Tsung i Jao is the most famous contemporary master of China traditional literature. He is exquisite in style, rhythm and uniqueness. He has made outstanding achievements and contributions in many fields of humanities, and is deeply respected by peers and younger generations at home and abroad. Qian Zhongshu said he was a child prodigy, Ji Xianlin said he was a master in his mind, and Jin Yong said that with him, "Hong Kong is not a cultural desert." ...
As an academic and artistic master, Mr. Tsung i Jao is an internationally recognized master of southern culture. Proficient in many foreign languages, knowledgeable, knowledgeable, works, etc. Over the past 60 years, I have worked tirelessly, and made outstanding achievements in Oracle Bone Inscriptions, bamboo and silk, Dunhuang studies, Buddhism, Taoism, history, philosophy, ancient philology, Indian Sanskrit literature, West Asian epics, art history, music, ci poetry, calligraphy and painting, and theory. In addition to more than 60 monographs, there are about 400 papers, essays and essays published in major academic journals and books around the world. In art, he is especially accomplished in painting and calligraphy. In painting, I am good at landscape painting, sketching, traveling abroad and having my own face. In addition to Li Longmian, Chou Shizhou, Chen Laolian and others, figure painting with the method of "line drawing" opened up a new road and had a great influence. In terms of calligraphy, it is rooted in characters, and cursive script is integrated into the longitudinal charm of the late Ming Dynasty. Seal script combines the advantages of Taniguchi, Tingzhou, Winter Heart and Perfect White, forming its own style. It is advocated that books should be "heavy", "clumsy" and "big" to overcome frivolous, charming and delicate diseases. His books are ethereal, pure and ancient, simple and dignified within the scale, and extremely exquisite. In fact, it can be said: "The pen goes to the splendid article, and the ink is full of words."
Zong Rao's position and influence in the academic history of contemporary China have been evaluated by famous scholars in China such as Ji Xianlin, Li Xueqin, Qian Zhonglian, Jiang Boqin, and overseas sinologists such as Dai Miwei, Ikeda Wen and Ji Chuan Kojiro, and included in the book On Zong Rao published by Hong Kong Sanlian Bookstore (1995). In short, it can be summarized as the following three points:
(1) Since Wang Guowei in this century, there has been a big trend in China's traditional humanities academic research, that is, how to improve it on the basis of learning from others. According to the individual talents, academic styles and academic backgrounds of scholars, the road ahead presents different characteristics. For example, Mr. Chen is good at winning by history, and Mr. Qian Zhongshu is good at winning by heart. But the general spirit is the mutual proof between underground cultural relics and paper documents, the verification of foreign ancient books and our old books, and the integration of foreign thoughts and national academics. This general spirit is a new way for China's traditional scholarship to return to China after the baptism of social sciences and the tempering of academic character in the 20th century. On-off, On-off and On-off is the inherent life of China people. Tsung i Jao, with his special personality and intelligence, is a leading figure in this academic trend, and his achievements are enough to compete with the first-class masters of his time.
(2) Due to the closed-door situation caused by the special era factors of 1949- 1978, especially the crazy trampling on China culture during the ten years of the Cultural Revolution, China's humanities academic research lacks due achievements and vitality. This period is the intensive period of Rao's academic life, and it is also the period when he grew into one of the bridge figures between China and overseas Sinology research. For example, in 1956, Zong Yi Rao Jin published Notes on the Elephant Ear School of Laozi in Dunhuang, which recorded the full text of this thousand-year secret book published in London, reflecting Shi Tian's early Taoist thought, as a witness to clarify the original Taoist thought. Shortly thereafter, Kant, the French religious authority in China, used this book to teach students, which led to a long-term plan to study Taoism in Europe. In the history of "learning from the East and using the West" in the 2nd/Kloc-0th century, Tsung i Jao was an important figure who pioneered the trend. Tsung i Jao's academic status will also show its great significance, if the spread of eastern learning to the west will continue in the 2 1 century.
(3) Zong Qinghou's academic and artistic attainments have reached a high level. He combines knowledge and art, and with his extensive knowledge and profound understanding, he has become a rare master of contemporary Chinese studies. At the same time, his cultural world is characterized by self-confidence, self-sufficiency, harmony and harmony. Throughout the 20th century, ordinary intellectuals felt that they had to choose between East and West, between tradition and modernity, between "new school" and "old school", but they were not anxious or confused. In his world, there is no gap between East and West, no gap between ancient and modern. Zong Qinghou's intellectual, artistic and cultural personality is very similar to that of Hong Kong. It is a phenomenon of academic and cultural history created by special geography. The standard established by this paradigm is of great significance to the academic research in China in the future.