I knew that the business there was weak, but the attendance rate was good and the cost was difficult to cover. If you have nothing to do, goodbye will come naturally.
For most people, this is nothing more than a dragonfly with broken wings in a street park. At most, I just make a half-wave in my heart, sigh, and then find another place.
In my heart, it is the departure of the best restaurant in Beijing.
1. Good food and wine
I have written some words about good wine and good food. At that time, although the standard of its dishes was recognized, I felt that the decoration (environment unrelated to production) and scale of the restaurant (the size of the restaurant determines the upper limit of the standard) were worthy of criticism, but unfortunately its external conditions were not worthy of the dishes. But in a blink of an eye, all this became meaningless with this goodbye.
Often, when you are still looking around and pushing in a small area, the stage suddenly comes to an end; When you begin to expect a brand-new story to unfold, the parting between you comes quietly.
Looking back at this moment, I feel that the previous harshness is redundant. Backed by the elegance of Chaoshan cuisine, there are good wines and dishes in front, which is extremely rare in Beijing. To be fair, it does define the pinnacle of restaurant standards in this city.
Compared with other well-known Chaoshan restaurants in China, the dishes with good wine and good food actually please me the most. If the ingredients are the first and the wisdom of food is traced back to the foundation of Chaoshan cuisine, the temperament of washed pure white dishes is really natural. Among them, there are many creative cooking concepts and rational cooking methods, and they also reflect the founder's advanced diet concept and enterprising heart.
What is even more rare is that its dishes are self-contained, and the process of a meal is straightforward, without deliberately highlighting the rhythm and rhythm. When the dishes are coordinated with each other and the performance is not abrupt, do not emphasize any dish. The amount of information produced by each product is balanced, but there are hidden intentions everywhere.
The whole dining process is done in one go, just like reading an elegant article in a silent night, and my heart becomes free from distractions. I only smell the sound of leaves colliding outside the window, which is also like the piano music of Moje Sevic. Strength and brilliance are put aside for the time being, leaving only a flowing interpretation.
Looking at the truth from China, this "silence" is one of the most valuable places for good wine and good food.
2.
Holding Shuiyue in hand
Two days ago, I went to see Tsun-shing Chen's Ye Jiaying documentary "The Moon in the Hand".
The whole film is as warm and moving as a clear water. The layout and editing of the picture are very beautiful. Modern elegant music brought by the agility of Japanese composer Sato also adds a delicate and feminine poet temperament to the film.
There are many bad reviews of such movies on the Internet. Most people disapprove of the film's rather "dull" description of Ye Lao's life. He not only talked about the hardships of Ye Jiaying's life, such as escape, emotional loss, and the departure of his closest relatives, but also did not give clear emphasis to the essence of Ye Lao's poetry theory, such as the "emotion" and the aesthetic characteristics of words often mentioned in Family Order Shi Shuo. The only mention of "the beauty of weak morality" is just a passing, and it does not add memory.
I beg to differ from these comments. In my opinion, since the theme of the film is "Ye Jiaying", we should not deliberately focus on any aspect of her according to the subjectivity of the group. What is most needed is to treat her equally. Poetry, theory, contribution, daily life, trivial matters and even parents' shortcomings are all equal. No matter how long anyone stays in this world, it also stems from her "unable to stay" life itself.
More importantly, Ye Lao, who put forward "the beauty of weak morality", has already deeply realized the life force generated in forbearance and tolerance; And she believes that the subtlety of poetry lies in "feeling", and she must know the beauty of sorrow-just look and feel again.
With calm and gentle visual language, the pieces of information about her are displayed in the film, so that every audience can learn different impressions from it. Among them, the deeper level can make the self ready to come out react chemically with objective information, producing precious "feelings"; Simple people can at least get the baptism of beauty in an instant, get a vague touch, and then leave some seeds in their hearts-both of them achieve the same goal through the outside world, which is not completely in line with the "beautiful way" identified by Elymus.
Deep beauty cannot be given directly, and it will never be seen. We need to touch them gently, stare for a long time and meditate slowly to find them.
Such an elegant and beautiful film has something in common with the cooking philosophy of "good wine and good food". Things that are beautiful enough are often hidden in the plain.
Step 3 build a house
The bedtime book these days is Building a House by Wang Shu.
When I was a child, when my knowledge of first-class hotels only stayed at Beijing Hotel and Hilton, I chatted with my classmates and said, "My ideal hotel should be located on the highest floor of a city skyscraper, overlooking the city when I checked in."
When I grow up, I find that my imagination has come true, and many hotels are taking this road.
In fact, the high-rise building of this hotel is also one of the products of the commercialization of architecture in the last century. In Kengo Kuma's eyes, they are "arrogant", "arrogant" and "stubborn". He is very critical of Corbusier's creative way, and together with other architects, he tries to weaken the shell of modern architecture and make it more low-key and humble.
Kengo Kuma Guilaoshan Observatory.
It is relatively easy to make abrupt things, but it is undoubtedly superior to integrate with ancient freshmen. When architects put a low profile for the building, learn to pay tribute to the rules and regulations of traditional buildings, and then skillfully use local materials to make the building and the place have a deeper connection ... The final product after the superposition of these methods has the possibility of becoming a famous first-class work of this era.
But all this is not enough for China architect Wang Shu, who won the Pritzker Prize eight years ago.
In his eyes, such a building still lacks a little "interest".
When designing Ningbo Museum, Wang Shu conceived a mountain-like outline for the building without long consideration. The height is strewn at random, winding connecting the walking trails inside and outside the museum, and also corresponding to the irregular winding mountain road.
When people step into a museum, it seems as if they are at the foot of a mountain, with a winding path leading to a secluded place, secretly looking at the sun, or with a bright future ..... With the constant change of position, their perspective in front of them is also changing.
Ningbo Art Museum has a similar design concept, Wang Shu.
We are attracted by nature, go to the mountains and get some positive emotions from the logic of mountains. And when we come to such a modern museum building, we can actually gain similar feelings.
This kind of mood, for us in China, is particularly important.
Compared with many architects who think about the functionality, regionality and aesthetics of buildings all day, Wang Shu thinks more about the "interest" in daily life. Looking at the ancient scenery, we can know that this kind of interest is an emotion rooted in the life of China people, and it is also our "culture".
Looking back on landscape painting, it is natural that the houses where the ancients lived were generally relatively small. In contrast, the nature outside the house is always fascinating, with streams, waterfalls, lakes and seas, elegant pavilions and valleys ... The ancients lived in a square place, but their eyes were full of the world. "I wander at the beginning of everything", get inspiration from nature, and build my own spiritual paradise in nature, which is related to the interest of heaven and man.
Taoyuan Scenic Area, (Ming) Shenzhou.
Time flies, but imagination remains the same. Not long ago, I accidentally chatted with my friends about the hotel. "In the future, hotels should greatly increase the proportion of' nature', but the living space of guests can be greatly reduced. For example, a 60-square-meter room only needs 15 square meters to release the luggage and bed, and another 45 square meters can be designed as an indoor garden with a retractable roof. "
Considering this, I also try to find "interest" in my immature imagination. Whether it is the layout of mountains, water and houses in Chinese painting or the spatial layout of hotel rooms, it is always difficult to distinguish the main part from the secondary part. People often walk into the puzzle of thinking because of inertia and stubbornness, so that interesting things are gradually scarce like the morning star in winter.
China Academy of Art Xiangshan Campus, Wang Shu.
"Building a House" also tells a story-1996, Wang Shu saw a sketch drawn by Huo Keni from an old English book: the picture-in-picture life in Guilin. "The foreground of the painting is the cement fence on the balcony of the hotel where he lives. A caterpillar is crawling on it, colorful and subtle. The landscape of Guilin, which China painters have always loved to paint, is just a few strokes and becomes the background. "
Although Guilin's landscape is beautiful, it is not the only one worthy of attention. Seeing the interest in caterpillars for a moment is even more worth staying. This is not a profound truth, but there are always very few people who know it well.
Huo on the balcony, the ancients living in huts in landscape paintings, and us wandering in the "mountains" created by architects all found some interest at a certain moment. Interest can never be seen, such as ink infiltrating into tissue paper; Interest is hidden in everything, like air and wind, as well as dust and clouds. Architects pave the way for us to experience fun, and we can get what we want with a little attention, which is also a great significance of "creation".
Relatively speaking, Yokoyama Taikan, Kaii Higashiyama, Ma and Mo Yan are not keen on this interest, while Qi Baishi, Wang Shu and Lushan people are obviously obsessed with it. Interest is not everything. Pursuit or not is sometimes just a choice.
Do you still remember every day in the past?
In Chinese class, teachers always criticize students who write compositions as "running accounts", which seems to be a major feature of low-level compositions. Understandably, in the stage of shaping personality, words are often used to consider whether writers have the ability to express their views.
Leaving this stage, in fact, the running account itself has irreplaceable charm.
Imagine, when you look through the diaries of many years ago, are ordinary people more willing to see those metaphysical life concepts, beliefs, views on major events, and what they saw in large-scale travel ... or are they more willing to recall how they cooked a meal, talked with their deceased relatives about their indifferent days, which street they took, whether the city was warm or cold, whether it was snow or rain in the evening?
Autumn has passed again.
As far as I am concerned, the memory of the latter is more precious, and the necessity of recording is far greater than that of the former. Compared with unforgettable events, the charm of small life itself is irresistible, which makes me convinced that I really exist in such a world. There are indeed so many small but vivid "connections" with the world.
Lack of ups and downs, ordinary enough, but very uniform, full of daily trifles, is a personal epic. For example, our dreams are surprisingly fragmented and stubborn, just like a person taking out a subconscious puzzle and washing it, making it wet and deformed, trying to put it together, and half of them are unwilling to throw it into the garbage. Needless to say, this person can only be ourselves.
In short, everything happens for a reason, and everything is far from here.
In a meal with good wine and good dishes, diners are immersed in every small link, including inheritance, transfer, red flowers and green leaves. They are not indoctrinated by others, but left to their own judgment. Finally, we feel the direction of the waves in the seemingly calm lake water, which is the first-class way of a good restaurant, and it also contains the familiar and implicit aesthetics of the East.
In "Like a Water Moon in the Hand", those pictures are piled up and broken, which is a world created by the director for the audience. "Analysis" should also be done by ourselves.
Restaurants, like movies, should have the consciousness of "presenting" and give up the temptation of "leading".
I don't want to state "all things are equal", and I don't want to advise "paying attention to the beauty that is often overlooked"-instead of pursuing the so-called equality, it is better to temporarily put aside the great yearning and fascination with the rules, occasionally "reset" my heart like an empty hut, and then try to experience the dribs and drabs that flow around the visible and invisible places. The necessary condition for being interesting is always "from the heart".
The mountain wind suddenly rose, and we wrapped our coats tightly. The wind stopped and the mist dispersed as promised. The ash trees were covered with autumn frost, and the songs of unknown birds never stopped. I looked at the rolling mountains and suddenly remembered the silence last night and the only proud star on the horizon.
The picture in the eyes is changing every second, and this change is paying.
Xiekaka
Photography pear flower
Ningbo Museum Image from Su Xiaoluan