomenon that breaks away from the noumenon law of calligraphy art creation and the structural norms of Chinese characters, ignores the basic rules of calligraphy art such as brushwork, takes the pen as the body, gathers ink to form, is vulgar and vulgar, and is crazy about "creating new things". The "ugly book" referred to here should be distinguished from the "making risks" and "committing risks" in the artistic creation itself.

  Generally speaking, artistic creation must be pursued from justice to danger, and then restored to justice. Liu Xizai’s "A Brief Introduction to Art" points out: "Learners begin by asking for work without work, and then ask for work without work. Those who don’t work are extremely hardworking." He also pointed out: "Common books are not for beauty, so they are ugly." It should be said that there are certain rules in the form composition and internal quality standard of the high realm of "work seeking not work" in art, and its visual space has a certain degree. "Not working" is not "ugly", but "creating risks".

  There is no doubt that various cultural phenomena are inevitable in the interweaving of diverse and scattered social and cultural trends of thought, and there is no need to be puzzled or surprised, not to mention spreading hype or even infinitely magnifying it into "news events" through mass networks. We need to firmly allow some (or even several) calligraphers to make independent and innovative "artistic experiments" with an inclusive attitude, and the book world needs understanding and dialogue. These (few) calligraphers already have profound experience in traditional pen and ink skills and artistic creation. They have found a new way to prove new ideas and explore the "art of mind". Different people have different opinions, and the wise have different opinions, so they can be tested by practice.

  Obviously, in the current social and cultural transformation in the context of globalization, how to maintain and reshape the identity of China’s calligraphy culture? This requires a choice based on tolerance. The temporality of art criticism has been deposited into three major anxieties, namely, concept anxiety, identity anxiety and reality anxiety. How to make the real "problem consciousness" show clear criticism? How to make theory reveal and guide contemporary artistic creation practice more directly and effectively? How to strengthen the function of literature and art to "educate and change customs" and correct the present situation of entertainment and marginalization of elite culture under the market economy? These are all urgent problems to be solved.

  Today, 40 years after the reform and opening up, it is worthwhile for the calligraphy circle to further understand the cultural connotation of modernization, the traditional cultural complex of China in the process of modernization and the value orientation of China’s cultural development today. Five thousand years of Chinese culture tells us that the "core value" of culture is one of the most important reasons for the continuity of Chinese civilization. This core value is constantly changing, enriching and developing, and forms the core value of the culture of the times in the relative period. Forty years of reform and opening up, its core is to guide the society to establish a leading value, that is, to promote modern humanistic spirit. This requires the calligraphy circle to adhere to the global vision and localization practice. The construction of the aesthetic evaluation system of contemporary calligraphy creation is also the aesthetic basis of the classic works of the birth era. Facing the challenge of consumer culture, we should strive to enhance people’s aesthetic taste and promote the transformation of social aesthetics to elegance. We should consciously lead an aesthetic value judgment scale, summon the return of literary responsibility and lead the promotion of national spirit.

  Cultural consciousness is the requirement of today’s times, which is a kind of aesthetic consciousness and mentality of cultural subject reflected in cultural reflection, cultural creation and cultural practice. As a calligraphy circle, the fundamental purpose of cultural consciousness is to strengthen the independent ability of cultural aesthetics and obtain an independent position to adapt to the cultural choice of the new era. We are in favor of such cultural consciousness — — Under the impact of the wave of globalization, it will never stick to the old ways and cling to the shortcomings, but keep pace with the times, actively fight, select the best and eliminate the bad, and advocate that all countries and nations in the world have symbiotic equal opportunities for culture and art and the tolerance of "beauty of beauty, beauty of beauty, harmony of beauty and harmony of the world". Calligraphy artists in this era especially need ideological nourishment and aesthetic purification. The times need calligraphy artists not to be eager for quick success and instant benefit, but to think about the deep-seated issues of contemporary culture and social aesthetics and the humanistic spirit of the times. Its essence is firstly the humanistic rationality in the contemporary aesthetic orientation and orientation of calligraphy art. As an important duty of aesthetic culture, calligraphy art is not to satisfy people’s recreational function of venting their senses, but to rise to the realm of free life, purify people’s souls and cultivate good daily quality. Therefore, today, every artist in the Republic of China should seriously reflect on his responsibility to society and mainstream culture. This is to rebuild the artistic evaluation and value system with national character and style of the times, and to create works of art with China style and China spirit.This is our strategic choice in the aesthetic way of artistic creation in the era of economic globalization and cultural diversification, which is also the cultural consciousness of contemporary calligraphy art!

  What is the most lacking in the context of contemporary China calligraphy culture? Is to guide the society to establish a dominant value. We must clearly see the aesthetic transformation of contemporary calligraphy art, deepen our understanding of traditional techniques and classics, and expand the composition of artistic forms. This is the innovation that is good at organically integrating the characteristics of tradition, the characteristics of the times and the characteristics of individuality, that is, "bringing forth the old and bringing forth the new".

  We are facing the "new era" of Internet media with such a huge audience and the commercial circle of citizen consumption culture with leisure and ridicule as the basic mode. The reality makes us awake: the most fundamental significance of art lies in the pursuit of non-utilitarian transcendental value. At present, the primary premise of our pursuit of classics is not to compromise the consumption culture of the market and not to succumb to the unequal value system manifested by money!

  Philosophical thinking and activation — — Thoughts on carrying forward the spirit of Chinese aesthetic education

  Every nation in the world has its own writing and culture, which shows the description of its national personality. Chinese characters are the representatives of Chinese national culture, the high materialization of China’s traditional philosophy, and the basic spirit of Chinese culture is condensed at the simplest level. Mr. Lin Yutang said: "In calligraphy, perhaps only in calligraphy can we see the perfection of Chinese’s artistic soul." We say that the artistic image created by Chinese calligraphy is not only the beauty of Wang Xizhi’s visit to Lanting, but also the pain of Yan Zhenqing’s desperate service to the country; Is it the confusion of Su Dongpo’s cold food in Huangzhou, or the combination of Sun Guoting’s books and essays … … It is an aesthetic state of human life and a life image of human philosophy. Calligraphy embodies the humanistic spirit of human self-care and pursues the ultimate realm of oriental aesthetic ideals. In the pursuit of human perfection and respect for people’s own value, calligraphy aesthetic education has led people to find a way.

  The construction of the core value system of contemporary calligraphy must be based on the ontological law of calligraphy culture and the scientific understanding of social development, and leading the aesthetic direction of contemporary calligraphy fundamentally requires philosophical thinking.

  For a long time, human beings have never stopped exploring the essence of beauty to awaken people’s most straightforward memories of world things. As a unique cultural memory of national spirit — — Calligraphy, what do we stick to today? Create what? This is the first question that calligraphers should answer. Regression is not a copy, and the beauty of tradition cannot invariably replace the pulse of today’s times! Artists who cannot enter "creative transformation and innovative development" will eventually become outcasts of the times. We say that philosophy is the "third wisdom" among science, art and philosophy. At present, the "symptomatic treatment" in the book circle needs "philosophical classics", and it needs China’s traditional philosophy to think about the times of contemporary philosophy, which gives birth to "wisdom scheme". This "wisdom" is a theorem and the "third wisdom" to reshape the oriental beauty, which indicates the strategic orientation of the aesthetic spirit of contemporary calligraphy.

  After the evolution of Chinese characters’ calligraphy style, the aesthetics has also entered a period of cultural consciousness. Jin Shangyun, Tang Shangyi, Song Shangyi and Ming and Qing Dynasties are the aesthetic demands and artistic expansion in different historical stages, which are always developed around the core concept of the Chinese nation "the golden mean" in China’s calligraphy. The basic spirit of China’s calligraphy is as stated in the Book of Rites: "A gentleman respects virtue and asks for knowledge, which is broad and subtle, extremely clear and moderate". In view of this, the "golden mean", "moderate" and "extremely bright" have become the core concepts of China’s freehand brushwork spirit. Laozi’s "Tao is natural", Zhuangzi’s "only Tao gathers emptiness", Laozi’s "Xuan Jian" and Zhuangzi’s "Xin Zhai" and "Sit Forgetting" have become the "bulk" of China’s art for thousands of years. This "big book and large quantity" is the guide to pursue the aesthetic realm of calligraphy today. Taking the cursive script as an example, the tradition of taking calligraphy from the works of Wei and Jin dynasties, represented by the "two kings", constantly recombines its genes with the great culture of each period, forming an inexhaustible motive force for the continuous development of calligraphy, and its essence always presents constancy.Whether the style of calligraphy is simple, vigorous, cold, strange and vertical, or simple, elegant, harmonious and indifferent, it makes people understand that calligraphy must be rooted in tradition, and the classic "learning from ancient times" training process of calligraphy inscriptions is actually the tempering process of "people" as a member of society.

  As the aesthetic consciousness of contemporary calligraphy art, perhaps we can put forward such a coordinate system — — Its vertical axis is to look at the future trend of China calligraphy from the combination of tradition and innovation, which is a time axis; Its horizontal axis is to find the aesthetic orientation of calligraphy art in the current globalization context and determine the significance of its existence in the times. This is a spatial axis. This is a cultural reflection on the artistic function of calligraphy, and an accurate grasp and inevitable choice of the law and characteristics of artistic development. It can be seen that the development of contemporary calligraphy will depend on the construction of aesthetic scientific evaluation system of calligraphy creation. The "science" here is not the "science" of natural science, but the "timeliness and appropriateness" in the philosophical sense, that is, the "golden mean" concept. The construction of this artistic standard and evaluation system must be rooted in the fertile soil of Chinese aesthetic spirit.

  The Chinese aesthetic spirit is rooted in the life charm of national philosophy and the poetic tradition of national culture, and has established a Chinese aesthetic system with humanistic care as the core, great beauty as the field of vision, beautiful scenery and high interest as the purpose, focusing on the aesthetic spirit of blending truth, goodness and beauty.

  The present is an era that needs philosophy, needs ideas, and will certainly produce ideas. There has long been a one-way thinking of binary opposition in China’s literary and art circles. In the past, literature and art were subordinate to politics and aesthetic thinking was replaced by political thinking; Now, under the condition of market economy, literature and art are subordinate to economy, and aesthetic thinking is replaced by profit thinking. This one-way thinking of aesthetics is morbid, and it is also manifested in the tendency to go one-sided and extreme in dealing with the cultural relationship between China and the West. As President Xi pointed out, some people respect foreign things, follow foreign things only and take foreign things as beauty, and are keen on de-China, de-ideology, de-value, de-historization and de-mainstreaming, and that set of "has absolutely no future". Similarly, it is useless to hold on to the historical heritage and dare not look far to absorb the excellent elements of world civilization.

  Carrying forward the Chinese aesthetic spirit is a philosophical proposition, which is the foundation of the development direction of contemporary China art. Professor Zhang Shiying from the Department of Philosophy of Peking University put forward the original aesthetic theories of the times, such as "beauty points to the lofty" and "the sanctity of aesthetic feeling", which played a leading role in rectifying the kitsch and utilitarianism of literary and artistic creation in the tide of market economy. From traditional philosophy to contemporary comparative study of Chinese and Western cultures, Mr. Zhang put forward the concept of "the unity of things and everything" to "the connection of all things", which embodies the creative process from culture to life wisdom, connects Chinese and Western cultures, pays attention to reality and adapts to changes. It embodies that the task of aesthetics is to cultivate independent personality and transcendental spirit, and it is the study of "realm".

  To carry forward the Chinese aesthetic spirit, we must grasp the following aspects from the perspective of contemporary philosophy: First, "harmony between man and nature" rather than "separation of subject and object", which is the basic spirit of China’s philosophy. The second is to treat Chinese and western art aesthetics with the thinking of the times of "all things are connected", and to clarify the significance of artistic imagination and emotional experience in aesthetic activities. "The highest task of philosophy is not to know the sameness, but to grasp the similarity." Aesthetics cannot be attached to science and alienated into technology. We must integrate the similarities and differences between Chinese and western cultures, and make sense of them, so as to devote ourselves to the cultural creation of the times. Contemporary aesthetics in China, which is in social transformation, should pay more attention to artistic aesthetic practice and pay attention to metaphysical philosophical ontology. Third, we must deepen our understanding of China’s ancient theory of "hidden show" (image theory) and the aesthetic tradition of implication. Pursue poetry and raise the realm of humanistic spirit. Beauty, in addition to paying attention to perceptual image and form, must also have a deeper connotation, which lies in the value of showing the highest meaning of life. This is the "sacredness" of Heidegger’s "clear realm". Therefore, "the sanctity of beauty" means that the beauty of lofty realm is the support of spiritual beauty, not the beauty of simple things and the beauty of entertaining people’s eyes and ears.

  Carrying forward the guiding significance of Chinese aesthetic spirit in artistic practice: First, advocating both form and spirit, not just the supremacy of form. The cornerstone of Chinese aesthetic spirit is the connection between beauty and truth and goodness, and its core is the view of beauty with truth and goodness. Its ideal is the view of beauty with aloofness and lofty ideals, which advocates the aesthetic dimension with both content and form, and emphasizes the emotion, thought, character and mind of works. The second is to attach importance to the blending of reason and reason, and advocate implication and significance. The true beauty of art is the expression of true feelings and the prominence of personality. The freehand brushwork spirit of Chinese art is often not realistic, but a combination of reality and reality, with a lofty realm. The third is to highlight the beauty of life and carry forward the poetic character. The Chinese aesthetic spirit inherits the source of China’s philosophy, takes life as beauty, regards all things in the world as living beings, and advocates artistic life charm and poetic transcendence. It can be seen that Chinese aesthetic thoughts, theories and spirits have distinct national thinking and national theoretical signs. Chinese aesthetic spirit focuses on freehand brushwork. Beauty lies in the image, which breeds a series of aesthetic elements with national academic characteristics, including emotion, interest, environment, qi, rhyme, taste and taste.

  In a letter to a professor at the Central Academy of Fine Arts, General Secretary of the Supreme Leader proposed to carry forward the spirit of Chinese aesthetic education. This is the root of the development direction of contemporary China art. From aesthetics to aesthetic education, this is a process from the ontological characteristics of things to social communication and development. The ultimate goal of aesthetic education is to make the society and the public enter a lofty spiritual realm, a realm where the public can realize their own meaning and value of life, and a common realm of unremitting struggle for the great rejuvenation of the Chinese nation. This is the social responsibility shouldered by the vast number of literary and artistic workers in New China. The development of aesthetic education in an era is inseparable from the height of beauty spread by literary and artistic works created in this era. Therefore, to carry forward the spirit of Chinese aesthetic education today, we must follow the law of aesthetic education, be influenced by subtle beauty, and experience the fresh aesthetic activities of mass life in the new era, so that the whole people can improve their aesthetic quality, cultivate noble sentiments, shape a beautiful soul, stimulate innovative vitality and realize people’s all-round development.

  Calligraphy art is historical, humanistic and contemporary. Everyone who loves China culture should, as Laozi said, "know what is normal and restore life" and "in the final analysis, be quiet" when facing the ancient writing art, taste of china culture and artistic creation immersed in aesthetic experience, that is, to return to the original state of life, to the normal state, to explore the ontological law of calligraphy art in the historical evolution with a normal heart and a pure thirst for knowledge, and to trace the spiritual essence, humanistic concept and historical contribution of calligraphy art from the source of China culture. We should have a modern humanistic feeling of being grateful for the times, perceiving people’s livelihood, fearing tradition and living faithfully. You know, today’s cultural creation is tomorrow’s historical legacy. In order to achieve this, we must keep the right and change, and pursue the aesthetic character and cultural characteristics of the oriental beauty of China’s calligraphy, which is the ultimate way of calligraphy aesthetic education!

  Chinese traditional art has always advocated "change", which is what we call "innovation" today. "At the time of the meeting, people and books are old" in Book Score shows the importance of keeping the right and bringing forth the new. Change is to bring forth the new according to the law. This "new" is different from the style or genre of books. The "new" is a newborn born from the "ancient" mother, just like the blood relationship between mother and child has always been maintained. Keeping the right and changing is to follow the right path, the right pattern and the right pulse according to the artistic law. It is to restore calligraphy art to culture, seek truth from classics, lead in the direction, accumulate in the contemporary era, express the spiritual outlook and style of the contemporary people with pen and ink, and truly show the spiritual activities of the creators as a "meaningful form".

  Yes, when we are moved by the nearly perfect creative skills of the classics of past dynasties, you will naturally try to explore its formal origin and cultural genes, and gradually touch the background and personality spirit of the calligrapher. Therefore, the change must go beyond the purely technical level and go straight to the artistic spirit level. At this time, the creator will get the creative spirit of incomparable freedom, thus making the work have a deep appeal of aesthetic meaning. Therefore, to keep the integrity and change, it must take the Chinese humanistic concept as the fundamental fulcrum, and it has profound cultural connotation from the technical system to the internal spirit. It is the guide to create collective personality values and modern lifestyles in the new era.

  Socrates, the ancient Greek philosopher, said that "life without thinking is meaningless". Similarly, the so-called "formal innovation" and "artistic experience" that have not been tested by real time thinking and practice must be pale! Because "all human dignity lies in thought", the power of thought comes from that she is the cell of human belief. In the current growth environment of calligraphy art development, we must not ignore the phenomenon that "spiritual confusion" leads to "distortion of authenticity". Today, we inherit the spirit of Chinese aesthetic education, which is to continue the cultural lifeline of calligraphy itself, rather than to decorate the surface social life. Mr. Tsung i Jao’s philosophy of "never grinding one’s mind for ever, flowing freely in one’s heart" is precisely to clarify the philosophy of adapting to the situation and gaining the source of one’s heart. The creative spirit of contemporary calligraphy should not only "steal three points of pear flowers" from traditional classics, but more importantly "borrow a wisp of plum blossom soul". The spirit of China’s contemporary calligraphy aesthetic education is, on the one hand, the spirit of freehand brushwork contained in Chinese traditional philosophy, and on the other hand, it is a moving process of change. Its epochal nature can not only be confined to classical aesthetics, but also can not be derived from western modern aesthetic concepts. It is not a single pursuit of skills and the gradual change of formal beauty, but more from the aesthetic ideal, moral height and cultural value.Its spiritual core is a high degree of integration of advocating truth, goodness and beauty, which is a high degree of "people’s nature" in aesthetics. It should have a sense of national history, rich in national spirituality, national temperament and national language characteristics. It is the essence and soul of the collective aesthetic consciousness of the Chinese nation! A real artist’s aesthetic spirit lies in "integrating the past with me", and its artistic classicality must be the cultural creation of the times. Similarly, to carry forward the spirit of Chinese aesthetic education in the new era is to give full play to the unique advantages of art education, to enhance aesthetic quality in a strong cultural atmosphere, to innovate the vitality of techniques, and to realize the real and all-round development of students’ "sound personality" in the vivid practical experience of study and life.

  tag

  Some thoughts:

  One reflection: Today, with the economic and social transformation, the generalization of social aesthetics of "national calligraphy" calls for the simultaneous construction of aesthetic ideals in China’s calligraphy era. How do we carry out "self-salvation" in our own cultural life and aesthetic pursuit?

  Thinking 2: Restore art to culture and seek truth from classics. Contemporary calligraphy needs the construction of the aesthetic evaluation system of the times and a cultural consciousness based on value inheritance and value innovation.

  Thinking 3: How to revitalize the excellent traditional art in the context of globalization? This requires the persistence of contemporary calligraphy culture and the reshaping of cultural identity.

  Looking around the book world, we need to stick to, develop and create a pure home that belongs to the local area and the times. "There is no definite taste in the big chapter, and there is no definite song in the general chapter". There are no two identical leaves in the world, and people can’t stand on the same river. Although there are different artistic styles and schools, there is always only one noumenon spirit of contemporary China calligraphy.

  Today, we can’t forget the original intention of starting to engage in calligraphy creation, research and education because of doubt, haste and competition of material status or fame. Looking at the disappearing back of the predecessors, we will really send out such a call from the bottom of our hearts — — What do we contribute to this era?

  (About the author: Gongda Yan, Professor Tsinghua University. Doctoral tutor, national first-class artist, expert enjoying special allowance from the State Council. Member of the 11th and 12th Chinese People’s Political Consultative Conference, Vice Chairman of the 5th and 6th China Calligraphers Association, Member of the National Academy of Painting of China, Vice Chairman of the National Education Calligraphy and Painting Association and President of the Higher Calligraphy Education Branch. )

China, love women, the love game for 30 years.

This article comes from WeChat WeChat official account:Luming Literature Finance (ID: Luminglab), Author: Tan Yini, editor: Feng Cheng, original title: "China love women Love Mobile Games: No explosions after love", head source: "Love and Producer"

The origin of tidal current can always be traced back to an original source point. It may be a minute or a second, and it is this momentary yes or no that determines the direction of the tide.

In 1992, while the ancient online game "Oriental Story" swept across the Asia-Pacific region, a young man named Rao Ruijun entered Daewoo Information and began his day-to-day career as a code farmer.

In the context of Taiwan Province at that time, Rao Ruijun, who was knocking on the code, was dreaming of a distant star. It took him three years to turn his star dream into a line-by-line code-yes, this is the star volunteer series that was later regarded as Bai Yueguang by countless simulation game lovers.

In the 1990s, although there were many domestic classics such as Xuanyuan Sword, Legend of the Sword and the Chivalrous Man and Monopoly in Daewoo Information, the well-made Star Volunteer 1 still occupied a place, and its sales volume and reputation were superior to those of the same type at the same time.

The year before the release of "Star Volunteer 1", a huge storm was taking place in the Japanese game industry.

At that time, the mainstream view of both the game industry and the player group believed that games were for men, regardless of women’s feelings. Keiko Okawa, then the wife of the president of Japan Glory Co., Ltd., had a bold idea-I want to make a game for women.

This is not an easy task. It took Kawa Keyco ten years to form a women soldiers team "Ruby Party" that can make games, and in 1994, it launched the world’s first love women love game "Angelique".

The gameplay of "Angelique" is not complicated. Players cultivate intimacy by playing dialogues and tasks between the heroine and nine handsome men with different personalities, thus promoting the game plot.

But this game is like a deep-water bomb, which has aroused strong response from female players. Even crossing the ocean over Haiti has influenced the production concept of Star Volunteer 2, pushing the star volunteer series to another peak.

This is also the difference between Star Volunteer 2 and the first generation. The protagonist becomes a female role, and the original business ingredients are abandoned to focus on love and cultivation.

As one of the best love women love games in the game history, Star Volunteer 2 has become the target of many manufacturers to follow suit. However, Daewoo failed to continue its love women love characteristics in the later Star Volunteer 2000, but changed back to the male protagonist and non-leisure play, resulting in a great decline in word of mouth and popularity.

Even if Daewoo made up for it later and returned to the road of female protagonist and love in the sequel, it just happened that the prosperity of female games in Taiwan Province was fading away, and it was difficult to recover its old glory.

On the contrary, after the Millennium, the mainland has just ushered in a breeze of Japanese B-girl culture.

seed

Love women love game(Japanese: ぉとめゲ —ム)Also known as B-girl game, as the name implies, it refers to a simulation game that is specially developed for women and takes love fantasy as the main line. It belongs to one of the love women games and began to flow into Chinese mainland from Japan after the Millennium.

At that time, various B-girl forums appeared constantly on the Internet, such as "Wing Dream Dance Domain", where players could download the Chinese version of Japanese stand-alone B-girl games. Many women were obsessed with it, but there were few love women love games developed by domestic manufacturers.

This is directly related to the scarcity of female players in China. According to the 29th Statistical Report on China’s Internet Development, by the end of December 2011, China’s Internet penetration rate was only nearly one third, and among the 531 million netizens, the proportion of women was 44.1%, 11.8 percentage points lower than that of men.

Coupled with the stand-alone micro-type, the domestic end-game with high configuration and high operation requirements is the mainstay, and major game manufacturers are not optimistic about the female game market. Even if we attach importance to female players, it is only to attract male players, such as the marriage system launched by Fantasy Westward Journey in 2003.

At this time, the domestic efforts to develop love women’s stand-alone love games are mostly small studios that generate electricity for love. These studios are short of funds, personnel and technology, and the quality of the games they produce is also unsightly. It was not until 2012 that Taiwan Province and the Mainland opened two golden flowers of love women’s love game: A Match Made in Heaven and The Queen’s Growth Plan.

Perhaps this is the unevenness of the world. Also as a stand-alone game of love women’s love produced by a small studio, Taiwan Province’s A Match Made in Heaven not only has exquisite characters, full voice lineup and rich plot lines, but also spent nearly two and a half years polishing it attentively, which is simply a representative of top students.

The game background of "A Match Made in Heaven" is set in ancient times. Sima Lisu, the heroine played by the player, fled down the mountain because of a big disaster at her cousin’s wedding, but she accidentally fell into the trap of a suspected black shop. Through the dialogue, she opened a chapter of love with five beautiful men with different personalities.

Looking back to the mainland, at this time, the end tour is king, but the page tour has killed a way out. According to the data of GPC&IDC, the number of web game users in China reached about 271 million in 2012. According to the scale of netizens at that time, nearly half of netizens were playing page games that year.

Of course, this has something to do with the characteristics of instant play and simple operation of the page tour itself, but it is more due to the continuous innovation of the major web game platforms at that time. Among them, Queen’s Growth Plan, a high-quality love women love game produced by 4399, attracted a large number of early female players.

Players play the role of father in the game, set their daughters’ birthdays, zodiac signs and names, arrange trips to cultivate their daughters’ attributes, and reach 64 different endings in career or love after six years. It is worth noting that if you want to achieve a love ending with a specific man, you need to select the correct option to interact with him while meeting the requirements of the attribute point, which is difficult.

After these two games, China’s love women love game seemed to press the fast forward button, which ushered in a period of rapid development.

"orange light" era

The turning point occurred in 2013. This year, love women AVG game platform "Orange Light" was officially launched, and then two epoch-making love women mobile games, Miracle Warming and Love and Producer, were developed, and they were just established in Suzhou.

At the same time, the wave of mobileization under the empowerment of 4G technology has accelerated the expansion of the scale of female players-large screen, high resolution and full touch technology improve the user’s experience of operating mobile terminals, while 4G technology provides faster data transmission services, greatly reducing the entry threshold for games.

According to the report of Game Working Committee and talkingdata, the number of female players increased from less than one million in 2013 to 260 million in 2016, and the compound growth rate was as high as 50% between 2013 and 2016. In contrast, the compound growth rate of male players during this period was only 4.7%.

Orange Light was lucky enough to catch this ride. In the second year after its establishment, it launched the App, which made concerted efforts on the PC side and the mobile side. The number of users and authors kept rising, accumulating over 3,000 contracted authors, and the number of works published by platform authors also exceeded 1.2 million.

It was from 2013 that the love women love game of Orange Light began to emerge. In August, The Marriage Robbery of Crossing was launched. Although there are many defects in this trial of the suspected orange light love women love game, it still attracted many female players at that time.

What really made Orange Everbright a success was the interactive game of love women’s love in the entertainment circle, "The Star Way Shines in the Counter-attack", which was launched the following year. In the game, the player plays the heroine Su Orange in the entertainment circle, while trying to make a career through intrigue, while talking about love with the three male protagonists he met.

As soon as it was launched, this game was very popular. Not only did it have a series of commentary videos of bilibili’s famous UP master Xiaoyao San, but it was also filmed into a TV series of the same name three years later. Tencent video alone exceeded 2 billion broadcasts.

After the counter-attack, love women’s love games on the orange light have mushroomed, among which there are many excellent works. But what really impressed Luming Literature was the wife growth strategy, which was launched in 2016. Compared with the counter-attack, The Wife Growth Raiders adds more business cultivation elements, more like a "game" than an interactive story of love.

The story takes place in ancient times. In the game, the player plays the 13-year-old prostitute, Wen Luo. In order to achieve the goal of marrying a wife, it is necessary to strive to improve the five attributes of female popularity, speech, appearance, morality and reputation.

If there is a man who wants a strategy, he should also interact with him and cultivate intimacy to meet the requirements of the incident. After successful marriage, the game will not end, and the player will continue to play the role of a wife to manage family affairs until he dies of old age.

The most touching thing about this game is that players can not only choose their own love story, but also unlock the friendship story and family story through gifts, encounters, etc. Every character in the game has its own story, which is very wonderful and vivid.

It is with these love women love "interactive games" that Orange Light has made great achievements. According to the data disclosed at the 2017 Annual Meeting of Orange Light, as of December 2016, the registered users of orange light were close to 30 million, and the number of new authors increased by 190,000 compared with the previous year. The annual dividend income of authors was close to 20 million, which was a geometric multiple increase compared with the previous year.

Although the glory of the king and Yin Yang Shi, which were launched in the same year, were not specially designed and developed for female players, the proportion of female players exceeded that of male players. This began to make more R&D companies in China aware of the huge female market, while Orange Light ushered in an unprecedented crisis.

Crazy influx

Rain is coming, and the wind is building.

Before 2017, in addition to Orange Light, there were actually a handful of game manufacturers who were keenly aware of the urgent need behind the love mobile game in love women, China. Although orange light is good, it is not a professional game developer after all, and it is difficult to meet the higher-level needs of players. It is time for them to take the shot.

Agency or self-research? This is a problem.

Bilibili chose the former. After introducing Japanese B mobile games for the first time in 2015, it announced in 2017 that it would introduce A3! Full-fledged troupe. The folding of paper took two and a half years to launch the self-developed B-girl mobile game "Love and Producer" at the end of 2017.

To everyone’s surprise, less than two weeks after its release, this mobile game, which was not optimistic at that time, squeezed the glory of the king into the second place in the App Store free game list and became a frequent visitor in the top 10 free games list in China. And in just one month, it exceeded 7 million downloads, and the accumulated running water exceeded 200 million yuan, which was quite eye-catching.

At this time, the major game manufacturers only realized later: Is the consumption power of female players in China so great?

It may be more intuitive to explain with data. According to Mob Research Institute’s own model, the market size of love games in love women, China increased from 4.85 billion yuan in 2016 to 7.82 billion yuan in 2017, with a growth rate of 61.2%.

From the actual sales revenue, the consumption potential of female players can not be underestimated. After 2017, female users in China’s game market account for nearly half of the total users, but their contribution to the market revenue is less than a quarter of the overall game market revenue.

But what really forces major game manufacturers to make up their minds is the market where other game categories are gradually saturated. Taking MMO game category as an example, according to the data of F. Jost Sullivan, if the MMO is divided by the running water of self-research, the top5 game companies have carved up 58.3% of the market share, among which Netease ranked first, accounting for 33% of the market, far ahead of other companies.

However, the love women Love Mobile Games, which has no restrictions on gameplay and simple operation, is different. Because it wins by content and has obvious segmentation trend, it is difficult to form a competitive pattern of "one product dominates".

In addition, according to Toubao Research Institute, the average development cost of a love women love game is about 60,000 yuan. At present, ARPU(The profit that game companies get from each registered player)It is between 20 and 50 yuan, and has the trend of continuous improvement, with the characteristics of low investment and high return.

This is undoubtedly a tempting big cake for all game manufacturers. As a result, the entire China women’s game market was detonated, followed by wave upon wave of gold diggers.

Among them, Youzu.com and Netease took the lead, and launched love women’s love mobile games "Please the Broker" and "Meet the Cold Water" in 2018 and 2019, respectively, but neither of them caused much splash.

By 2020, according to the Game Teahouse, among the 23 love women games that will be launched soon or ready to be launched, 19 are love women love games, which shows that the popularity of love women love mobile game market is strong, but the works produced by both large manufacturers and small and medium-sized manufacturers have failed to surpass the previous work "Love and Producer".

According to seven wheat data, "Love and Producer" has always maintained a stable leading position in the best-selling list of App Store, while the other three love women love mobile games produced by big manufacturers fluctuated greatly and even declined.

Then, why is it difficult for China’s mobile game market to see such explosions as "Love and Producer"?

The explosion of dystocia

The reason is nothing more than two levels: developers and players.

For R&D companies, it is easy to get started with love women’s love mobile games, but it is difficult to produce high-quality products. Asi, who worked as a copywriter for nearly a year in a love game launched by a waist manufacturer last year, even said that the budget is limited, the innovation is limited, and the experience of R&D personnel is limited. How can we do a good job in love women’s love mobile game?

Yes,Nowadays, China’s love women love mobile game market seems to be full of flowers, but it has never been really valued by game manufacturers. Large manufacturers have no special projects to expand resources, while small and medium-sized manufacturers are unable to do so.

In addition, considering the problem of realization, it is difficult for R&D personnel to resist the pressure of users’ cognitive costs and break through the original model to make drastic innovations in the game.

In addition, love women’s love mobile game is mainly a light game, and the homogenization of gameplay is obvious, which will gradually evolve intoA three-piece assembly line with exquisite and handsome image, strong business ability, excellent voice and sweet pet plot.

As Mr. Qi Baishi said: "Those who learn from me live like I die." Therefore, it is difficult for the newly released love women love mobile game to surpass the previous one, and even it is very difficult to survive. As a result, the game project team where Asi belongs was dissolved due to the difficulty in realizing it. But not only their games, but also the same type of mobile games launched in the same period last year suffered a landslide.

The biggest problem is the lack of talents within the industry. The game industry is an industry with a serious imbalance between men and women. In 2018, the proportion of female employees in the game industry in China was only 27.3%, far lower than the female employment ratio of the whole society of 43.7% in the same period.

However, the thinking of women and men is completely different, especially in making love women’s love mobile games. According to the interview report of Game Grape to a game production team, male and female painters have very different definitions of cute pet image. For example, male painters may only know cats and dogs with big eyes when they are cute pets, while female painters will add some other dynamic dimensions.

More importantly, even women may not be able to make love games that are popular with women. Take AS’s project team as an example. Except for the two main strategies, all the other members are women, and they have failed to grasp the psychology of female players. This is because they have never played love women love games before, and they are all games that male players like.

It can be said that from talents to game makers, there are many problems, but players complain a lot. Aze, who has eleven years’ experience in love women games, said that the love women love games on the market are too similar, and the style of painting, the design of people and the plot are not very good, and the plot is the most important.

But the plot is the core competitiveness to attract female players. Different from male players, female players are more likely to be attracted by the plot in the game and even become dependent.

For example, Hades is considered to be a purely masculine action game in general, but based on the family problems among Greek gods, it designed dialogues with different NPCs and other complicated plot forms, which was unexpectedly loved and supported by many female players.

In addition to the plot, the sense of substitution is also the primary pursuit of female players. As a group with high vision and strong emotional needs, contemporary women have long been under pressure from family and society in love and marriage, but they usually can’t realize their imaginary life in the real world, so games have become the best outlet.

However, most love women love games on the market now set the protagonist’s personality and story in advance, which makes the players feel limited. So, how to break through the old model and let players get more freshness? New technology empowerment may be an answer.

Where is the way out?

In this regard, as the birthplace of love women’s love game, Japan has something to say.

Different from the mainstream game industry in China, which is a mobile game, Japanese console game culture is more popular, and VR and AR technologies have also been applied to love games in love women. For example, at the Tokyo Game Show in 2016, the developer Voltage unveiled a small game system of "sitting in a chair with VR glasses and being knocked by a handsome character’ chair’".

Although some well-known male-oriented game works at that time also contained similar functions, because this is the first love women love game with VR technology, it still caused a great topic and brought it into a brand-new and real "virtual boyfriend" evolution era.

In addition to "chair thump", the popular love women love game "The Imprisoned Palm" launched in the same year has also used VR technology since 17 years. Players can use the touch screen of the mobile phone to simulate the glass when visiting the prison in the "VR Meeting" held in Capcom’s entertainment facilities, thus realizing "meeting the imprisoned characters".

Here VR technology shows a sense of existence, there AR.(expanding reality)Technology has also begun to flow into love women’s game market, such as virtual digital character AR perfromers, who has been playing with fans at concert venues for 16 years, can respond according to their enthusiasm, and can chat with fans coming here.

If the above application of VR and AR technology is only a short experience or supplement. So if VR technology is really applied to love women’s love game, we have to mention the new work VR Boyfriend that Japanese game developer ILLUSION will launch this year against VR Girlfriend.

In this game, players can customize the appearance, hairstyle, muscles, clothes and even voice of their boyfriends, and then have an "adult coffee shop romance" with their own boyfriends from an intuitive first perspective. Although the image of the male protagonist in the released promotional film has been vomited by many players, it is considered that his painting style is too grave and rigid, but this does not prevent them from expecting this game.

Looking back to China, although it sounds very exciting to virtualize love women’s love game, due to the domestic game environment, game manufacturers have more abacus on 3D technology.

For example, the next-generation 3D love mobile game "Love and Deep Space" will be launched soon. From the preview, this game combines action and adventure elements in addition to love elements. In order to improve the sense of substitution, officials also said in Weibo that they are developing the function of squeezing the face of the hostess.

But folding paper is not the first person to eat crabs. As early as November 2019, Netease launched the 3D mobile game "Flowers and Sword". Although "Flowers and Sword" is not a love women love game in a strict sense, female players can pinch their faces for their characters, or upload photos to automatically generate characters, enhance their goodwill through interaction, and constantly unlock the plot.

It is worth mentioning that, although Flowers and Sword has many defects: for example, the 3D modeling of male characters crashed, which was vomited by many players, but it was still popular once it was launched. According to the data of Seven Wheat, the download volume and income in the App Store in that month were among the top ten in the rankings.

In addition to Netease, Tencent also made some moves on the way to 3D. Before Love Between Light and Night was officially launched, the official news broke out in Weibo, and a new 3D stand-alone work derived from IP will be recreated with its old worldview, which will be operated by the Northern Lights Studio, the production team of "A Mobile Tour with a Moon Sword".

Looking back at the history, love women’s love game has gone from being neglected to being sought after by capital in China, and the players have experienced the baptism from low-quality to high-quality works, so it is becoming more and more difficult to explode. Who can seize the opportunity to become the next Love and Producer in the 3D era? Let’s wait and see.

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This article comes from WeChat WeChat official account:Luming Literature Finance (ID: Luminglab), Author: Tan Yini, Editor: Feng Cheng