It is embodied in a heavy sense of history and vicissitudes, a noble and unpretentious demeanor and atmosphere, an inner impulse and feelings that talk about the ancient and modern world, and a wisdom and thinking that is full of passion and spirituality. Putting pen to paper like running water, there is a splash of spirituality between books, which has a liberal cultural connotation. The pen is full of deep national anxiety consciousness, and the lines are full of wisdom and philosophy after thousands of years.
The history of China has gone too far, and the culture of China has been deposited for too long. This is a new millennium and a new century. It's time for our ancient nation to shake off the dust and take stock of our parcels. It was against this background that Yu Xiansheng began his career? A cultural journey? .
Yu's essay "Cultural Journey" writes:? There is no yesterday without ruins, and there is no today and tomorrow without yesterday. Ruins are textbooks, let's read a geography as history; Ruins are a process, and life is to start from old ruins and move towards new ruins. Ruins are a long evolutionary chain. Grandma without wrinkles is terrible, and old people without white hair are sorry. ?
In the collision between heart and heart, issued? Let history return to truth or life return to process? The call of. There are no details, no historical figures, no places of interest, but full of shining wisdom and profound thinking. In the ruins, beautiful language, unique perspective and profound thoughts attract me as strongly as magnets.
Walk into the ruins, feel the vicissitudes of history and taste the connotation of culture. In Dunhuang, he praised the pursuit and expression of beauty and goodness in art handed down from generation to generation with great enthusiasm; When the sun goes down. Tarvos. Uncover the scars of the nation and lament the decline and loss of the national spirit in modern times.
He stopped at peach blossom, spring rain, small bridge and flowing water? Jiangnan town? , facing? White hair Suzhou? In modern China society, from those closed old houses? What kind of person should I walk out of? ; Our? How should culture and tradition be preserved and passed on? Before you can do it? China culture has achieved two stages of self-reliance in personality orientation and regional orientation. ?
He told us, what does the rebirth of Jiangnan town, the rebirth of historical belonging and the rebirth of national belonging need? A true cultural wise man? Do you need it? A cozy little study hidden in an alley by the river? Do you need it? A little enough to make these towns have an artistic soul that transcends time and space? .
He reflected on the culture of the whole nation. Where does he come from? The back of a dynasty? Comment on the reasons for the rise and fall of a nation and a culture. In the courtyard of Shanxi merchants, in? A dark corner of history? Reflections on national weakness and national spirit defect. He cares about the fate of literati, the mother tongue culture that gave birth to these literati, the roots of our culture and the development of our culture and all cultures.
He asked all the people wandering in the desert of local culture: where is the sunset? There is a sad mist on the river waves. ? He sees farther, truer and deeper than others.
In front of him is the cultural precipitation of a nation that has thrived for thousands of years, so it is doomed that Mr. Yu's thinking will be the whole nation and the whole history. This idea has been around for five thousand years, and it must be long and arduous. In such an era, Mr. Yu calmed his inner emotions, packed his bags and set off, wandering in the eternal spring and autumn of the whole nation.
Faced with these ideas, Mr. Wang is also very helpless: why do we have such a good culture but forget to inherit it? Why should culture be like that? Jiangnan town? Shrinking and fading in the room? This is what Mr. Yu wants to ask and what our younger generation should think about.
Perhaps my national culture needs such reflection, so that we can go further in our progress and our roots can be rooted deeper in the Loess Plateau.
Selected essays: Fan Wen Yu, a native of Yuyao, Zhejiang Province, 1946, an art theorist, a scholar of China cultural history and an essay writer.
What is this book divided into? A cultural journey? 、? Shanju notes? 、? A sigh in a thousand years? 、? Frost and cold river? 、? Walker has no boundaries? These five parts.
Mr. Yu wrote several historical monographs many years ago. His writing style is very distinctive, light and refined, free and easy, open and elegant, which makes people feel natural and comfortable to read, without exaggeration or sadness. There are no good words and no special skills. Unlike some articles that use metaphors, personification and exaggeration, they don't stick to these rules, but write articles that surprise everyone with their own unique style.
Just like "Grassland" written by Lao She. Natural and elegant, unpretentious, a few simple sentences perfectly describe the picture to be said, which is true and beautiful.
Like what? Green mountains and green waters, the road is long, and it's Xiu Yuan. You can't go far without it. Tall, all made of bluestone strips, the stonemason is skilled and the carving is very fine. There are floating lines on it, no painted powder, and the whole body is clean. Birds don't nest there. When they are tired of flying, they stop there and look at the lush trees in the distance and fly away. ?
This paragraph, that is, the first paragraph, is just a simple narrative, but it gives people unlimited room for daydreaming, imagining distant mountains, clear water, roads stretching for more than ten miles, and memorial archways on the roadside, which are very high, big and beautiful.
From time to time, I will see a few birds tired of flying on the archway and rest there, but they don't settle down and then fly away. This simple picture, described by the author in simple words, has a unique flavor.
There are not many such articles.
If you think about it carefully, the article "My Grandpa and I's Garden" written by Xiao Hong is nothing more than that, and it is natural, true and beautiful. ? The sun in the garden is particularly strong. Flowers bloom, just like flowers wake up. The bird flew as if it were in the sky. This bug barks as if talking. Everything is alive, and what you do, what you do, what you do, what you do, is free.
Pumpkins can climb the shelf if they want, and the house if they want. Cucumber lies if it wants to, and bears cucumbers if it wants to. Corn can grow as high as it wants, and nobody cares if it wants to grow in the sky. Butterflies fly at will. One moment a pair of yellow butterflies fly over the wall, and the other moment a white butterfly flies over the wall.
The sun doesn't know where they came from or where they flew. Only the sky is blue, high and far. ? There is such a book that people can't help but immerse themselves in their romantic childhood. The name of this book is Biography of Hulan River, which is as beautiful as Yu's prose, simple but without losing its flavor. Although popular, it is natural that there is beauty and truth in nature.
That artistic conception is far more attractive than exaggerated articles. One is gorgeous appearance, but you can't find the inside. The other is a simple and ordinary appearance, and only by careful reading can we taste the beauty of nature.
I like prose and poetry very much, because they not only express literal meaning, but also understand the true feelings that the author wants to express between the lines. You can also learn from famous writers, feel more, and inject your feelings into your own articles, which will definitely read differently.
This book is worth collecting.
Selected essays after reading. In the contemporary literary world, when it comes to prose, we can't help talking about Yu. Yu's essays, such as Cultural Journey, Fragments of Civilization and Yu Qiu Prose, were warmly welcomed by readers after they were published. It is said that his Cultural Journey was reprinted 1 1 times a year in Taiwan Province Province, which shows the charm of his prose.
Yu's uniqueness lies in that he broke the shackles of traditional prose, created a new cultural prose combining meaning and thinking, sought the meaning of China culture and the true meaning of life, and explored the great connotation of China culture and the personality composition of China literati. This paper tries to analyze and discuss its artistic characteristics.
First, the expansion and transcendence of themes and themes.
The theme that runs through the prose is: the call and cry for civilization. ? At least there is a primitive theme, what is ignorance and barbarism, and what is their opponent's civilization! Every time we fight, civilization may not be defeated, so we should shout for it from far and near. ? It can be seen that the theme and theme of his prose are not bound by traditional concepts, but more profound and extensive on the basis of traditional concepts. The expansion of the theme and theme of his prose is mainly manifested in the following aspects:
1, looking for the cultural implication hidden in the landscape historic sites.
Yu's essays mostly focus on scenery, but unlike previous essays, he only pays attention to the natural phenomena of scenery and pays attention to personal feelings and self-expression. But with his deep eyes, through these phenomena, focus on the cultural connotation behind these natural landscapes. As the author said:? I found that the places I especially want to go to are always the deep footprints left by ancient culture and literati, which shows that the landscape in my heart is not a complete natural landscape, but a human landscape. ?
This is completely different from the past prose style that emphasized the spirit of the times or indulged in personal emotional life, which opened up a new artistic space for China's contemporary prose. For example, the description of Yangguan Snow is actually just an introduction. The magic of literati can turn such a small corner of the world into everyone's hometown. What magic is hidden in their faded blue shirts?
? Today, I went to Yangguan to watch Wang Wei's "Cheng Wei Qu". ? Their magic is just their article. What the author wants to show here is the value of ancient China literati and the charm of their works, so as to highlight the great contrast between their embarrassment in officialdom and their immortal status in the literary world.
The stormy Tianyi Pavilion does not describe Tianyi Pavilion much, but highlights the founder of Tianyi Pavilion, Fan Qin, and writes about his super willpower and sound personality based on cultural conscience, thus showing the existence value of Tianyi Pavilion itself.
2. Pay attention to the personality spirit of China traditional literati.
In Yu's works, a large number of brilliant names in the history of China literature flashed. They are all talented and unlucky people, such as Su Dongpo, Fan Zhongyan and Liu Zongyuan. Do they all have them? Noble and depressed soul? Because of their talent and personality, they are not allowed to appear in court and be vilified by villains.
They were left out, exiled and demoted. Their life force is squeezed and destroyed. However, no matter how dangerous they are, they all have the same cultural conscience. The harsh environment did not convince them. On the contrary, it tempered their will, inspired their greater wisdom, and opened a more brilliant flower of civilization.
Su Zhe pointed out in Su Dongpo's Breakthrough:? What is Dongpo's sin? A person is too tall. ? The author describes that Su Dongpo, a great poet, was vilified by villains again and again and was banished to more remote places again and again. However, he never gave up his exploration of culture. On the contrary, the frustration of officialdom made him devote more time and energy to literary creation. Facts have proved that most of his excellent works were created when he was relegated.
Through the display of the tragic fate of traditional literati, the author makes people more deeply realize that the history of civilization in China is a history of hardship and the history of civilization development is a history of constant struggle against tyranny and ignorance and barbarism.
3. Explore China culture from a unique perspective.
The author is not influenced by traditional ideas, and looks at China's scenic spots from a unique perspective, which is more humane, deeper and more thorough. In Dujiangyan, the author thinks Dujiangyan is much greater than the Great Wall. The Great Wall is magnificent, but it is more ostentation and extravagance, and behind it is shocking brutality.
Dujiangyan, on the other hand, is simple, which has benefited the Millennium, nourished and irrigated the Chinese nation forever. ? The civilization of the Great Wall is a rigid sculpture, and the civilization of Dujiangyan is a smart life. With it, only Zhuge Liang and Liu Bei have great talents, and only Bai, Du Fu and Lu You have brilliant careers in Shu? The author is not influenced by traditional ideas, does not cover up the pain and ugliness of history, points out the cruelty behind the Great Wall, and affirms the practicality and contribution of Dujiangyan.
4. Reconstruct the evaluation coordinates.
In the display of Chinese civilization, values are not limited by national, political and regional utilitarianism, but stand at a higher angle and have a bird's eye view of China's development history with a fair eye. For example, The Back of a Dynasty profoundly criticized the orthodoxy of surnames and nationalities. In my opinion, China people need to look for the overall coordinates of human history and analyze and treat various cultural phenomena with human history as the value coordinates. ?
Treat historical figures with an honest and rational attitude, free from any subjective factors. As we all know, Qin Gui was a traitor in the Southern Song Dynasty. People hate him and curse him. No one will speak for him, but I objectively and rationally left room for him to defend himself.
As for Su Dongpo's good friend Shen Kuo, he did not shy away from exposing his shortcomings. He once framed Su Dongpo for jealousy, and the poem he reported was a poem that Su Dongpo gave him when he left. An important feature of autumn rain prose is its grandeur supported by rational aesthetic consciousness.