Mr. Jia Xun's extensive knowledge, coupled with his familiarity with the scenic spots, streets, anecdotes and history of Qingcheng, enabled him to lead us to wander in pavilions and bridges. Those ordinary alleys, touched by Mr. Wang's pen, suddenly have a cultural atmosphere, and those flavor snacks add a mellow historical charm in addition to the taste.
Rooted in the deep-rooted complex of home and country, this volume of cultural prose is beautiful. Even the subtitle of each series is full of poetry. Seeing Qing Mausoleum and Holding Taiwan again describes the historical anecdotes of celebrities and Qingcheng, while selling apricot flowers in deep alleys of Ming Dynasty describes the streets and lanes of Qingcheng, and Where to Find City Scenery can be regarded as a cultural interpretation of Qingcheng architecture. "A small pear garden is the same as the countryside" witnessed Qingcheng Opera. In the meantime, every article is permeated with Mr. Wang's painstaking efforts and deep affection for his hometown Qingcheng. If you don't have a soft spot for this land and elegant taste for the people here, you can say that there are no such words available.
Mr. Jia Xun was born in Qingcheng, grew up in Qingcheng and accompanied Qingcheng for 75 years. "No matter where he is, he is always a kite in the sky, and the other end of the line is the shadow of his hometown." It is this that inspires the poet's creative enthusiasm. These affectionate words reproduce the strong cultural atmosphere of Qingcheng Mountain beyond the Great Wall. After reading this book, I suddenly woke up the sleeping city in my mind. It turned out to be so kind and touching, and I was amazed at Mr. Wang's magical mastery of language.
"Huhhot's childhood is swaying on the hump, and the sadness is full of sediment." This is Mr. Wang's poem, and its tone can be seen to some extent. His prose is short, but concrete and implicit, because it is both rational and poetic, and the language is concise and aesthetic. However, Qing Xing and elegant taste are by no means the whole of his prose. For the practice of artificially cutting off history and culture, his unspeakable feelings and helplessness are also obvious. There is a saying in the article "Lonely Xiao Zhao Arch":
It is of course natural to build tall buildings and expand roads for ordinary people. Cherish people, just like this, such an ancient building, like an isolated and helpless luxury old woman, is committed to patrolling the streets around the traffic and foreign-style buildings behind her. Her mood can be imagined.
Between the lines, Mr. Wang showed his affection for Niuqiao, which was washed away by 1959 flood. If it weren't for his careful observation over the years, there would never be such a delicate pen:
In my impression, this stone arch bridge, which is different from Jiangnan's pretty style, has great aesthetic value. The semi-circular three-hole shape of his back pier and back arch is like an imaginary dark blue camel with an ice peak. The end of its great scale is thick and thick, and it has the majestic beauty of a northland man.
The phrase "frozen indigo camel" makes Niuqiao lifelike, and I believe that people who have read this article will also fix the beautiful image of this bridge in their minds. For the disappearance of cultural relics, Mr. Wang Can can only sigh and sigh, but he is helpless. Many historical sites in Qingcheng have gone up in smoke, and it is impossible for future generations to see their beauty. Fortunately, the book also left several silhouettes for history, which also added a heavy feeling and persuasiveness to this famous historical and cultural city. Otherwise, I think many people may not believe that Qingcheng still has such meaningful scenery. Nikolai Nikolai Gogol once said an evocative sentence: "When songs and legends are silent, only buildings are talking." Architecture is not a beauty, nor will it go through vicissitudes. On the contrary, it can show its unique charm. Nature, history cannot be assumed or changed. No matter how lively it was, only people's memories were left. Mr. Jia Xun's prose collection, which pays equal attention to literature and history, just left us precious memories. If the skin does not exist, how can the hair be attached? Fortunately, Qingcheng still retains some famous buildings, such as White Pagoda, Jokhang Temple, General House, Muslim Temple, Princess House and Wuta Temple. Hundreds of years later, future generations will stop and listen to these buildings silently. Without these buildings, Qingcheng will become a city with only history and no culture. Without these human history to outline the past and outline of Qingcheng, the memory at that time will be frivolous and pale.
"Jia Xun, the best intellectual in Qingcheng Mountain, is alive, remembering and singing. He lived a miserable life, with a deep memory and a lot of grief. He used his life to sing an elegy for the history of Qingcheng. " Those who are familiar with Mr. Jia Xun must feel the same way about Mr. Li Yue's remarks. A poet should beware of prosperity. The torture of life did not destroy him, but it gave birth to beautiful poems. In his prose, he can't see any personal sadness. He presented the most beautiful side of Qingcheng Mountain to the world. Two of Mr. Li Yue's poems by Zeng Zeng are well-known: "People have become chrysanthemums, but they bear Qingcheng Mountain on their shoulders." It is a kind of struggle, a kind of persistence, a kind of persistence in bleak management, a kind of tenacity in carrying heavy loads and ploughing deeply, and a kind of detachment relying on talents. How long can a person keep what he believes? This is the fundamental reason why people are different. It is because of this persistence that his artistic talent can be displayed and his poetry, drama, prose and calligraphy have made great achievements. It is precisely because of this persistence that his personality charm has been achieved. Mr. Wang's reputation in Qingcheng literary world is well known. Dai Lin, a Hui writer, said in the article "Holding the fragrance of his native land and expressing his childlike feelings": "Mr. Wang has worked hard for Qingcheng culture for decades. Although his achievements are not small, he has not been publicized and has been respected and recognized by his peers." Honestly.
Mr. Jia Xun did not invite famous writers to preface his works, which once again showed his modest and unassuming character-in fact, writers speak by works, not hype at all. The paperback cover is also said to be Mr. Wang's idea. At the bottom of the pale yellow cover, there is a golden glazed tile roof of Dazhao, which seems to remind people of the past appearance of Zhao Cheng. When I open the title page, I will be calm when I seal it, and these three seals will make me unforgettable for a long time. Although the three seals are different in art, the elegance contained in them makes people think. The word "Jia Xun" in Zhu Wen's Xiao Zhuan is slender but strewn at random, which is consistent with his comeliness. On the other hand, the seal of Zhu Wen is "Rulu", which was carved by his classmate Ai Rong. I don't know why, this seal often reminds me of Su Dongpo, whose words are free and easy. However, there is no home to return to after all, and Mr. Jia Xun's words are more spiritual guidance and naturally flow out. On the top left of the title page, a piece of white paper is printed with "Witness of Qingcheng Mountain", which reminds people of this real life record again. Mr. Jia Xun told us about his impression of Qingcheng Mountain for more than 70 years. After reading the book, he will have an impulse to share Qingcheng Mountain with more people, and he will know the weight of the word "Qingcheng Mountain Witness". It was February 20 14.