Legendary rap group Wu-Tang Clan to kick off final tour in Baltimore
The legendary rap group — made up of RZA, GZA, Method Man, Raekwon, Ghostface Killah, Inspectah Deck, U-God, Masta Killa and previously, the late Ol' Dirty Bastard — will kick off their final tour this summer.
The "Wu-Tang Forever: The Final Chamber" tour launches June 6 in Baltimore at the CFG Bank Arena and concludes on July 18 at Philadelphia's Wells Fargo Center.
The tour will also hit Raleigh, North Carolina; Tampa, Florida; Atlanta; Fort Worth, Texas; Houston; Austin, Texas; Tulsa, Oklahoma; Phoenix; Ontario, Canada; San Diego; Los Angeles; San Francisco; Sacramento, California; Seattle; Vancouver, Canada; Portland, Oregon; Greenwood Village, Colorado; Chicago; Detroit; Columbus, Ohio; Boston; Laval, Canada; Toronto; New York and Newark, New Jersey.
Wu-Tang Clan will be joined by openers Run the Jewels.
Tickets go on sale Friday, local time. There is no pre-sale.
"Wu-Tang Clan has shown the world many chambers throughout our career; this tour is called The Final Chamber. This is a special moment for me and all my Wu brothers to run around the globe together one more time and spread the Wu swag, music, and culture," RZA said in a statement.
"Most importantly to touch our fans and those who have supported us throughout the years. On this tour we're playing songs we've never played before to our audience and me and our production team have designed a Wu-Tang show unlike anything you've ever seen."
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Associated Press
20 hours ago
- Associated Press
MiAO Secures US$14 Million Strategic Investment from XD Inc., Valuing the Company at Approximately US$264 Million
MiAO today announced that XD Inc. (HKEX: 2400) has become a strategic investor, following a US$14 million investment for a 5.3% equity stake. This latest round brings the company's valuation to approximately US$264 million (nearly RMB 2 billion). Founded in 2022 by Mr. Wu Meng former CEO of Giant Network, MiAO has quickly established itself as a strong player in the gaming industry. Shortly after its inception, the company secured strategic partnerships with leading investors—including Sequoia Capital, Gaorong Ventures, and Monolith—raising an impressive angel round of RMB 100 million (approximately US$14 million). Over the past few years, MiAO has received multiple rounds of investment totaling close to RMB 500 million, including from a major internet company. Achieving this level of investment and valuation at such an early stage is rare in the gaming industry. In fact, many listed game companies have yet to reach a similar scale. Proven Expertise in High-DAU Evergreen Games During his tenure at Giant Network, Mr. Wu and his team launched iconic evergreen titles, including Battle of Balls —which reached tens of millions of daily active users (DAU)—and Super Sus, with millions of DAU. Remarkably, these games achieved their reach and longevity through purely organic growth, without relying on heavy marketing spend. This ability to take multiple titles from zero to large-scale DAU entirely through organic acquisition is rare not only among small and mid-sized studios, but also in larger publishers. The insights and expertise gained from building these franchises form the foundation of MiAO's scalable approach to mass-market gaming. Industry insiders note that Mr. Wu has developed a methodology for creating and sustaining large-DAU titles, with creative thinking that has influenced multiple successful games in the market. Vision for the Future MiAO believes that social interaction is shaping the future of gaming. As a new generation of lifelong gamers emerges, the growing user base creates exciting possibilities for platform-level innovation. The company sees the combination of gaming and socializing as a once-in-a-generation opportunity—a chance to connect billions of players in a virtual world that fosters friendship, creativity, and shared experiences. In this magical social space, players can escape loneliness, find inspiration, and enjoy positive impacts in real life and society. 'XD's investment is a strong vote of confidence in our approach to building large-scale, high-DAU multiplayer games,' said Wu Meng, Founder & CEO of MiAO. 'Our goal is to connect players through evergreen experiences, using technology—including AI where appropriate—only to enhance scalability and social play.' In Development MiAO is currently developing a new multiplayer title that is already showing promising results in confidential testing. Early feedback indicates strong potential for player-driven content loops, long-term retention, and vibrant community interaction. This new investment will allow MiAO to accelerate product development, attract world-class creative talent, and expand infrastructure to support large-scale social play and user-generated content. About MiAO MiAO is a Singapore- and China-based game studio founded in 2022 by industry veteran Wu Meng. The company specializes in mass-market, evergreen multiplayer games designed for high DAU and strong social engagement. The team has more than 15 years of experience in gaming and internet industries and has led products with tens of millions of daily active users. Learn more at: About XD Inc. XD Inc. (HKEX: 2400) is a global game developer and publisher headquartered in China, with titles across multiple platforms and the TapTap distribution platform. Founded in 2008, the company has extensive experience in browser, mobile, and online games, and invests strategically in emerging game developers worldwide. Media Contact Company Name: MiAO Contact Person: Burton Email: Send Email Country: Singapore Website: Source: Brand Push
Yahoo
3 days ago
- Yahoo
RZA On His New Film ‘One Spoon of Chocolate,' And His Growth As a Filmmaker: 'I Honestly Feel Like I Have Arrived'
Before making his fourth feature film, the action revenge thriller One Spoon of Chocolate, legendary rapper and music producer RZA was still, he confesses, unsure of himself as a filmmaker, feeling that he hadn't yet mastered the process, the 'rhythms' as he calls it, of being a director, at least not to the same comfort level he had with music. After scaling the heights of hip hop as the de facto head of the Wu-Tang Clan, arguably the most influential rap group in history, RZA has found increasing success in film and television, firstly as an actor — he has starred in films like American Gangster (2007), G.I. Joe: Retaliation (2013) and Nobody (2021) and series like Californication — and more significantly with writing and directing. His directorial debut, 2012's The Man With the Iron Fists, starred Oscar-winner Russell Crowe, Dave Bautista and Lucy Lu. RZA followed that with Love Beats Rhymes, a musical drama starring Azelia Banks, in 2017 and the heist film Cut Throat City in 2020. More from The Hollywood Reporter Zohran Mamdani Links Up With Wu-Tang Clan in Viral Social Media Video 'Power Book III: Raising Kanan' to End With Season 5, Now Starring Shameik Moore Shameik Moore, Paris Jackson Board 'One Spoon of Chocolate' Drama (Exclusive) RZA also served as an executive producer on Hulu's biographical series Wu-Tang: An American Saga, which documented the rise of his Staton Island rap crew, that gave the world the singular talents of himself, Raekwon, Method Man, GZA, Ol' Dirty Bastard, Ghostface Killah, Masta Killah, U-God and Inspectah Deck. Now comes RZA's fourth film as a director, One Spoon of Chocolate, which debuted at the Tribeca Film Festival this year, and will, according to the filmmaker, have a theatrical release at a still to be confirmed date. One Spoon of Chocolate tells the story of Unique, a military veteran and former convict who is trying to get his life back together and travels to the small town of Karensville to live with his cousin Ramsey, only for both to be hounded by a gang of racists with connections to the town's corrupt cops. After a fatal incident, Unique seeks out the gang to exact brutal justice. The film stars Shameik Moore (Dope, Spider-Man: Beyond the Spider-verse) as Unique and RJ Cyler (The Book of Clarence, The Harder They Fall) as Ramsey. The cast also includes Paris Jackson, Harry Goodwins, Johnell Young, Michael Harney, Rockmond Dunbar, E'myri Crutchfield, Blair Underwood, Jason Isbell and Isaiah Hill. The Hollywood Reporter caught up with the RZA over Zoom recently to discuss the making of One Spoon of Chocolate, how writing scripts mirrors his method for writing lyrics, his growth as a filmmaker and his future plans. Let's start with the film's title. Could you explain what means? Is there a deeper significance? With the title, there's a deeper meaning in the sense of our character has to learn the way things need to be, the way things change. One spoon of chocolate can change a whole glass of milk, you know what I mean? That's the idea. A character has to realize that, first of all, he represents change and he has to make a change within himself. There's a scene in the film [where the character Unique is trying to make chocolate milk] and he's complaining that it's only one spoon of chocolate powder left. But an OG tells him 'one spoon could change the whole glass.' I know is something you have been working on for a number of years, in terms of the story of the film, how did that come about? What inspired you to come up with the overarching themes? It came to me like, man, over the years. I mean, it was 13 years of getting to a point of finally having a screenplay that we could film. To be quite frank with you, the movie is like 100 pages of a 200 page story, and it came to me almost like how my lyrics come, not forced out of me, just flowed out of me. It was something that [I needed time] for me as an artist to create. When I tried to create it before, I was getting stuck. I got inspired to make it, [but then got stuck again]. But then doing the New York State of Mind Tour, traveling on a tour bus and traveling through the country during the writer's strike, I was like, 'I'm gonna write something.' I started writing something new and it just kept freezing and then I went back and started reading some of my old stuff and [One Spoon of Chocolate], I said, 'wow, this was the one!' I had about 40 pages. I said 'this one was gonna be good.' I had got to part in [Karensville, a fictional town in the film], basically, in the early draft, and then it just started flowing. I read that originally you were going to do a period piece, that it was going to be set earlier, like in the 70s or around that period, but actually you moved it forward to, I guess, it's the 90s, right? Well, actually, I made the time ambiguous. It was always going to be ambiguous, but for the audience it was going feel like you were in the 90s or the 70s and all that. The whole Blaxploitation vibe, the whole genre mixing was what I was aiming at, but my goal and my intention was to remove the time aspect. This could be happening right now, even though Karensville is a fictional place, the idea of what our hero is going to go through, that could happen tomorrow, in all reality. When I started getting deeper into the draft, [when we were on tour] I was just conscious there are places that you [could be in], in our country, and you will definitely think you took a step backwards in time. That's how when you're on tour, you get a chance to see that. You end up stopping somewhere in a small town and you'll go 'wow, this place, they're 20 years behind us, 30 years behind us.' With the film, you've brought in these ideas that seem quite nostalgic, throwback even, but you're saying that they're actually quite real and relavent to America even now? Oh yeah. You know, some of the things that take place in our film, there's been articles [written on them]. There exists the idea of, let's just call it the the white supremacist mind, that our hero has to fight the political context of. You know, there's a gag in my film where the villains have on those white polo shirts and khaki trousers that we saw in Charlottesville [during the Unite the Right white supremacist rally in August 2017]. Art is always going to somehow imitate life and pull from reality even though it's putting you into a fiction world. [The film is] fiction, but it's inspired by true events, whether they be events that I personally experienced, like the corruption in the film. I'm a lyricist type of artist. You hear [Wu Tang] lyrics like: 'I grew up on the crime side, The New York Times side, staying alive was no jive,' there's a lot of content in it and taking life and putting it into a story. This is what's happened in this film. Our hero, who is looking to just live a normal life and get on his feet, he's in a place where things are not normal. Actually, it's interesting to me that you're saying that it's not normal, as there was a hyperreal sense to the film. Some of the fighting was quite amusing but also quite serious at the same time. It's a movie, like it has to entertain you. To be quite frank, the first goal of this movie is to entertain you and to make you feel something. I hope I've achieved this. You're going to not want to turn your head away. You're going to root for this guy. You will want to say, 'Well, how is he going to make it fucking through this,' you know what I mean? I make this joke about bats, our villains got all these fucking baseball bats, but I had them all lined up like a SWAT team would have their guns lined up. To me as an artist, you got to have fun, even though some of the things happening to our characters is no joking matter. What made you decide to avoid having as many guns in the film, because it's obvious that the action is steered to more physical things like knives and bats? It's a deliberate style choice. I'm a kung fu movie lover, and if somebody got a gun, there's no need for a fist fight, right? But guns exist [in this world], so I was conscious to pace the usage of the guns, not overdo it. This is your second time working with Shameik? My second time in features, but my third project with him, he also played Raekwon in my TV show, Wu-Tang: An American Saga. What is it about him that you like working with him? What are the qualities of him as an actor? He's what I like to call a sponge. He's able to absorb the material with a free spirit. When we did our first movie we did together, Cut Throat City, he told me he never held a gun before, he grew up as an artist. He dances, he sings and acts. He's not a street guy, and so he didn't even know how to hold the gun. And I was like, 'well, this is how you hold the gun. This is how you load it.' And the next take he held it, loaded it. It looked real. He shot it, it looked real. He's a sponge and for me as a director, and a writer, you wanna have an instrument that allows the music to flow through unintruded and uninterrupted, and he's that kind of kid. You also worked with Paris Jackson on this film. I've not seen her in many things before acting wise, was it interesting to work with her as an actor? Yeah, very interesting. I got to give a shout out to my casting director, she was able to put some good people in front of me. In our film, somebody says, 'oh, this is a racist town' [about Karensville] But it's not a racist town, it's a town with racist people. And then Darla [Jackson's character] will give you an example of that, she represents the new way that people will love our country to be. There's a scene in the movie when they both touch hands and it's like black and white coming together. She represents the new. Her best friend is Black, the young people they're looking to move culture and move life forward without all the systemic stuff of the past. You're well known for your love of Hong Kong action films and action films generally, but you're also blending in lots of other genres into , such as the blaxploitation stuff. Was it a challenge for you as a director to pull that all together? The challenge was cost and time, but creatively, no. I feel like as a filmmaker, this is my fourth film, I honestly feel like I have arrived. When I was making this one, I just felt my rhythm, my use of my days, there was not a lot of overtime days. My planning was better. Everything about me as a filmmaker, I think has evolved. The challenging parts that we faced [in the movie], there's also a spoonful of horror in this movie [when you watch it]. You think about the horror genre, you think about Eli Roth, that shit popped up in this movie. You go back [and see it] and then you think about the classic, 70s movies like Walking Tall. Then you think about the blaxploitation. I was able to use cinema as cinema, and put a spoonful of ingredients from the things I love. There's a shot in this movie, when [Moore's character] walks [Jackson's character] home and they're on the porch, that's an 80s romantic comedy [vibe]. I wanted to shoot it like that… I was just being conscious of all the things that I loved as a film watcher, all the things I love from the people who inspired me to make films, of course. John Wu, Jim Jarmusch, Quentin Tarantino, I always mentioned those three men as my first teachers in this world. I just wanted to put a spoonful of all of that into my story, but not overdo it. It's not gumbo, but it is a stew. Were there any particular things that you felt were like a challenge in terms of the filmmaking process, something that's stuck out for you? We shot this movie in 29 days. I probably could have used 35, 36 days, that would have been more healthier for us. But I had a great crew, the Atlanta crews are well oiled. My stunt coordinator, Marrese Crump. [Actually Crump] worked as my stunt man on The Man With Iron Fists and then he became like a trainer for [Chadwick Boseman] for the Black Panther movies. He's got a team of guys out there that does martial arts. [Crump] is a student of [Panna Rittikrai] who is in Tony Jaa's camp, the guys that made [Ong-Bak and The Protector]. Marrese studied over there for 10 years and he was available, we brought him in and if you watch the action in this film, it doesn't look like kung fu, it has a few of those moves, but it's more visceral. It's more like our hero, there is something natural about [his fighting style], and that's what we wanted, and, [Marrese] was able help design those ideas for me. The reason why I think I was able to pull the action scenes off, and I hope you like the end result, is because with the action I had a chance to start practicing early. That's what saved us. I gave Marrese the script, I gave him the scenes, and that was like two months before we started shooting, before we started prepping. So he had time to help get the energy ready. I thought I was going to get lucky with [David Leitch's company 87North Productions]. I sent the script to Marrese, but I also was wishing that 87North would come on board, but they had their hands full with The Fall Guy and Nobody. But they took a look at some of the previous stuff that Marrese had done and they said 'you're going to be in good hands, this guy is good.' premiered at Tribeca and it will get a theatrical release, right? Yes, that's the goal, you know, nothing is certain in our world, but the answer is yes. Do you feel like you got robbed a little bit with COVID with your last film not getting a much delayed theatrical release? [A hit with critics, was released in theaters on Aug. 21, 2020, when cinema attendances were decimated by the pandemic]. Yeah, yeah I love Cutthroat City, but with this one, I got to honestly say, with this one I personally feel like I have arrived. Like I look at it myself and smile like. If this was a song, I would be saying I made a great song this time. This is a good song, not because I like it, because it actually has structure, it's been structured to be a good song. What was the reaction to the film like at Tribeca? At the Tribeca Festival, bro, this shit played exactly how it should have played. People were laughing, we got some tears. We got a big fucking cheer at the end. People were yelling at the at the screen. A lot of films sometimes you're not getting that visceral response. This film makes you react, and that's what I think all of us as filmmakers, that's a joy for us. That's our task. How can we get a reaction out of this? It's why the horror movies and the horror drama is so big now. They get reactions. We were able to do that with the action thriller. Sorry, I'm running my mouth, but I showed the film to Quentin Tarantino, and that was like a kid showing his essay to the teacher. And I sat like three rows behind him while the film played, and he laughed every time he was supposed to, screamed at the [right] scenes, and at the end of it, he said, 'man, great fucking job.' He was asking me 'how the fuck did you get a fucking car chase like that? How did you do that? How many fucking days for that car chase?' He thought the car chase would have taken us five days, and I had to pull that shit off in two days. That's great praise. I was so happy Quentin and David Fincher were watching the film with me, it felt like I had arrived as a filmmaker. I feel like I've been through a great process. I had great chances. I've been lucky, of course. I had my first film, The Man with the Iron Fists, star Russell Crowe, Lucy Lu. I mean, how many people get that kind of luck and blessings? But I kept going, kept striving to develop myself as a serious filmmaker. I feel good now. I'm not nervous of it. It's like, give me the mic, I'm gonna sing. So the premier at Tribeca, where would you rank that in terms of your career achievements? Because you've done a lot of amazing things, had a lot of great success in music. It's different. As a hip hop artist, as a record producer it was almost destiny that I was going be there because I've been into hip hop since I was 7 years old. I wrote my first song at 9, so that seemed like, obvious in a way. If you knew me, [you would have said] yeah he's gonna be a rapper. But a film director, nobody saw that, not even myself. And then when it started happening, it was a blessing, it was an epiphany that I can use my art and talent to be that too, to write it and direct it. We played One Spoon of Chocolate at Tribeca, in New York City, my hometown, at a full packed house of people yelling and screaming at the screen and covering their eyes and, and cheering at the end. I was like, OK, this is what I would call a a gravy moment in life. It was unpredicted moment, but so satisfying. I've got the bug, I want to make films, if I'm blessed, this is what I want to do. I want to finish this last Wu-Tang tour, and I want to dedicate my time to using my art and talent to tell stories through cinema and I want to do it better than AI! Best of The Hollywood Reporter The 25 Best U.S. Film Schools in 2025 The 40 Greatest Needle Drops in Film History The 40 Best Films About the Immigrant Experience Solve the daily Crossword
Business Upturn
4 days ago
- Business Upturn
Global Times: Sculptures of Nanjing Massacre remind viewers of Chinese people's suffering, hope for peace
Beijing, China, Aug. 15, 2025 (GLOBE NEWSWIRE) — Literary and artistic works themed on the Chinese People's War of Resistance against Japanese Aggression (1931-45), be they classic works created during the war or works looking back on history, all carry historical memories and the national spirit. Through artistic forms, they cross the long river of time, allowing us to deeply feel the fearlessness and perseverance of the Chinese people during the War of Resistance against Japanese Aggression, while inspiring people's patriotic feelings. The Global Times launched this special series of Indelible Memories about literary and artistic works themed on the war to draw wisdom and strength from the spirit of the people. On a scorching summer day, stepping into the resting hall at Beijing's Imperial Ancestral Temple, visitors were greeted not only by a refreshing coolness but also by a profound sense of history. This gravity stemmed not just from the imposing centuries-old architecture, but even more from the collection of artworks on display – each capturing pivotal moments from the Chinese People's War of Resistance against Japanese Aggression. In particular, a group of sculptures on the white central exhibition platform commanded special attention. Each figure in this group of sculptures intensifies the visual impact of fear and despair through contorted bodies, hollow gazes, and torn garments. Some look up to the sky, some scream in silence, some struggle for survival, while others have already fallen, their lives lost. This is the work of Wu Weishan, former director of the National Art Museum of China. Titled Tao Nan, or Fleeing from Calamity, it is the theme sculpture for the expansion of the Memorial Hall of the Victims in Nanjing Massacre by Japanese Invaders. On July 28, at the opening ceremony of this art exhibition, which highlights the perseverance and resistance of the Chinese people during the War of Resistance against Japanese Aggression, Wu told the Global Times that the purpose of creating these sculptures is to remember history, not hatred. 'Art can serve to commemorate history and call for peace, fully expressing the Chinese people's values and love for peace,' he said. These sculptures are bearers of history, embodying the longing for peace. Such expressions run through generations of Chinese artistic creation – every line, every chisel mark, every brushstroke aims to ensure that people never forget. Turning sorrow into power The sculptures displayed in the main hall of the Imperial Ancestral Temple are, on average, only a few dozen centimeters in height, while their enlarged versions stand solemnly at the Memorial Hall of the Victims in Nanjing Massacre by Japanese Invaders in Nanjing, East China's Jiangsu Province. Taken as a whole, this group of sculptures resembles a powerful musical movement: rising, falling, flowing, ascending, soaring. Spatially, the energy these sculptures project envelops viewers in an atmosphere of deep compassion and sorrow. Even before entering the memorial, visitors are already touched, so that once inside, each sight of a bone fragment or a blood-stained garment evokes boundless grief and reflection. In these sculptures created from 2005 to 2007, Wu avoided direct depiction of the Japanese army's atrocities, choosing instead to focus on the victims, capturing the devastation and suffering of Nanjing's residents during the massacre – their families shattered, their lives destroyed. He explained that these works are meant to 'bring the victims back to life,' allowing their last cries before death to express the shared voice of humanity. By giving form to the souls of all those who suffered, the sculptures become important vessels of the human spirit. Only in this way can artworks urge all humankind to reflect, so that the lessons of the past will never be forgotten. Outside the memorial, the sculptures were set within a pool symbolizing the path to escape terror, depicting 10 groups of 21 figures fleeing their homes in the wake of the bloody massacre. Nearly life-sized, these sculptures enhance the sense of realism. Among them are an elderly son supporting his octogenarian mother as they flee, a violated young woman standing by a well, and a monk closing the eyes of the wrongfully slain as he escapes. The sculptures are cast in a silvery-gray tone, distinct from the familiar bronze and copper hues, symbolizing the survivors' escape from overwhelming terror. The piece that moved the sculptor most was one of an infant clinging to his deceased mother, seeking milk from her lifeless body. This work is based on the harrowing experience of Nanjing Massacre survivor Chang Zhiqiang's family. Three of his younger brothers were bayoneted to death, his mother fatally stabbed in the lungs. Amidst tears, he placed his youngest brother beside their mother, and the infant crawled to her chest to nurse. That final drop of milk marked both an end and a fragile hope. By the next day, mother and child had frozen together in the bitter cold, never to be parted. The process of creating these sculptures was far from tranquil for Wu. Immersed in historical research and interviews with survivors like Chang Zhiqiang and Xia Shuqin, he was deeply affected by the anguish and outcries captured in old photographs and personal stories. Many sleepless nights followed, and even as he walked through the old districts of Nanjing, he would sometimes imagine hearing the echoes of explosions and cries of slaughter. Wu employed a variety of sculpting techniques – chiseling, striking, pounding, and molding by hand. He recalled working outdoors in the sweltering 38 C heat, laboring through the night for hours. His deep sorrow and anguish over this chapter of history were transformed into the speed and power of his artistic creation. Looking further back, this passionate engagement with the history of the war – a fervor that transforms into powerful artistic energy – has also flowed from the hands of the elder generations of artists, many of whom witnessed these events firsthand. Their collective memory and creative expression have ensured that the tragedy and heroism of that era continue to live on, warning and inspiring future generations through the language of art. Never forget Xiao Feng, the 10th president of the China Academy of Art, passed away in Hangzhou on July 8 at the age of 93. He created a work depicting Canadian surgeon Norman Bethune treating Eighth Route Army soldiers during the War against Japanese Aggression, which was included in textbooks across the country. Xiao Ge, his youngest daughter, told the Global Times that her father had been proud all his life of being a literary and art soldier in the New Fourth Army. Depicted in the painting jointly created by Xiao and his wife Song Ren is a makeshift operating table that was set up in a dilapidated temple not far from the front lines. Outside, the sounds of war rage on, while inside, Bethune stands calm and focused, his brow slightly furrowed and lips pressed tightly together as he meticulously performs surgery on a wounded soldier. In the background, a vigilant guard stands watch at the temple door, ever alert to protect the scene within. Critics note that through artistic treatment, the image's sense of narrative, drama, and conflict is enhanced in the painting, effectively highlighting Bethune's contributions to resisting aggression and pursuing peace. Xiao's works are mostly tied to his experiences and memories from the war. In his creations, there have been images of guerrilla fighters maneuvering through the Luoxiao Mountains, New Fourth Army soldiers bidding farewell to Jiangnan, officers and soldiers watering their horses by the Yangtze River, and warriors hidden among reeds. His works go beyond mere narratives of suffering, focusing instead on capturing moments of warmth amidst the chaos of war. 'They (Xiao and Song) pursued truth, goodness and beauty, worked for their beliefs and the people all their lives, and finally donated all their works to the people,' the painter's daughter said. On the eastern side of the exhibition hall displaying Wu's sculptures, the painting Victory and Harmony by post-1990 artist Hong Fangzhou hangs on the red wall of the East Wing Hall of the Imperial Ancestral Temple, quietly awaiting an audience. This artwork is divided into two main sections of white and red, blending fragments of war – like the remnants of shells and the blood and tears of heroes – with the joyful laughter of people celebrating peace after victory. The stark contrast between the two sides further underscores the preciousness of peace. From Xiao, a witness and survivor of war, to young artist Hong, each generation of creators has used their own unique perspectives and artistic forms to capture that history of blood and fire, passing on the longing for peace. As Wu expressed in a poem he inscribed upon completing this group of sculptures: With unspeakable sorrow, I recall those blood-soaked storms; With trembling hands, I caress the souls of the 300,000 departed; With a child's pure heart, I engrave the pain of this suffering nation. I pray, I hope, for the awakening of this ancient people – the rise of the spirit! Source: Global Times:Company: Global TimesContact Person: Anna Li Email: [email protected] Website: Beijing Disclaimer: This press release may contain forward-looking statements. Forward-looking statements describe future expectations, plans, results, or strategies (including product offerings, regulatory plans and business plans) and may change without notice. You are cautioned that such statements are subject to a multitude of risks and uncertainties that could cause future circumstances, events, or results to differ materially from those projected in the forward-looking statements, including the risks that actual results may differ materially from those projected in the forward-looking statements.
