Zhejiang Water Writing
On the map of Chinese civilization, scholars and students of all ages admired the mountains, waters, people and literature of Zhejiang, and some even lived in Hangzhou with dense nymphs and deep Sanskrit for life. What the text sheds is the wonder of nature and the hovering of context. As soon as I set foot on the mountain scenery of Fuwen, I was deeply impressed by the clear spring of Tiger Running and the soft language of Wu Nong. This is a quiet place that connects the flying dreams in the sky with the legends on the ground. During the journey, the ups and downs of history are interpreted too much, either explicitly or implicitly. I seem to be holding a priceless engraving of the Song Dynasty. In the faint book, a string of historical pearls has attracted generations of people to travel and dream.
On the side of Bao 'an Mountain, the gentry in Hangzhou thrived with gratitude. There was little fighting around, but Qian Chu, the king of Wu, returned to Song. As a result, there is a Buddhist way to worship incense on the mountain next to the lotus. They don't admire immortals or customs, but they quietly meditate on the hard-won time of the sun and the moon. The dredging of the West Lake is left to the secretariat of the past dynasties, lingering in the cultural fire behind the temple in front of the mountain. Poetry overflows the lake and words are all over the mountain. Yuet Hua laughs, and the clear footsteps sway Yu Congrong's steps. Huang Zhong Da Lu, who was in a flurry, was swept by the royal spirit of the Central Plains, and the literary situation in the south of the Yangtze River was dense, which affected the enlightenment of the court's civil administration. Therefore, the secret message "I want to take a walk in the south" was delivered to the courtiers stationed in the south of the Yangtze River six months ago. The message of official ideology was quickly spread among scholars, and the teaching voice of cultivating qi and leveling the peace sounded again. The spirit of social peace attracted network and cultural heat flow.
Many wise and talented people will use this landscape to express their long-term ambitions, but the road to being a scholar is not satisfactory. Mei's wife, Hezi, has become a symbol of Taoism, a sustenance of talents and an expression of virtue and concealment. China's philosophy is really a dilemma. Many ancient officials left a spiritual career for themselves when they showed off, so they had then sit and watch the rising clouds's Zen words and appropriate cultural makeup and light touch. The seclusion of the West Lake in Lu Xun's works has become a dignified woodcut, a kind of lower-level picture that is rare in big books, which is displayed next to the picture scroll of the Republic of China, with more thought and more loneliness. The development of scholars' culture in Hangzhou probably stems from this. However, when it comes to landscape painting, people become a grain, and the shore becomes a touch. In the deep historical place accompanied by snow grains in the small stove, heavy light comes out. The Wenlan Pavilion at the foot of the lonely mountain is loaded with thousands of years of prosperity and sorrow, carving out the glory of the road and the mud steps of the future.
The text is hidden in the mountains, and the mountains are hidden in the lakes. The confluence of Jiangsu and Zhejiang cultural contexts is the dream shadow of the West Lake and the immortal trace of Bai Causeway, but they are always accompanied by a love word. It should be noted that this is the cultural gene of Zhejiang people. Taoists don't like the splendor of Zhejiang people, Fahai doesn't like the "strange" of White Snake changing from fairy to human, and the court can't tolerate the seclusion of Zhejiang life. On the stage of social drama set up by Lu Xun, the life of the lower class in Zhejiang took turns to appear, which was so vulgar and lovely.
Every time I cross the Xiqiao Bridge, my steps are always half a beat behind the times. Su Xiaoxiao's deep love for nature always makes me hate those two fickle ghosts. In fact, I pity their cowardice under the ethical code, and I am amazed that a colorful butterfly in a dancing dress will fly out of the cracks of the old ethics. So lament that weak women can also be earth-shattering! The gentle scenery of mountains and rivers has created the style of attaching importance to feelings and implicating in Zhejiang people. Su Xiaoxiao, who loves this beautiful landscape, has a spark different from that of feudal women, while Zhejiang people have built a cenotaph overlooking the lake and mountains to tolerate her, love her and even praise her. This extraordinary splendor along the axis of Zhejiang landscape painting has sounded the colorful movement of the return of human nature. The mountains changed, and the water was quiet. I strolled back to the hostel, but the daytime warblers lit up in my ears.
mountains and rivers express feelings, and poems and books contain logic. However, the official ideology of Zhejiang culture is in harmony with the numerology of the people, and the design of ecological economics officials has made the people's lives and things a big step forward. In the annals of history, Qian Liu protects the environment and the people, and Bai Juyi protects the ecology. Su Dongpo used poems to give the West Lake a little light makeup besides benefiting the mulberry, so as to fully understand the exchange of needed goods between natural ecology and cultural ecology. Inadvertently, Zhejiang people's life consciousness has become more free and easy.
A sense of loneliness arises from the persistence of ancient customs. Zhejiang people who continue to write new articles express their dreams of wealth with innovation. In the noise, I seem to see that the indexed sense of the times has gradually replaced the historical solemnity that Fang Jing should have. Some Zhejiang people will no longer enjoy the mountains and protect the lake, but their impetuous eyes are closely staring at the real benefits, and history has become an ornament to attract customers. Righteousness becomes profit, and affection becomes desire. In the past two days, the crowds waiting for tickets to enter Shanghai's new book fair seem to show a little sense of cultural return. In addition to disappointment, they seem to have a little confidence in the inheritance of history and culture, and I also wish the Wenlan Pavilion in Zhejiang Shuifu a new voice to inspire the world!
Soft and bright Suzhou
Suzhou people are proud of its 2,511-year-old beauty. It is said that there is no Shanghai dialect in the cultural brocade of Suzhou; Before the opening of modern ports, Wu Nong's soft language was popular in half of the south of the Yangtze River. When it comes to Suzhou, we can't help but mention the sweet food in Suzhou. During the Qianlong period, the Qili Mountain Pond was covered by wine, and it was either the leisure of the literati or the free and easy of the painter. In the pingtan lyrics on the stage, it euphemistically told the half-life fate of talented people and beautiful women.
Politics and literature are not separated. The emperors of past dynasties not only regarded Gusu as an inexhaustible storehouse, but also the flow of characters here and the minds of scholars, which touched the eyes of people who were far away from the Forbidden City, and half of the country was in the south of the Yangtze River. From a cultural point of view, it is not an exaggeration.
The time in Gusu flowed to the end of the Ming Dynasty, with a color different from the orthodox cultural view, but the words were astounding. The Tang brother Bohu, who was not painted, used his talents to infiltrate the cultural blood that had been concentrated for thousands of years, and the ripples gushed out with the witty charm of Qiuxiang, which did not make the world guilty of money and the popularity of civic culture. Gusu's noise and uneasiness were different from the original silence, so he marched to the realm of equality in a mighty way. In the dead of night, a few drops of pebbles rained, so a rain lane came and went, and the light at that end was not dimmed, because it was connected with the once bright.
If Hang Cheng's prose adds color to the lakes and mountains, then the soft and bright cultural style of Gusu contains the beauty of the streets and lanes, a custom without vulgarity, which twists and turns in singing, food and customs. Gusu people are diligent in their careers during the day, and talk about their parents' shortcomings in a small handleless wine cup at night. They don't envy the ups and downs of the rich and powerful, and the book fans are displayed in the flat room, and the books are accompanied by talented people. This cultural foothold in the southeast corner sings the romance of Chun Qing and the complexity of the city dust. The vulgarity of Gusu culture brings elegance, which brings it a new tone of culture. Wen Zhiming's fresh and refined spirit makes Yan Song afraid of three points but have to admire his personality; However, Wen Zhiming in life always gives everything to ordinary people, so inadvertently, many of Wen Zhiming's works circulate in the world. The prosperous cultural style injects people's admiration for culture, love for talented people and respect for relics. Suzhou people not only live freely, but also have a casual cultural attitude, with no beginning and no end.
time has entered a new space. The first time I went to Suzhou, I settled down in the depths of an alley, and it was strangely quiet. A burst of * * * flew by, and Suzhou people stepped on the traces left by historical fragments. The tiger hill in the firm but gentle wave, the dragon on the green rock valley, the legendary power, in people's eyes today, turns into colorless beacon smoke, and the legend is a legend after all. Suzhou people are more concerned about life itself, a less complicated and utilitarian view of joining the WTO, which is displayed at the stop of Wu Nong's soft language. Gusu culture uses a beautiful red rope to lead it into the depths of the alley.
The irresistible peach, pink and willow green have attracted generations of Suzhou people to continue their pursuit, and Gusu culture has inadvertently entered the high tide of the times. What can be presented in Lu Wenfu's pen is that the old man and the horse are sitting around the stove of history, but what is revealed in a talk is gorgeous and plain tea fragrance, and of course there are new things for new people. In recent years, the two biggest words that Suzhou has shown people are change. Suzhou, which is rich again, is still facing the garden, the net artist's paintings and the river's oars. It is a faint spring sorrow and calm expectation, like a cup of "Biluochun" with a fragrant fragrance but a long aftertaste.
Culture should not always be a topic that some elderly people talk about, because culture is not a historical specimen; Culture should not always stay on the drawing board, it is the blood, temperature and vital signs that focus on the innovation of the times, just like people can't live without their souls. Cultural innovation is the most difficult but unavoidable big topic in the past! Thinking about walking in this way, out of the alley, the catkins falling from the sky are coming, flying around. It turns out that it is also looking for its own place, quiet, but very beautiful.
The old traces the new
The secluded place in Anji, Zhejiang Province, climbed to the top of the mountain and suddenly capitalized the words: the source of Huangpu River. The Huangpu River, formerly known as ChunJiang Shen, was dug by Chunshenjun, who was widely endowed with wealth, and it flowed day and night. In the passive national situation in modern times, Shanghai with acousto-optic electrification emerged on the river surface, and the word western civilization changed from strangeness to acceptance and from acceptance to familiarity in the eyes of Chinese people.
the strength of a city comes from the depth and breadth of its opening, and the changing Chinese culture runs through it, splashing dazzling songs from time to time. Looking back at history, after the Southern Song Dynasty, China's economic center of gravity was officially located in the south, and the exclusiveness of the orthodoxy in the Central Plains was broken in the first half of the 19th century. Therefore, a new cultural vision was gradually popularized in passive acceptance, and a new civilization different from Huang Zhong and Lu found its own generate land in the rapid development of material culture, that is, an obscure small fishing village in the southeast, which was named Shanghai Road by the court in the late Qing Dynasty. In the night fog, Shanghai began to anchor; People in this city began to have the concept of the city, their lives became more and more refined, and their leaders began to move around. A kind of pragmatic values different from those of the old times began to take shape.
Love and hate is the cultural theme of that era. Idol psychology has always expressed touching care through the patterns of beautiful brand cigarettes, because people's unhappy feelings about life can only be calmed down when they are vented into the floating light of fashion, but many people who have experienced them recall them with sighs, one is the memory of the lost youth, and the other is the complicated mood of the helpless Republic of China, which is bright and gloomy.
The changing Shanghai culture has always preserved its internal signs, and its flow has been deep into the deepest part of the city. Shanghainese pay attention to emotional appeal in everything they do. They always make a clear distinction between public space and personal space, and their culture is becoming increasingly individualized. The tweeter in the period of pan-political consciousness did not interrupt Shanghainese's maintenance of personal hobbies. Shanghainese with a certain cultural level always go to the theater and feel the atmosphere of deep art code once a week. When they return home, the topic is always inseparable from people and things in the public circle.
In the silence of Shanghai, there are too many sights and things related to the rise and fall of the times and personal joys and sorrows. In this "civilized" land, many people succeeded in an instant, and more people failed in an instant, but the light pulse of culture incorporated them into the constant narrative. Old Koehler went in and out of pubs and shops, and the excitement spread among the houses. The era environment of the integration of China and the West, the interweaving of light and shade, and the interweaving of black and white has created some characteristics of Shanghai culture, and also formed the cultural personality that Shanghai people are eager for. Small topics, pop songs and pidgin spread all over the beach. But there is also hardness in softness. The love between Xu Zhimo and Lin Huiyin reflects the romance and gentleness of Shanghai's "In the Mood for Love". Lu Xun, on the other hand, was immersed in the long night's pursuit and exploration. In recent years, changes have been too rapid, and there are many nostalgic feelings. There are memories of the past, as well as people's reflection on the past and exploration of the future. Shanghai's culture in the 1931s was a kind of culture at night, which not only brought elegant sensory comfort to the citizens, but also brought halo darkness.
Shanghainese prefer to taste the new, and the ups and downs of the times push them to one peak after another. In the transition period of history, there will always be many people who look back. They feel that the cultural landscape has changed, and the taste of Shanghai is less. The celebration of looking back is repeated again and again, but culture is not for viewing, it is for goods, and whether it will last long depends on its own accumulation. In other words, impetuousness is not vitality, and frivolity is not vigor. No matter passive or active, Shanghai culture has shown its great inclusiveness from the very beginning. Various cultural forms, starting from concession, Chinese, political, business, literary and secular circles, have gathered into one vortex after another, affecting the lifestyle of Shanghai people from both material and spiritual levels. The spiritual structure of Shanghainese has taken shape as early as the opening of the port, among which there are many individuals and families who exude cultural taste, temperance and moderation. No matter on the screen or in the works, many people feel that Shanghai is big only after leaving it. In fact, this lonely and distant state of mind is to jump out of the familiar cultural context and explore the beauty of its soul.
Shanghai is also an emotion. Every farewell and return, Shanghai shows people its changes and differences. The sense of belonging of the soul sometimes becomes a pain in Shanghai, but it has a strong self-healing power and can always restore its confidence after being confused; The descriptive power of words has been difficult to locate because it speaks with images and emotions. Just looking at the evolution of modern Shanghai's language style, we can see that this is a "restless" civilization, and innovation is its main theme.
It is not always a good thing that a city has too many memories. Culture is developing, and there is innovation when it is passed on. Culture is also hierarchical. People remember the elite culture of Shanghai in the past because it affects the fundamental flow of cultural nerves, which has little to do with pan-ideology, but has a constant relationship with the level of taste.
Born and raised in Shanghai, it's hard to really write about Shanghai. Too familiar, often turn a blind eye, listen but not smell. Ten thousand hearts, there are ten thousand different Shanghai. Shanghai is the shore, handling ten thousand square meters; Shanghai is a ship, carrying Wan Li. Shanghai never tells anyone who it is, but everyone knows who it is. Shanghai was born in a big family, so it has a unique vision, a broad vision and tolerance. There are hundreds of rivers, and tolerance is great. Shanghai's cultural character is pregnant with the brilliance of the future.
(Author: Shanghai Film Academy, Shanghai University)