Hai Bin International Hotel is one of China's first university hotels authorized to accommodate international guests. The hotel has elegant and cozy standard rooms and luxury suites， all equipped with close-circuit satellite TV， central air conditioning， DDD， IDD， and multi-functional hall， a conference hall， splendid and spacious banquet rooms， in addition to bowling alleys of international standards， a billiard room， a game room， a ballroom， a shop， a beauty salon， and sauna bath facilities.
The Business Center of the hotel features a variety of services including facsimile， photocopying， multi-lingual word-processing and translation， post and telecommunication， and ticket booking. On top of that， the hotel provides guests with room service meals upon request. The hotel has successfully hosted quite a few important domestic and international conferences. Its recognized experience in providing adequate accommodations for such activities， coupled with its sufficient parking space for conference delegations and tourist groups， renders the hotel an ideal location of academic and cultural exchange for international and Chinese scholars and specialists in such fields as education， science and technology， and literary and art， as well as for people with other professional backgrounds.
Our hotel maximizes its inherent strength as a university hotel to provide overseas guests with more opportunities to learn about the rich wealth of splendid Chinese culture and folk customs. We warmly welcome guests from other colleges and universities and friends from all walks of life to stay with us and enjoy the excellent service we have to offer. We take it as the hotel's all-time purpose and binding principle that “Service takes priority over everything else; our guests have the precedence in all our concerns.”
The painting brush of the Chinese artist Qianzhang paints easily： mountains， waters， flowers， birds， human figures – there is simply nothing that the brush fails to paint. Above all， it feels most at home when painting hualian.
Hualian， also known as jing， is a major role in China's theatrical performing tradition. In Peking Opera jing includes the categories of leading， assisting and military jing. A particular way of painting jing's face represents a particular identity of the concerned role in a play： it may be a loyal， wicked or good man， or a villain， or a chivalrous hero. The masked face itself is a symbolized work of stereoscopic art. The effort of transplanting stereoscopic art on paper to produce works of plane art is not an isolated phenomenon in the art community. Such work， more often than not， follows one of the two approaches， one of which is to create on paper an exact copy of a masked face， and the other to paint a theatrical figure portrait， casting a particular figure in a mask， quite similar to the work of stage sketches.
Qianzhang's hualian， nevertheless， represents a different approach to painting. Feeling himself from the rigid commitment of being truthful to stereotypical theatrical figures， masks and plots， he paints quite freely and skillfully. His more liberal vision gives birth to the kind of hualian which is characteristically more abstract and more lavishly exaggerated in terms of its symbolic meaning. In this brand-new realm the artist attempts to best reveal the mind and soul of mankind. In his search for a particular mask-painting art， the artist works with a unique understanding for his object of creation. Ignoring the frozen traditional formula， the artist remains dedicated to constructing a bridge that connects the ancient art of hualian mask painting with the psychology of the modern man， brushing out human joys and sorrows. The transition of the theatrical mask art from a plane form to the present stereoscopic model represents the instantaneous flashes of the so-called time-space art.
An intoxicated mind writes no poems. Nor does a completely sober mind. It is also true of painting. The best state of creation is one when the artist is partially drunk and partially sober. When I say Qianzhang's hualian smells of drunkenness， I mean that to be an embodiment of obscure beauty with flowing beauty， obscure as the result of mixing ink and color， obscure but not murk. His calligraphic paintbrushing brings flowing rhythm to the work of mask painting， thus achieving an artistic effect of a harmonious combination of firmness with gentleness， of mobility with tranquility， and of precision with obscurity.