A Few Tales of the Young Married Huang Rong

The video titled "Global Patterns in Window Cutouts" bore the caption: "We are all the cave dwellings' 'keepers of warmth,' and guardians of patterns from around the world!" Winter snow from West Lake fell on the yellow-clay pendant, while Leifeng Pagoda stood in the snow in the distance, witnessing this passing down of heritage that crossed mountains and seas and connected warm homes. Muhammad knew that wherever his next stop might be, the moral principles of "A Deadly Secret," the keen spirit of the Hu Family Saber Technique, and the warmth of global patterns would remain as warm as the earthen heated beds of northern Shaanxi's cave dwellings, forever guiding the path toward the intermingling and coexistence of human civilizations and continuing a new cultural chapter that would never end. A new chapter of A Deadly Secret: the symbiosis of flower window and winding water patterns in Jiangnan gardens (traveling with Hu Fei). Half a month after the Northern Shaanxi Cave Dwelling Pattern Festival ended, Muhammad received an invitation from the administration of Suzhou's Humble Administrator's Garden-they hoped to revitalize the "flower window patterns" and "winding water patterns" in Jiangnan gardens. The patterns formed by ornamental windows set into garden walls and winding streams flowing around rockeries held the people of Jiangnan's wisdom in landscape design and their philosophy of mountains and water: the openwork designs of "flower window patterns" (such as ice crack patterns and begonia patterns) could both "frame scenery into a painting" and symbolize "the interplay of solid and void"; the meandering courses of "winding water patterns" (such as serpentine shapes and squared spirals) corresponded to the garden-making techniques of "concealing and revealing scenery," subtly embodying the artistic conception of "changing views with every step." Yet the younger generation now mostly lingered at trendy photo spots and had long since lost the ability to read these "codes within the gardens." When Muhammad invited Hu Fei to accompany him, Hu Fei was wiping dirt stains off his yellow-clay pendant. Hearing the invitation, he smiled and said, "In northern Shaanxi, saber light reflected patterns of warmth. In Jiangnan's gardens, it's time to let saber light reflect ornamental windows. Let's see whether winding water patterns can 'flow together' with saber techniques!" When their black-canopied boat glided across the lotus pond in the Humble Administrator's Garden, the garden researcher Mr. Zhou was already waiting in front of the "With Whom Shall I Sit Pavilion." Pointing to the "ice crack patterned ornamental window" outside the pavilion, he said, "This ornamental window was the garden owner's 'picture frame'-look out through it, and you see peach blossoms in spring, lotuses in summer, maple leaves in autumn, and snow in winter, a different view with every step. The 'squared-spiral winding water pattern' beneath your feet circles the rockery three times, and each circuit holds a 'concealed view.' The scholars of old followed the water patterns to find the scenery. But children today-how would they know to look for the four seasons through ornamental windows, or seek artistic meaning in water patterns?" Hu Fei leaned closer to the ornamental window, his saber blade reflecting the interwoven light and shadows of the lotus pond outside and the window's pattern. "The Hu Family Saber Technique's 'Flowing Water Reflects the Moon' move emphasizes 'the saber turning with the water, the scenery moving with the saber.' The twists and turns of this winding water pattern seem to have set a scenic tone for the saber technique!" I. Blending the artistic conceptions of martial arts and garden patterns: letting saber light "accompany the scenery." Working with Lin Xiaowu, Hu Fei combined the steadiness of northern Shaanxi's "Cave Dwelling Warm-Home Step" with the agility of the Hakka "Tulou Ring Formation Step" to design the "Garden Scenery-Seeking Step": guided by the meandering course of the "winding water pattern," the youngsters were to follow the water patterns along the garden paths, slowing their steps at "concealed views" (where the water pattern turned) and shifting gently sideways (to simulate "seeking out scenery"), then advancing steadily at "revealed views" (where the water pattern ran straight) with both hands spread (to simulate "admiring scenery"); at the same time, their hands mimicked the openwork curves of the "flower window patterns," palms facing the windows (to simulate "framing scenery"), incorporating the breathing rhythm of the "Heart-Cleansing Formula" to experience the artistic conception of "the interplay of solid and void." Mr. Zhou added from beside them, "Our ancestors made ornamental windows and channeled winding streams because they wanted gardens to be 'as alive as mountains and water, as beautiful as poetry and painting.' Every step of this footwork follows the patterns to learn how to appreciate scenery." Hu Fei also adapted the "Cave Dwelling Cold-Resistance Fist" into the "Garden Freehand-Style Fist": punches extended with "supple strength that wound and curved" like a winding stream (simulating the agility of water flowing around mountains), while retracting punches resembled ornamental windows, with "firm strength that left blank space."