Chinese authorities are purging books that may lead to veneration of the West from school libraries, as the CCP stresses ideological education ahead of its centennial anniversary.

Read more: https://bit.ly/3x8u29G

中共即將迎來建黨100周年，當局為進一步提升「愛國主義」，全面清理學校圖書館的「西方崇拜」書籍。
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權力難以捉摸，但往往會巧妙附身於許多視覺形象上，發揮強大的作用。
畫像中貴為一國之尊的帝后，在當時都擁有強大的權力，他們的肖像要如何製作，才能彰顯不同於一般人的高貴身份呢？又如何讓觀者辨識出，他們就是掌握「權力」的領導者。我們來看看這件唐太宗的立像。
【唐太宗立像】
　　全圖近乎三公尺，仰頭才能瞻望唐太宗（598-649）面容，巨大的身形創造出令人難以忽視的威儀。唐太宗袍服上的團龍花紋，吻部已出現兩個鼻孔，較接近明代造型。推測此軸與其他同樣尺寸的帝王像、功臣像，為明代祭祀歷代帝王賢臣的系列作品，曾一起懸掛，以供敬仰。
【Standing Portrait of Emperor Taizong of the Tang】
　　This painting nearly three meters tall shows the proud standing image of the Tang dynasty emperor Taizong (598-649). The enormous figure creates an imposing presence and power that is not easily overlooked. The dragons in the decorative circles on Taizong's robes, however, have flaring nostrils on the snout in a manner that closely resembles those found later in the Ming dynasty (1368-1644). Judging from this and a similarity in terms of the large size of portraits for emperors and meritorious officials, Taizong's portrait here may have once belonged to a series of paintings done in the Ming dynasty to commemorate rulers and officials through the ages that was once displayed for veneration.
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權力的形狀—南薫殿帝后像特展（展期 2021/01/01~04/06）
陳列室：202, 208, 212【北部院區】第一展覽區
線上看展：https://theme.npm.edu.tw/exh110/FacetsofAuthority/
Facets of Authority: A Special Exhibition of Imperial Portraits from the Nanxun Hall
Dates: 01 JAN 2021~06 APR 2021
Gallery: 202, 208, 212 (Northern Branch) Exhibition Area I
https://www.npm.gov.tw/en/Article.aspx?sNo=04011438

#希望他不會看到發文 #刪文就是被他內信罵了
今天一早就把自己拖起床，到喜歡的星巴客製作筆記術的線上課程、寫影片逐字稿（課程影片走高規高成本的棚拍路線。真的有夠像寫論文畫分鏡，大家別亂嘗試）。

旁邊坐了一個全職考生在備考 GRE，在念填空跟背單字（他好衰遇到我)。過了 5 個鐘頭，我也寫了 40 分鐘影片份量的逐字稿，想了三個發文主題，我看到他從 14 頁進到 15 頁，上面寫著 deference = veneration。有沒有那麼不 productive 啦！還邊打給 Dyson 問吹風機，是要不要念書）。

真不巧我 GRE 填空考了滿分，非常想去幫忙，但還是決定 stay in my lane。一則是不想當多管閒事的前輩、一則是發現他是拿別的補習班的字彙講義。🤣

For close to half a decade, the name of Daud Bukit Abal (Mat Daud Che Mat) was synonymous with the Dikir Barat tradition of his native state of Kelantan.

Born in the Pasir Putih district of Kelantan, his interest in Dikir began in light hearted fashion, imitating famous Dikir masters of his time. His deep and melodious voice however made him an increasingly popular singer, and he eventually emerged as a leading Tok Jogho.

Since 1961, when he made his debut, through the 1970's and 1980's, and till he was declared and granted the title Master of the Dikir Barat by his contemporaries in 2006, he ensured the ascendency of the Dikir tradition in Kelantan. As other traditional art forms in Kelantan were proscribed by the PAS led state government, Daud Bukit Abal further widened the platform of Dikir to embrace musicians and artists from these other 'outlawed' traditions.

In 2005, when there were suggestions that Dikir Barat, too, be proscribed and brought within the 'reins of control', he, along with other renowned Dikir performers, put up a formidable protest which led to state authorities rescinding their decision.

Along with the other renowned Tok Jogho, the late Salleh Jambu and the legendary Tukang Karut, Seman Wau Bulan (composer of the legendary Dikir song, Wau Bulan), Daud Bukit Abal ensured the expansion of the Dikir Barat by experimenting with style and new mediums of performance. Still, it was always the deep grain of his voice which left audiences "entranced."
He remained active, performing, teaching and ensuring the transmission of Dikir to a younger generation of performers till his passing on 17.09.2011, so that every contemporary performer of Dikir can trace his lineage to Daud Bukit Abal whom they, and the vast Dikir audience in Kelantan and elsewhere, still embrace, with the deepest veneration, as 'The Godfather of Dikir Barat.' - Eddin Khoo (Pusaka)

Video by Indrani Kopal