Jiang Zhixin's Artistic Perception

Known as the father of Qian Shan and the source of thousands of waters, western China has rich loess plateau, rushing Yellow River, pure snowy areas, wild yaks, vast Gobi and stubborn Populus euphratica. That's where I was born and raised. It nourishes my life and gives me artistic passion. Its silence and exuberance have always touched my soul and made me unable to control myself.

Learning from the law is naturally the intuition of life, and the mind is born from the law. I waved an affectionate brush and painted this eternal holy land in my heart. I grew up at the foot of Kongtong Mountain in eastern Gansu. Surrounded by mountains and waters, backed by Kongtong Mountain, facing Taikongtong Mountain, Jinghe River, a tributary of the Yellow River, goes around Kongtong Gorge from Guyuan Old Longtan. As the saying goes, "relying on mountains to eat mountains", I have learned the skills of chopping wood, weaving baskets and collecting herbs since I was a child, and I have a deep attachment to the land where I was born and raised. After graduating from college, I am determined to show this land. I have been to countless famous mountains and rivers, and I have always been excited about it. I have seen the landscapes written by painters of past dynasties, and I sincerely admire them. However, the western part of the motherland, the birthplace of the Chinese nation, was inadvertently left out by painters. The vast, vigorous, vast and desolate west is rich in cultural heritage. Take Gansu as an example. The painted pottery culture in Dadiwan has been around for 8,000 years. Yangshao culture has a history of more than 4000 years. In addition, there are rich historical and cultural relics here, such as Fuxi Nuwa, the first Taoist mountain in China, Kongtong Mountain where Huang Di asked Guang Chengzi, Dunhuang Mogao Grottoes, Maijishan Grottoes, etc., which contain exquisite paintings of Qin, Han, Tang, Song, Yuan, Ming and Qing dynasties. With the passage of time, the western regions, which were once prosperous because of the Silk Road, have also become lonely in recent years. Modern civilization has provided us with unique conditions, and our generation has really caught up with the good times. Traveling to the western regions is no longer a dream. As a modern artist, it is my mission and pursuit to be rooted in the fertile soil of life and express my familiar emotional areas.

First of all, my creative goal is to draw the loess plateau and show the charm of the plateau. I have worked in the regional group art museum for more than ten years. During this period, I have traveled all over the mountains, rivers, ravines and valleys of my hometown on foot and by bike many times, sketching, accumulating materials, copying famous paintings and learning traditions. I shut myself in my room and spent two years painting the Song Dynasty and Shi Tao's works. However, I have never been able to find a technique suitable for expressing the western regions in the tradition. In my confusion, the proverbs of sages, "There is no fixed method for law, and there is no fixed method for law" and "Nature is made by foreign teachers, and the heart comes from China", suddenly made me realize. I have studied western painting and have modeling ability; Practice brush calligraphy since childhood, with pen and ink experience; Studying in Beijing opened my eyes. So I learned from others, went my own way, and painted a number of works that showed the high slope of loess with my own feelings. 1987 1 month The first solo exhibition "Jiang Zhixin Painting and Calligraphy Exhibition" held in China Art Museum was well received by the theoretical and artistic circles, which strengthened my belief. After painting the loess high slope, I began to aim at painting the Yellow River. I have been to Hukou many times, seen Hukou Waterfall, heard the surging waves of the Yellow River, observed the Yellow River in different periods, and painted a series of Yellow Rivers from Hukou in Shanxi to Sanjiangyuan in Qinghai. I use my own methods to express the various forms of the Yellow River at will, either Wang Yang is wanton or slowly flows eastward. In the works of,, and Xie, it is a very personal attempt to integrate the technique of weeds into painting. Therefore, these works have a unique style and have been well received by the art world. Xie Tian Copper Liquid was also selected for the centennial China Art Exhibition. I remember that Liu Xiaochun, a famous art critic, once commented on my series of great landscapes in the article "Passion for Waves": "It can be said that it is a dragon, full of vitality, ingenious and natural. The turbulent waves in his works have achieved a very rare integration of form, pen, ink, color, emotion, scenery, meaning and context. Those who have reached such a level with freehand brushwork and romantic passion are unprecedented. " 1988, I transferred to Gansu Provincial Painting Academy. Since then, I have often gone to Gannan Grassland, the Cape of Good Hope in Ningxia, Helan Mountain, Guashizhai Grassland in Qinghai, cambra in Yunnan, Yurong Snow Mountain, Guangyuan, Liu Ma, Shangri-La in Aden and other places to collect wind. Maybe because I am a cow, I have a soft spot for cows. First, I drew the yellow cattle in Longdong. After arriving at the grassland, I was deeply attracted by yak. In order to draw yaks in snowy areas, I spent two Spring Festival in snowy plateau. Yak is fierce and has long hair, but it is a black spot from a distance. In winter, after a heavy snow, the yak in the snow is like a moving black chess piece. Since then, I have exhibited paintings in the snowy area, mainly with yak as the theme. Once, when I was sketching in Gannan, a large group of yaks came at me. Like a chariot, I quickly hid behind a big stone and yaks passed by. For this reason, I drew a picture of chasing the sun and painted yaks everywhere. Yak can't live without snow, grassland and my heart. This is an important theme in my painting. I have been to the Qinghai-Tibet Plateau many times to collect wind, and I am full of curiosity about that mysterious place. Ganoderma lucidum in Tibet has beautiful scenery in the south of the Yangtze River, such as fairyland on earth; Ali's mountains and rivers are desolate; Yushu in Qinghai is refreshing. I rolled on the grass, and the flowers and plants that I overwhelmed soon grew up again. Wild yaks are naive, amiable and extremely flexible. Just now, it was still being touched obediently, and then it flew and jumped on the cliff. If it wasn't for the mountain reaction, I would really forget about it.

Drawing sketches and taking photos when collecting wind have accumulated a lot of materials, but when creating, you mainly rely on your eyes to remember and your own true feelings. Every time I return to the studio, the first thing I do is to show my unforgettable feelings. Shangri-la makes me unforgettable. In the summer of 2002, on my way to visit heaven in Aden, a rice city in Sichuan and Tibet, I stayed in the celestial realm with an average altitude of 4600 meters for 99 hours. The mountain responded that this demon sent me to the gate of heaven twice. When I woke up for the second time in Beating the Devil, I knelt beside Pearl Haizi and made a sincere wish! As long as I go back alive, I will definitely show Shangri-La to the world. This is my resurrection after nirvana, and those who can understand will be reborn. Chasing Shambhala is the record of this unforgettable experience. The magnificent and beautiful Xinjiang will be the place where I will focus for the rest of my life. I have been to Xinjiang three times, and the Populus euphratica forest in northern Xinjiang gripped my heart like a magnetic field. I painted the call of life and the nirvana of the phoenix, showing the immortal spirit of Populus euphratica. In 2006, I went to Pamirs again. On the night I came back, I took the time to express my feelings for the first time and vent the objects hidden in my mind in a freehand way. The technique of describing the western regions is my original creation, but my creation cannot be separated from learning and absorption. China's calligraphy is an inexhaustible treasure, from which I have benefited a lot. Shi Lu is a representative figure of modern western painters. I like his works "Moving to Northern Shaanxi" and "On the Way to Nanniwan" very much. His freehand brushwork inspired me to express the western regions in a new way. Fortunately, I met three teachers that I will never forget. My teacher, Wang Wenfang, created the wet painting method, which opened and closed the composition. Teacher Jia Youfu perseveres in creation and strives for perfection; Zhou Shaohua's great momentum, connotation and care have benefited me a lot, and nourished me when I couldn't let go of my art. At the same time, European painting art is another important aspect of my study. I have been to some European countries, visited and studied western art a lot, and absorbed what is useful to me. Let yourself be tolerant, learn from others and cultivate a more individual artistic style. "There is no fixed law, and it is illegal.". The general idea of my artistic creation is to integrate artistic pursuit with heaven and earth in accordance with the philosophical thought of "holding one for the world" originated from Laozi, so as to show the spiritual connotation of the inner world and the outer world, the vast vicissitudes of life in the majestic momentum of the western regions, the profound culture accumulated in rich Cang Sang and the lofty spirit of harmony between man and nature. In the process of creating landscape paintings in the western regions, I cultivated and repaired, took a few steps forward, thought back, summarized and sorted out, and then moved on. The formation of my painting language is a long process.

From the initial closed and rigorous, to the straight and open pen and ink, it is beautiful; The combination of landscape image and pen and ink rhythm, from image to image, is my lofty singing and enthusiastic praise for landscape. This way of discourse contains abstraction and concreteness, and is open and inclusive, which is the concrete embodiment of "there is no fixed method for law, and there is no fixed method for law" in my artistic practice. In August, 200012000, I went into the China Art Museum for the second time and held a freehand brushwork "Journey to the West-Jiang Zhixin Art Exhibition" in the main hall, which won great praise. Time and time again, I have strengthened my faith. I appreciate a couplet by Chen Gong, a madman, and hang it in my studio as the motto of my artistic pursuit. Dream catchers on the artistic road have two distinct existence states, one is a person who goes to heaven and the other is a person who goes to hell. I belong to the second category. The west is a place where predecessors seldom go, so I want to discuss topics that predecessors have not set foot in. Artistic creation is like a relay race. You must pass the ball stick by stick. Learning from nature, sticking to life, expressing life and living with heart are my artistic complex all my life. Don't follow the fashion in painting, it's a lonely road. If you choose, you must be hardworking and bear loneliness. I am the son of a farmer, and my parents' hard-working qualities run through my veins. My father often told me that "stupid birds fly first", "the weather is favorable and the waterways are paved", and "you must be hard before you strike the iron". Originally, it taught me to be a man, but it actually played a role in my artistic creation. I accumulated more and practiced hard, making my works restrained and confident in the unrestrained. Whenever I go out to collect folk songs, Lao Zi and Zhuang Zi's quotations are necessary at hand, from which we can learn the way of life and art. All artistic means should closely follow the theme of "giving one for the world" and serve the whole. Contemporary artists should be the awakening of modern spirit, and the painter's pen and ink, language and form should have modern aesthetic feeling. Art forms Tao, and Tao is natural. Cultural spirit is the body, and pen and ink techniques are used. Whether using lines, brush strokes, accumulating ink or splashing ink, it is just a means to express ideas and opinions. Therefore, how the painting language has humanistic spirit and national characteristics is a problem that I often think about. The establishment and development of China's landscape painting is rooted in the establishment and development of China's landscape culture view. From the contention of a hundred schools of thought in the Spring and Autumn Period and the Warring States Period to the integration of Confucianism, Buddhism and Taoism in the Han and Tang Dynasties, China people's unique concept of "harmony between man and nature" was formed. The basic meaning of "harmony between man and nature" lies in the unity of nature and human spirit, and the communication and integration between man and nature is achieved through the mutual integration of subject and object. As a symbol of cultural thought, landscape painting can express people's unique thinking characteristics and space-time characteristics of understanding nature because of its inclusiveness, grandeur and profound artistic conception. The ancients said, "Look at the image with a clear mind" and "understand the spirit".

Whenever I am alone in the western land, I understand the infinity of nature with an ethereal mind, transcend the external form of objective nature and dig deep into the inner essence of the creative object, I feel that I have captured the artistic spirit of the East, so that I can consciously pay attention to this philosophical rule when dealing with the relationship between reality, black and white, dryness and wetness and lightness in technical operation. When I draw, I have no distractions in my heart. No matter what I want, or I am undressing, or I am in a wild state, I can make my emotions and passions brew to the extreme, from tangible to intangible, from concrete to abstract. After the integration of human spirit and natural realm, a subtle mental state is produced, which makes people unable to be themselves. Forget your heart and hands, regardless of things and me, and achieve the unity of heaven and man. The process of painting is also a process of physical and mental baptism. Learn the law naturally, be fascinated, and express it directly in your chest. I hope to convey this understanding to people through my paintings. Before I stop painting, I can forget the noise and impetuousness of the world, stay in the artistic conception of painting, let my mind fly, embrace nature and get a moment of quiet habitat. Zhuangzi's "Journey to the North" said, "Know the direction and govern by doing nothing." Those who know don't say; People who say it don't understand. In order to show it to the west, I have tried my best to find it up and down. I don't know, how far is the spiritual path in the west? However, I know that the pursuit of transformation lies in never giving up. I'm going to keep going.

Phoenix Nirvana

In the face of life without death, death without falling, but becoming immortal, rotten silicon turned into crystal clear agate gem tree, I suddenly realized: what is rebirth after bathing, what is sublimation of soul limbs, and what is the true meaning of "color is empty, and emptiness is color". I visited Populus euphratica, the patron saint of Gobi, with awe. In northern Xinjiang in September, the sun is shining, and cars are running on the endless Gobi Desert. Wherever the car arrives, it will start the lying camel. They suddenly stood up one by one, rippling orderly, leaving us with rows of distant figures. Before we finished enjoying it here, the camels started again ... this way did not disturb the creatures in the Gobi. Arrive at Mingsha Mountain at five o'clock in the afternoon, take off your shoes, roll up your trouser legs, step on the continuous fine sand and enjoy the purity of nature. When I look back at the footprints I have passed, I feel that I have destroyed a part of this beautiful nature. The car continued to move forward to Qingshui Spring, and I was particularly excited to see the clear spring on the Gobi Desert. I first took a sip of sweet and clear spring water, washed away the dust on my face and felt very relaxed. Spring is full of reeds, reflecting the setting sun swaying in the wind. It's a bit like a reed sweeping away the dust on the surface of the spring, and the water at the bottom of the spring has disappeared without a trace. While speaking, two antelopes suddenly appeared in Lu Cong, and I immediately aimed the camera at it. At that time, it was already late. The scenery is beautiful all the way, but the main destination is Muji Populus euphratica forest. When the sun went down, I asked my master to step on the gas and catch up with the setting sun. In the desert, the fastest speed is only 80 yards per hour. I am eager to see the long-lost Populus euphratica forest as soon as possible. After a brake, I quickly got down, picked up my Nikon F4 and ran to Populus euphratica. I looked at Populus euphratica from top to bottom with different expressions, and my first feeling was: which is Populus euphratica? ! It is clearly the site of entering the ancient battlefield! Exactly, like a battlefield! ! These lying and upright Populus euphratica are like naked soldiers' bodies, and I was shocked by their shapes ... It is simply the ancient battlefield of primitive people, the battlefield where Xuanyuan Huangdi defeated Chiyou, and there is a gloomy feeling that people are dead. The sun hung on the edge of the sky as if waiting for me, dyeing the surrounding clouds red and reflecting them in the Populus euphratica forest, adding a layer of light and shadow to Populus euphratica and making its limbs look black and red, as if they were burning! Out-of-body experience gives people the feeling of rebirth. When I realized that this is really a once-in-a-lifetime landscape, I suddenly realized that I was aiming at them, press the shutter and click! Click … when the ninth picture is buckled, the afterglow of the sun and my lens are completed at the same time.

As night falls, I lean against a tall and straight Populus euphratica, deeply feeling that "life will last for more than one autumn"! Populus euphratica has lived in western China for 1.37 billion years. The Tarim River is the most prosperous, followed by Ejina Banner, but the Populus euphratica forest on the wooden base is the saddest, the most spectacular and the most intriguing. I grabbed the rough skin of Populus euphratica, pushed it hard a few times, and muttered: ants shook the tree ... when we returned to the tent, we felt hungry. Under the lantern, we were very hungry, drinking Ilite and chewing Xinjiang South Cake. I've been excited all day. As soon as I lie down, I snore like thunder, and I can't finish my dreams. The last dream was that I took my dog Beibei to Populus euphratica, but I always couldn't catch up with Beibei who ran in front of me. Wake up at 4: 30 in the morning and turn on your cell phone in a hurry. At this time, the wind whistling outside the account. I quickly got dressed and went out to watch. Although the wind was strong, it didn't raise dust. The cool wind blows, and I look up at the stars. This trip to Xinjiang is very different from the trips to Sichuan, Tibet and Aden. No altitude sickness. I feel an endless energy. I lay in bed all the way yesterday, listening to the wind and thinking about the scenery. I involuntarily lit the lantern in front of my head, opened the sketch book and recorded yesterday's events. September 1 1 was an unusual day that shocked the world. It is also the anniversary of my pursuit of Hu Yang's epiphany to the true meaning of "phoenix nirvana"! Unconsciously, a ray of morning light has got into the tent. I quickly packed my luggage, put on my camera and strode to Populus euphratica. Looking at all kinds of Populus euphratica, while looking at the East, watching the rising sun shine on Ran Ran, I frantically pressed the shutter to capture the miracle of this moment in the colorful forest. At this time, the ground is almost the same soil color as Populus euphratica, and it is seamless. The ground of Populus euphratica forest forms a solidified body, which looks soft, but it is hard and alkaline when stepped on. Due to long-term water shortage, underground alkali overflowed the surface, forming a white saline-alkali land.

Populus euphratica can survive to this day, mainly because it is rooted more than 20 meters underground, absorbs nutrients from the soil under the sand, and then grows into a stout body, which can resist wind and sand, become a warrior to defend the Gobi, and evolve into a living fossil of history ... After bidding farewell to the wooden base Populus euphratica forest, we went all the way south, crossed the vast Taklimakan desert, and came to Aksu area in southern Xinjiang, which is a very beautiful and rich area. Under the guidance of friends, we went to Kuqa University. The peaks overlap and the valleys compete with each other. Some rocks, such as broken bamboo shoots, are single or double, or in groups of three or five, or condensed into piles and rows of mountains with different shapes, as if they were handicrafts decorated by nature. Whether looking down or up, they are the most natural and wonderful treasures. The mountains in southern Xinjiang are so unique! Standing in front of the wonders of nature, I suddenly realized how small and helpless I am ... Kuqa is a grand canyon made of red sandstone, with a total length of about 10 km, a width of 12 m and a narrowest point of 60 cm, which makes it difficult for fat people to pass. Looking around, the mountains on both sides seem to be broken, only the peaks can be seen, and the strange blue sky and white clouds in the cracks, such as the reflection of the sea, make people dizzying. It really has the feeling of "looking across the ridge into a peak". Although Kuqa is so mysterious, I still think of Populus euphratica. It's like meeting a bosom friend, pestering me and telling me my grievances. It seems to be the magnetic field of my art, which attracts me tightly. A sense of responsibility arises spontaneously, Populus euphratica! I fear the patron saint of Gobi, and I love you! I want to shout for you! I feel a little impatient. After I went back to Beijing and drew two Populus euphratica by feeling, I stopped developing the film. I didn't expect my photography to be so high, and so was a professional photographer. Haha … Seriously, this is a gift from nature. This magnetic attraction of the unity of man and nature has firmly adhered my heart to Populus euphratica. I often can't sleep at night and write for it. I read a lot of information about Populus euphratica before, and thought of the theme of "phoenix nirvana" for it. I want to use this theme to express my favorite Populus euphratica. Only when I saw Populus euphratica did I understand: what is life, what is spiritual immortality, what is nirvana and what is reincarnation. I seem to suddenly realize ... Populus euphratica is not just a tree, it is a living fossil of history! Is the backbone of China people! It symbolizes the spirit of the Chinese nation! It has experienced Cang Sang, its arrogant personality and its own way. It has no regrets, it has changed greatly. With the historical rings, silicon has become crystal clear silicified wood. This is nirvana, the great reincarnation. Silicified and silicified, and new life appeared. At first glance, it looks like willow leaves. Once it grows into a small tree, the leaves become as round as copper coins. Locals call Populus euphratica Platanus acerifolia. There is an old saying in China: "Keep the phoenix tree, and the phoenix will come." .

Therefore, it is everyone's unshirkable responsibility to care for Populus euphratica and protect nature. Only when Populus euphratica leaves, Phoenix will naturally come back. Spring is green, autumn is golden, leaves come out and fall, year after year, year after year ... I am calmly and madly creating Populus euphratica. It's not just pen and ink spilled on the paper, but also tears, feelings and artistic essence that melt into the depths of the soul and pour on the paper! Phoenix nirvana is also my eternal theme! It is my new long-cherished wish! Thanks to all the friends who helped me to go to Xinjiang and provided me with convenience when collecting the wind in Xinjiang.

Visit Tang Tian

Facing the dreamlike Shangri-La, I think, if the soul can really experience it out of body, then my seven orifices are the holes of bagpipes, and I must have heard its voice, which is a song that only I can understand. This trip to Sichuan and Tibet, with countless feelings and aftertaste, will be injected into my trip to Shangri-La, and those who can understand will be reborn. Sweet circumcision, my God!

In the midsummer of 2002, at the invitation of my good friend Fang Lixin and Chengdu State Taxation Bureau, I went to Sichuan, Tibet and Aden to pay homage to Shangri-La, a sacred place that I have been longing for for for a long time. Depart from Chengdu at 8: 00 am on the first day, pass Luding Bridge and Dadu River, and arrive in Kangding County at night 12. The next day, we went to Litang. However, all the joy was gradually invaded by altitude sickness. Driving at an altitude of more than 4000 meters above sea level, the "King of the Desert" off-road vehicle seems to be as anoxic as we are, bumping hard on large and small stones.

Therefore, I feel very lucky on this trip to Sichuan and Tibet, and I feel that nothing will happen. Who knows, this altitude sickness is so fierce. At night 1 1 When I arrived in Litang, I was depressed like a deflated ball, vomiting and diarrhea, and I had a terrible headache. My temples were pounded like two drums. My heart beat faster, and it seems that I will jump out at any time. I suspect that this is not my body anymore. I was knocked down. All night, I was wrapped in a kind of extreme pain and fear, and I felt my soul escaping from my body bit by bit. On the third day, we set out for Daocheng, passing Guanshan Cliff and Haizi Mountain. After a bumpy day, I arrived at the campsite at night 12. The reaction on the plateau of more than 4600 meters still haunts my mind, and my body is as weak as a reed. Fortunately, I can still stand up, but I often feel dizzy. Hazy, I secretly pleased-I can see that this is a gift from Shangri-La. At night, altitude sickness is like a heavy hammer, which keeps beating me and making it difficult for me to fall asleep. Because of this, I was able to sort out my decades of artistic life. Unexpectedly, it's a little more than my thinking in Beijing studio. What else is there? This indescribable thing is sometimes clear and sometimes vague. It has been surging in my heart. I think I'll catch it. We set off at seven o'clock on the fourth morning, drove for more than six hours and began to enter the Aden border. Looking from a distance, I saw three snow peaks in the mountains, dotted with blue sky. The first of the three snow peaks is called "Fairy is the sun", which means Guanyin Bodhisattva in Tibetan. The other two words "Yang Maiyong" and "Shanuoduoji" mean Manjusri Bodhisattva and Maha-Bala respectively in Tibetan. According to legend, these three mountains were named by Master Lotus, the founder of Tibetan Buddhism. I was so excited that I forgot my discomfort and watched it for a long time. It is not enough to use words like "beautiful" and "spectacular".

Shangri-la needs people to feel, to be in awe, and to meditate while excited. At that moment, I knew that this would be another source of my creation. To reach the foot of the three snow peaks, you need to ride along the valley for more than three hours and then walk for two hours. The horse passed through the dense forest and three mani piles that looked like pyramids. It is said that this is the spiritual place of three eminent monks. In order to commemorate them, most local believers will put stone tablets engraved with scriptures on them to show their respect for the monks. The forest path rises slowly along the crystal clear river, the green grass along the river is covered with irregular and gorgeous patterns, and the red willows beside the stream sway with the wind. Looking up at the mountains on both sides, there are thousands of towering walls and mountains, some like lotus flowers, some like dragons and tigers, some like heavenly daughters, and some like Buddha. All these scenes are so magical and unpredictable under the refraction of sunlight. Isn't this heaven? Like Joseph? Locke said, "Where else in the whole world is such a landscape waiting for artists and explorers?" Nature's uncanny workmanship gave my soul a solemn baptism. It's getting closer. In front of the big stone that Joseph took pictures of, I watched, sketched and took pictures while walking. In the evening, we live in a tent and smoke. As a result, this paradise also has fireworks. Night comes quietly, and my altitude sickness is still fierce, especially when I first entered the fairyland during the day. Because I am so excited, the whole person seems to be falling apart. I closed my eyes and meditated on the Heart Sutra. I can't sleep again and again. This is the fourth night, and in a trance, I feel golden light shining in my eyes. I seem to see myself lying in bed, suddenly floating into the air, overlooking three snow peaks, like buddhas and bodhisattvas, like snow-capped mountains. Suddenly, I was reflected in Haizi in front of the mountain. I can fly! I let out a cry in my dream and woke up immediately. Is this really an out-of-body experience? I feel like I'm really dying! I want to call my son and tell him to live a strong life when his father is away. But the cell phone has no signal. I thought a lot all night. What is wrong with me? I have never been sentimental or self-pitying. If I suffer from illness, it is understandable and tolerable, but if I am afraid of death, it is so strange and incredible for a western man. The night and altitude sickness in Shangri-La lengthened the time.

When all is silent, I listen to my heartbeat and suffer in this sleepless night. I think if you come to Sichuan, Tibet and Shangri-La, you will lack something without altitude sickness. At 4: 35 in the morning, an unknown animal outside the tent woke the birds in the tree and they sang. This cry for a happy life has injected me with a trace of joy and hope. I slowly walked out of the tent, sat on a big stone opposite, breathed out the morning air in Shangri-La, felt better gradually, and began to look up at the cliffs around me. White clouds are wrapped around the "Yangmaiyong" mountain, like a white Hada. At this time, the water does not flow but the mountains turn, and the clouds do not move but the sky turns. Watching, my eyes were black and I couldn't move on the stone. When I opened my eyes, my eyes suddenly lit up. The morning glow dyed the top of the mountain red and gradually spread over most of the mountain. The white clouds on the top of the mountain turned into burning torches. When the sun shines on me, my heart is full of light and heat. I am alive again! The whole "Yangmaiyong" is shrouded in blue sky, white clouds and orange light. I stood there in ecstasy, feeling it standing there waiting for me to understand and express. We walked to the foot of Xuefeng, where the fairy was the sun, and saw the pearl Haizi as a mirror, reflecting the snow-capped mountains inside. This reminds me of my dream of flying over Haizi the night before, and I can't help scooping up a handful of water. The water slipped slowly from my hands, and the shadow of the mountain slipped from my fingers. At this time, the Tibetan friend said, "Make a wish, it will be very clever." I put my hands together and put them on my forehead. To this end, it has become my greatest wish to show Shangri-La to the world.