Core Viewpoint - The article emphasizes the importance of maintaining the essence of Chinese opera while integrating new technologies and methods, advocating for a balance that does not overshadow the human element with excessive materialism [2][4]. Group 1: Issues with Excessive Stage Decoration - Excessive stage decoration limits the actors' performance space, hindering their ability to showcase their skills, which could lead to a degradation of performing arts over time [4]. - Complex stage setups pose safety risks for actors, as navigating intricate designs can lead to accidents [4]. - The essence of drama is compromised when the focus shifts from the narrative to the material aspects of stage design, detracting from the intended artistic expression [4]. Group 2: Impact on Audience and Resources - Overly cluttered stages diminish the audience's aesthetic appreciation and imagination, as a filled stage restricts the space for creative interpretation [4]. - The financial burden on theater companies increases due to high production, transportation, and storage costs associated with elaborate stage setups [4]. - The environmental impact of excessive stage decoration contradicts the current societal push for green practices and resource conservation, which is essential for ecological civilization [4]. Group 3: Cultural and Artistic Significance - The article highlights that the traditional Chinese aesthetic values simplicity and the ability to evoke imagery through minimalistic settings, which is a hallmark of Chinese opera [4][5]. - The global theater community has recognized the beauty of Chinese opera's ethereal and suggestive style, which contrasts with the trend of elaborate stage designs [5][6]. - The focus should remain on the actors' performances, with all stage elements serving to enhance their artistic expression rather than overshadowing it [6].

Core Viewpoint - The exhibition "Zhidao Gongxing - Wu Yueshi's 80th Calligraphy and Painting Exhibition" at the National Art Museum of China reflects the artist's long journey in the art world and his humble acknowledgment of the vastness of Chinese painting [3][4]. Group 1: Artistic Philosophy - "Xieyi" (freehand brushwork) is a significant cultural tradition of the Chinese nation and a core characteristic of Chinese art, embodying the understanding and expression of the universe and life [4]. - The essence of "Zhidao" (the ultimate way) is derived from classical texts, emphasizing the authenticity of cultural and artistic pursuits [4]. - "Gongxing" (practicing) is highlighted as a method to gain true knowledge, with the artist's works serving as footprints of this practice [4][5]. Group 2: Personal Reflection and Growth - The artist expresses gratitude towards mentors who guided him through the rigorous teachings of traditional Chinese culture, which shaped his artistic journey [3]. - Despite reaching the age of 80, the artist maintains a learner's mindset, recognizing the continuous pursuit of knowledge and understanding in art [5]. - The artist draws inspiration from historical figures, reflecting on their humility and dedication to their craft, which serves as a benchmark for his own artistic aspirations [3][4].

这并非"老子"第一次走向世界。吴为山以老子为主题创作的系列雕塑，作为文化的使者，此前曾亮相联 合国总部，走进意大利国家美术馆，并在法国、英国、韩国等国家展出或落户。这些作品如一颗颗种 子，在世界多地生根、发芽，并逐渐开出美丽的文明交融之花。如今，《紫气东来·老子出关》来到莫 斯科，既传递着中国艺术家对中华优秀传统文化的思考，也见证着中国美术积极参与世界对话、中国文 化持续走向海外的步伐。 吴为山与俄罗斯的缘分很深。青年时代，他的恩师徐明华曾负笈列宾美术学院；此后，他多次踏上俄罗 斯土地，与艺术泰斗采列捷利、西多罗夫等结下深厚情谊。2016年，俄罗斯艺术科学院将"金质奖 章"与"荣誉院士"称号颁予吴为山，这是该院建院260年来首次将两项殊荣同时授予境外艺术家。这不仅 是对其个人的褒奖，更是中俄艺术交融的明证。 雕塑既是艺术作品，也是文化桥梁。2024年，吴为山创作的雕塑《高尔基与鲁迅的对话》在俄罗斯驻华 大使馆落成，两位文学巨匠、思想巨人并肩而立，定格中俄两国文明的璀璨时刻，寄托着文化交流互鉴 的美好愿景。今年，《紫气东来·老子出关》在莫斯科落成，再一次为促进两国民心相通写下新注脚。 相知者，不以万里为远。期待 ...