Results for : " 孟海" videos

shapes from vampire effect

孟海 Meng Hoi .

Lam Ching Ying 林正英 殭屍道長II靈幻道士

詞︰蘇翁

夜靜更深對朗月　朗月清輝亮
行遍天涯離開家園　沉痛看月亮
何堪天涯回首家鄉　夜夜暗盼望
笑對朗月　月光光照地塘上
照著歡暢團敘愉快　溫暖處樂也洋洋

陣陣秋風送柳浪　朗月光且亮
人去天涯萍縱飄流何處有岸
離開妻兒懷想家鄉　異地兩處望
笑對朗月　月光光照地塘上
照著歡暢孩兒父母　溫暖處樂也洋洋

遠處裡隔阻千里白雲晚望
想想想別離後寸心怎會不思鄉
每夜每朝抱愁眠　悲痛流浪
故地古苑最是難忘　空盼望
啊　深秋滿地風霜最斷腸

去去去去家千里夢迴故鄉上
悲秋風獨流浪那堪飄嗟風霜
冷落痛心歲月無情　飄泊流浪
那日那朝鳥倦還巢　春柳岸
啊　秋深倍念家鄉最斷腸

毛小方（林正英）乃茅山派一代宗師，與弟子小海（孟海）及郁達初（林文龍）以驅魔逐妖為己任。一日，毛遇上女飛賊黑玫瑰（商天娥），她因盜取墓地寶物，引致僵屍兵團到鎮中擾攘，毛為救村民性命，施展百般武藝大戰群屍。同時，毛之師弟雷罡（程東）為奪掌門令牌，誓與毛決一生死 。還有娥妖、戲班冤魂四處作惡，究竟毛等人能否合力把眾妖鏟除？

這也是林正英生前最後一部電視劇，在《僵屍道長II》拍攝完不久，正當林正英正要繼續拍攝《僵屍道長III》的時候，不幸於1997年逝世，終年45歲。林正英雖然去世了，但是他主演和導演的許多僵屍電影卻成為香港電影的重要組成部分和一個經典的電影流派。

一代宗师 名流千古 永垂不朽
永恒的经典 留下的只是他的影迷无限的追忆 深深的思念
向林正英师傅致敬

李小龍, 成龍, 佢係梁小龍, 真功夫, 大顯身手. 戲中還有黃韻詩, 孟海, 石天. Call Me Dragon.

新蜀山劍俠 Zu:Warriors From The Magic Mountain (1983) 導演:徐克
改編自還珠樓主的名著蜀山劍俠傳。

洪金寶 ( Sammo Hung Kam Bo ) , 董瑋 ( Stephen Tung Wai ) , 黃杏秀 ( Cecilia Wong Hang Sau ) , 惠天賜 ( Austin Wai Tin Chi ) , 鍾發 ( Chung Faat ) , 大細眼 ( Dai Sai Aan ) , 林正英 ( Lam Ching Ying ) , 孟海 ( Mang Hoi ) , 高飛 ( Phillip Ko Fei ) , 李海生 ( Lee Hoi Sang ) , 馮敬文 ( Fung Ging Man ) , 曾楚霖 ( Tsang Choh Lam ) , 張石庵 ( Cheung Sek Aau ) and 何柏光 ( Ho Pak Kwong ) in The Incredible Kung Fu Master ( 1979 )

1983 電影《新蜀山劍俠》主題曲

天下大亂，四川頻年戰亂，群魔亦趁機肆虐，惜群俠自善其身，致妖孽猖狂。採馬狄明奇（元彪）陣前逃亡，藏身蜀山韋陀廟中，險被屍妖所殺，幸得大俠丁引（鄭少秋）所救，遂追隨丁引。群魔之首血神，在石林中伏擊丁引，降魔者曉如大師（劉松仁）及徒一真（孟海）助丁引力戰群魔，曉如不慎中血神之毒，丁引全力為之祛毒，四人情況危殆。適長眉道人（洪金寶）趕至，勇斬血神肉身，血神元嬰暫時被制於長眉之神鏡。於是丁引等先到瑤池仙堡，央堡主（林青霞）以寒氣功為曉如祛毒，堡主丁引靈犀互通，治癒曉如，但丁引因狄明奇不慎，被血神所侵，堡主欲以冰封丁引，丁引竟脫走奔向天刀峰的魔界......

Meng Hoi steps up with the 5 element based buddha kung fu system .

Bruce Liang, Hon Kwok Choi, Meng Hoi, Chan Lau

Calligraphy achievement
Yan Zhenqing is popularly held as the only calligrapher who parallelled Wang Xizhi, the "Calligraphy Sage". He specialized in kaishu (楷) Script and Cao (草) Script, though he also mastered other writings well. His Yan style of Kai Script, which brought Chinese calligraphy to a new realm, emphasized on strength, boldness and grandness. Like most of the master calligraphers, Yan Zhenqing learnt his skill from various calligraphers, and the development of his personal style can be basically divided into three stages.


Early period
Most calligraphers agree Yan Zhenqing's early stage lasted until his 50s. During these years, Yan Zhenqing tried out different techniques and started to develop his personal genre. When he was young, he studied calligraphy under the famous calligraphers Zhang Xu and Chu Suiliang. Zhang Xu was skilled in Cao Script, which emphasizes the overall composition and flow; Chu Suiliang, on the other hand, was renowned for his graceful and refined Kai Script. Yan Zhenqing also drew inspiration from Wei Bei (魏碑) Style, which originated from Northern nomad minorities and focused on strength and simplicity.

In 752, he wrote one of his best-known pieces, Duobao Pagoda Stele (多寶塔碑). http://www.chinapage.com/calligraphy/yanzhenqing/duobao.html The stele has 34 lines, each containing 66 characters, and it was written for Emperor Xuanzong who was extremely pious to Buddhism at the moment. The style of the writing was close to that of the early Tang calligraphers, who emphasized elegance and "fancifulness"; yet it also pursues composure and firmness in the stroke of the brush, structuring characters on powerful frames with tender management on brushline.

Consolidating period
This period ranges from Yan Zhenqing's fifties to sixty-five. During these years, he wrote some famous pieces like Guojia Miao Stele (郭傢廟碑) and Magu Shan Xiantan Ji (痲姑山仙墰記). Having experienced An Lushan Rebellion and frequent vicissitudes in his civil career, Yan Zhenqing's style was maturing. He increased the waist force while wielding the brush, and blended the techniques from zhuan (篆) and li (隷) Scripts into his own style, making the start and ending of his brushline gentler. For individual stroke, he adopted the rule of "thin horizontal and thick vertical strokes"; strokes' widths were varied to show the curvature and flow, and the dots and oblique strokes were finished with sharp edges. For character structure, Yan style displays squared shape and modest arrangement, with spacious center portion and tight outer strokes; this structure resembles more to the more dated Zhuan and Li Scripts. And for the allocation of the blank, characters are compact vertically, leaving relatively more space in between lines. Hence, the emerging Yan style had abandoned the sumptuous trend of early Tang calligraphers: it is rather upright, muscular, fitting, rich and controlled; than sloped, feminine, pretty, slim and capricious.

Consummating period
In the ten years' before his death, Yan Zhenqing's calligraphy accomplishment peaked. With established style, he continuously improved on each of his works, and completed his Magnum Opus, Yan Qingli Stele (顏勤禮碑). At this stage, he was able to fully exhibit his style at his will even through a single stroke, and under his modest and stately style bubbles the liveness and passion.

Influence
Yan Zhenqing's style assimilated the essence of the past five hundred years, and almost all the calligraphers after him were more or less influenced by him. In his contemporary period, another great master calligrapher, Liu Gongquan, studied under him, and the much-respected Five-Dynasty Period calligrapher, Yang Ningshi (楊凝式) thoroughly inherited Yan Zhenqing's style and made it bolder.

The trend of imitating Yan Zhenqing peaked during Song Dynasty. The "Four Grand Masters of Song Dynasty" -- Su Shi, Huang Tingjian (黃庭堅), Mi Fu (米芾), Cai Xiang -- all studied Yan Style; Su Shi even claimed Yan Zhenqing's calligraphy "peerless" throughout the history.

After Song, the popularity of Yan Zhenqing declined slightly, as calligraphers tended to try out more abstract way of expression. However, it still took a very important status, and many renowned calligraphers, such as Zhao Mengfu and Dong Qichang (董其昌) are said to be inspired by Yan Zhenqing.

In contemporary China, the leading calligraphers like Sha Menghai (沙孟海) and Shen Yinmo conducted extended research on Yan style, and since then it regained its popularity. Nowadays almost every Chinese calligraphy learner imitates Yan style when he first picks up the brush, and Yan Zhenqing's influence has also spread across oceans to Korea, Japan and South-east Asia.