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非遗・墨韵・心绘 —— 星校高中部文艺活动集锦

非遗传承

万维艺术与星有灵犀社

联合举行马尾绣非遗文化宣讲

2025年12月4日下午，一场关于水族马尾绣的非遗文化宣讲在星校大礼堂举行。活动由心有灵犀社社长汤惜黛主持。

主讲人即万维艺术社长及副社长陈美璁与田紫恒同学展示了她们利用三个月时间深入调研与整理的成果。她们结合实地拍摄的影像与图片，将水族马尾绣的历史源流、以丝线缠绕马尾的独特工艺及其承载的文化内涵娓娓道来。丰富的资料与真实的记录，引领听众沉浸于这项古老技艺的生命历程，感受其背后蕴含的家庭温情与族群记忆。屏幕上，绣娘的手指灵巧翻飞，古老的纹样在丝线与马尾的交织中渐渐浮现，生动诠释了这不止是手艺，更是情感与记忆的传递。

宣讲尾声，两位讲者向在场师生发出共同守护与传播非遗的倡议，收获了热烈掌声。田紫恒在回顾时分享道：“在村寨研习时，绣娘们毫无保留地传授技艺，只盼着这门艺术能被更多人看见。我们希望能为此尽一份力，哪怕只是从一次真诚的宣讲开始。”

约四十分钟的宣讲，台下始终安静而专注。最后的掌声，既是对讲者的肯定，也仿佛是对远方匠人与古老手艺的一次隔空回应。传承，或许就始于这样的聆听与分享，始于年轻一代愿意驻足，去看见并点亮那些即将黯淡的风景。

On the afternoon of December 4, 2025, a lecture themed on the intangible cultural heritage (ICH) of Shuǐzu Horsehair Embroidery was held at the Auditorium of Star School, hosted by Tang Xidai, President of the Heart-to-Heart Club.

The speakers, Chen Meicong and Tian Ziheng—President and Vice President of the Universe Art Club respectively—presented the fruits of their three-month in-depth research and collation. Combining on-site photos and videos, they elaborated on the historical origin, unique craftsmanship of wrapping horsehair with silk threads, and profound cultural connotations of Shuǐzu Horsehair Embroidery. With rich materials and authentic records, they guided the audience to immerse themselves in the centuries-old craftsmanship, and feel the family warmth and ethnic memory embodied in it. On the screen, the nimble fingers of embroideresses moved gracefully, and ancient patterns gradually took shape from the interweaving of silk and horsehair—vividly illustrating that this is not just a craft, but a carrier of emotions and memories.

At the end of the lecture, the two speakers issued an initiative to all teachers and students to jointly protect and promote intangible cultural heritage, which was met with warm applause. Reflecting on the experience, Tian Ziheng shared, “During our study in the villages, the embroideresses taught us their skills without reservation, hoping that this art form could be seen by more people. We want to do our part—even if it starts with a sincere lecture like this.”

The 40-minute lecture kept the audience quiet and focused throughout. The final round of applause was not only a recognition of the speakers, but also a distant echo to the craftsmen and ancient craftsmanship far away. Inheritance may start with such listening and sharing, with the younger generation willing to stop, notice, and light up those fading cultural treasures.

笔墨传情

双人书法展在星校中庭顺利举办

2月1日至5日，吴悠然、李若贤两位同学联合举办书法展，以传统书法为语言，书写着年轻一代对传统的理解与传承。

展览从两种视角展开对话。吴悠然以“汉字形意演变”为线索，带领观众踏上一场跨越字体的旅程。从清秀的行楷到厚重的汉隶，再到端庄的颜体，她借《黄鹤楼》《陋室铭》等篇章，让每种书体透出独有的时代气息。李若贤则聚焦“风格对晤”，以瘦金体的清逸对比唐楷、魏碑的刚健，通过《宝鼎现》系列与柳体《饮中八仙歌》等作品，探讨书法中刚柔相济的美学境界。

展览期间，二人风格相映成趣——吴悠然的灵动行书与李若贤的精谨瘦金体形成生动对话，不仅展现书法艺术的多元面貌，也传递出在传承中寻求创新的年轻姿态。

为期五天的展览，吸引了许多师生驻足。笔锋流转间，是技艺的沉淀，是文化的回响，更是青春对传统的温柔致意。我们常说传承，而传承最好的样子，或许就是如此：年轻的手握起古老的笔，写出属于自己的理解与温度。

From December 1 to 5, students Wu Youran and Li Ruoxian jointly held a calligraphy exhibition at the Atrium of Star School, interpreting the younger generation’s understanding and inheritance of tradition through the language of traditional Chinese calligraphy.

The exhibition unfolded as a dialogue from two distinctive perspectives. Wu Youran took the evolution of Chinese characters' form and meaning as the thread, leading the audience on a journey across different calligraphy styles. From the elegant running regular script to the robust Han Dynasty clerical script, and then to the solemn Yan-style regular script, she infused each style with unique historical charm through masterpieces such as Yellow Crane Tower and Inscription of the Humble Room. Li Ruoxian, on the other hand, focused on the dialogue between styles, contrasting the delicate Slender Gold Script with the vigorous Tang Dynasty regular script and Northern Wei Tablet Script. Through works including Precious Tripod Appears series and the Liu-style Eight Immortals of the Wine Cup, she explored the aesthetic realm of balancing hardness and softness in calligraphy.

During the exhibition, their styles complemented each other beautifully—the fluid running script of Wu Youran engaged in a vivid dialogue with the precise Slender Gold Script of Li Ruoxian. It not only showcased the diverse facets of calligraphy art, but also conveyed the youthful attitude of seeking innovation while inheriting traditions.

The five-day exhibition attracted many teachers and students to stop and appreciate. Between the flowing brushstrokes lie the precipitation of skills, the resonance of culture, and the gentle tribute of youth to tradition. We often talk about inheritance, and perhaps the best form of inheritance is just like this: young hands holding ancient brushes, writing their own understanding and warmth.

=艺术与心理健康艺术展

"The wilted self"在星校中庭举行

2025年12月8日至12日，11-7班金弘同学在星校中庭举办了“The Wilted Self（枯萎的自我）”主题展览，以版画艺术为媒介，直面进食障碍这一隐蔽的心理健康议题。

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展览巧妙融合了版画创作与心理学知识。金弘分享道，她在AP心理学课程中接触到这一概念，并因自身对体重与外貌的普遍焦虑而产生共鸣，进而深入研究。她希望借此提升大家对青少年身心健康的关注。现场的核心展品是四幅色调逐层加深的版画，以花朵的逐渐黯淡，直观而深刻地隐喻了疾病对个体身心的侵蚀。“花朵象征人的状态，加深的黑色代表营养与精神的流失，”她解释道。这些作品充满视觉张力，引发观者对健康与自我认同的深思。

展览的互动区域尤为动人。观众在空白的花朵线稿上自由填色，共同创作出一片“展厅中最鲜活的花园”。金弘表示：“每个人创作的花都独特而美丽，正如同我们自己。重要的不是体重，而是健康与自在的生活。”这一环节通过艺术实践，积极传递了身体自爱的理念。

这场展览不仅是一次科普，更是一场温暖的呼吁，它提醒我们关注隐秘的心理挣扎，并通过艺术与参与，重新发现、肯定与拥抱独一无二的自我。

From December 8th to 12th, 2025, Tina Jin from Grade 11 Class 7 hosted a thematic exhibition titled The Wilted Self at the school atrium, tackling the hidden mental health issue of eating disorders. Blending printmaking art with psychological insights, the exhibition explored how eating disorders erode adolescents’ physical and mental well-being, calling for greater attention to young people’s holistic health.

At the exhibition, Tina provided a detailed overview of eating disorders—including Anorexia Nervosa and Bulimia Nervosa—emphasizing that these are serious mental health conditions requiring professional clinical intervention. She shared that she first encountered the topic in her AP Psychology class, and having personally grappled with the common adolescent anxiety over body image, she gained a deeper understanding of the psychological drivers behind unhealthy weight-control behaviors. To further her exploration, Tina delved into the link between adolescent perfectionism and eating disorders, as well as potential intervention strategies, hoping the exhibition would raise public awareness of this underdiscussed issue.

Beyond the informative content, the exhibition featured a series of compelling printmaking works. The centerpieces were four prints with progressively darkening tones, visually depicting the gradual mental and physical “withering” of those affected by eating disorders. “Flowers symbolize a person’s physical and mental state, while the deepening layers of black represent the loss of nutrition and psychological damage caused by the illness,” Tina explained. These powerful pieces not only stunned viewers with their visual impact, but also prompted profound reflections on the relationship between health and self-perception.

The interactive zone emerged as the highlight of the exhibition. Visitors were invited to freely color in outlines of flowers, and over the course of a few days, students and teachers passing by joined forces to create what became known as “the most vibrant garden in the exhibition hall.” “Every colored flower is unique and beautiful—just like each one of us,” Tina stated. “We don’t need to be consumed by anxiety over weight or appearance; what truly matters is embracing a healthy and fulfilling life.” This thoughtful interactive design skillfully conveyed the philosophy of body positivity through artistic practice.

“Tina hopes this exhibition will not only raise awareness of the perils of unhealthy eating habits, but also remind everyone to cherish their well-being and never let themselves ‘wilt’ inside.”