Introduction/Memin
Under the measure of the city as king, the western mountains are the poorest in Hubei; in the era of GDP bosses, the countryside is the most forgotten corner.
When I think about it, full of helpless and helpless young and old bachelors, young women have entered the city, honestly working as female workers, beautiful and restless mixed society.
In short, a chicken feather, quick escape, leaving behind the lonely old man and left-behind children.
In recent decades, this has probably become a frozen picture of the central and western countryside in the minds of the Chinese people.
After reading "The Three Backs of the Little Dragon", I knew that the mountain village had another way of writing, and I had seen the peach blossom ferry and no longer mentioned the peach blossom source. The folk sounds of our ancestors, like the world's intangible cultural heritage, are what we should worship and remember. Every hard-working father and fellow villager writes poetry in the field with his hands, nourishes the growth of children with love, and leaves legends in the world with good character...
Thanks to people like Yang Rufeng in the world, who depict the beauty of mountain villages with the most beautiful brushes; portray the folk customs of the countryside with the most powerful knife; sing the most affectionate songs to cling to each other; use the most moving dreams to return to the place where the dreams began...
Most importantly, he was born in 1979 and is about what we have in front of us, and the story of "Ordinary World" is too old.
The rise in the international image of Chinese is far less rapid than the rise in economic status, for many reasons, one of which is the lack of faith or the worship of money. Example: Discriminating against the term "phoenix man" to vilify young men who struggle from the countryside to the city. Broadly speaking, this group should account for half of the urban youth, should rise up to refute, the result is that under the high housing prices in the city and the harsh murderous eyes of the mother-in-law, few dare to talk.
Worldliness is not wrong at all, but what is wrong is that we only know the worldly way of life.
According to the development law of the whole world, after the basic completion of the people's food and clothing and urbanization, people's spiritual pursuit will be richer, and their understanding of a better life will be more diversified.
I originally thought that Yang Rufeng wrote that his hometown was "the son is not ugly, the dog is not poor", and after reading it, I realized that I was wrong. The landscapes and rivers of my hometown and the interesting anecdotes of my homeland were originally an inexhaustible rich mine.
Thinking of the nearly 10 million square kilometers of mountains and rivers in the motherland, there are too many good places for us! Our days were so beautiful!
How can I love it?
Book Review 1 Dart Master Yang Rufeng
Text/Peng Siping
Dancing ink and dancing gun sticks are no different, they all rely on their skills to eat. "Legend of The Ancient World" is like a dart game, and in the early years, with the dart of "Jade Jiaolong", it became famous and became a household name. Forty years of darts have been countless, influencing generations. Yang Rufeng is a legendary dart master. Whenever he encounters a text of hiding and hiding, he draws his sword and casts it, turning decay into magic; where he instigates the complexity, he uses the lonely nine swords, and there is no retreat, and he immediately rises and falls. In his spare time, he practiced asceticism, visited famous teachers, and learned the world's unique martial arts, but the dragon stinged and did not seek to reach it. Nong Yin Nian, set twenty years of skill, "Little Dragon Three Backs", darts the world. With deep affection, I am afraid that only Heaven knows, earth knows, and knows itself.
The prologue can help us weigh the weight, depth and value of the book. "Yang Rufeng's writing is minimalist and unique in style, highly recognizable, not only inspecting the blood and temperament of ancient peoples, with deep meaning, but also with the eyes and minds of contemporary people, with a grand vision, and radiating the most authentic charm." "In him, we can feel the distinct aesthetic interest of traditional Chinese poetics, and at the same time, it is easy to discern his pioneering and innovative spirit." He went hand in hand in absorption and transformation, establishing his own aesthetic value and spiritual system. "Some book prefaces, like the epitaphs written by Han Yu, although there are no shortage of famous works, but they are mostly touted. The preface of "Three Backs of the Little Dragon", the commentary on poetry papers, has a majestic mind and momentum, writes objectively and plainly, has no elevated pen, overflowing words, novel insights, accurate text, like a key to open the code of Yang Rufeng's works, making people feel empowered, such as drinking alcohol mash, like a spring breeze.
The chief dart head Yan Yuanping, holding an ancient sword to give to the hero. He said: "I think that I am a person who brings my own fragrance for poetry, but after that, I write poetry too flatteringly, so that the mouth and face of poetry always have pink and oil paint, like the head card of the flower season, the poetry of the pink wall will always drop some residual powder that is not strong." Like the poetry of the wind, it is rarely smeared with grease and powder, and there is pride in the freshness and vulgarity. His poems reveal the hardness behind his elegance. ”
Yan Yuanping's elegance reminds me of the writer Ding Ling. In 1984, Ding Ling said frankly: "Shi Tiesheng's "My Distant Qingping Bay", if the author has not been to northern Shaanxi, he will not be able to write it. I have been to northern Shaanxi, I can feel the plateau he wrote, and I am also familiar with the broken old man he wrote, and I may feel more cordial to this work than people who have never been to northern Shaanxi. But I can't write about that kind of life. Because Shi Tiesheng was in the northern Shaanxi province, he spent a long time with his fellow villagers and lived with the people. I lived in the cave dwellings of the organs in northern Shaanxi, and I had people, places, and scenes in my mind, but I was not as familiar with them as he was. That year, Ding Ling was 80 years old, and she was frankly inferior to 33-year-old Shi Tiesheng. Yan Yuanping loves cai with all his heart and does not hesitate to ridicule himself, and this exemplary power of supporting young people is worthy of respect.
"The Three Backs of the Little Dragon" consists of three volumes, namely: "BiMo Sutra", "Peach Blossom Ferry", and "Dragon Totem". The title of the book is clear and white, and the split face is stunning. They are in their own positions, such as dangerous places, and they will be the first to attack. The binding has a unique style, using a lock line empty back, the spine and the print are empty back, open each page like a blooming snow lotus, ice jade clean face, lying between heaven and earth.
The first volume, the Bimo Sutra, is a collection of poems, containing nine groups of poems. Integrating realism, allegory and symbolism, its power is similar to the six-veined Excalibur in the "Eight Parts of the Heavenly Dragon", basing its invisible sword qi on the rivers and lakes, with deep internal strength and magical tricks. That ancient tone, read, that is, on the way to a pavilion to drink tea, between the closed eyes, it is like "the flames spitting out between the lips and teeth of the women", "awakening the dead sun, moon and stars in the blood". His momentum and colorful imagination of the fluttering feathers are a subtle observation, an ordinary sight, and an improvement of perception every day, but in fact, the feeling of continuity is constantly flashing, forming a series of words that fly on the surface of the water, like a delicate oil painting, which can cause a physical and psychological friction, and set a model for the sublime mind and pure art.
"Charm Lake in the Moonlight" is written playfully and naturally, and the jumping is interesting. "How many fish are like us / Clouds and mountains, lakes and waters / And here to say goodbye, mountains and rivers are long." The cloud is Yunnan, the lake is Hubei, the cloud is also the white cloud of Hubei, and the lake is also the Cham Lake in Yunnan. This sentence is derived from Fan Zhongyan's "Records of Mr. Yan's Ancestral Hall": "The clouds and mountains are cang, the rivers and rivers are yangyang, the virtue of Mr. Yan, the mountains are high and the waters are long!" I was hit by this magical "bone sponge palm", and my face was full of sweet tears. The last sentence, 12 words, but depicts a moving picture of parting, reading like a thousand precious voices: "You ask, what is the return date / I said, this fish and what fish." I am compatible with things, bold and profound.
The second volume, "Peach Blossom Ferry", is a collection of essays, recording ten chapters of prose, but it writes a lot of truths that are difficult for ordinary people to say. In the subtleties, he explores the big times; in the big picture, he pays attention to the little people. Every twist, every wave, is a strong hint of a hard life and an important symbol of a mighty era. Holding it, I can't help but read it with tears and whisper back. Those who, if you have shed tears for their fate, cannot say that you do not know; if you have lamented those things for what has happened, you cannot say that you do not know. Reading to the heart, it is really sharp, wonderful. There is such a detail in "Reading": "When I was in elementary school, I was reading "Water Margin" at home at night on the weekend, accidentally fell asleep, and accidentally overturned the oil lamp next to the pillow, burned the mosquito net sheets, and almost caused a fire." Although he was not scolded too much by his parents, he knew that his sins were very deep, and he did not dare to speak for several days."
It reminds me of the 1981 Nobel laureate David Huber, who made "bombs" out of granulated sugar and other chemicals in his basement as a child. In order not to blow up the bottles and cans in the basement, he deliberately went to the courtyard to conduct experiments, but he did not expect that the power of the "bomb" exceeded his imagination, blowing up a pit in the ground and destroying the house. Little Huber was terrified, not knowing how his parents would punish him. What he did not expect was that his parents did not punish and scold, but told him: Since we do scientific experiments, we must pay attention to science and rigor, and we must not tolerate the slightest fluke and recklessness, let alone take it for granted.
Criticizing the child's faults reflects the strictness of the parents. But under certain conditions, tolerance is also an effective method of education. This "explosion" left a deep impression on Huber's life. He remembered his parents' words: "Whatever you do in the future, you must pay attention to the rigorous scientific method." ”
We know that once a work becomes a public publication of society, the original intention of the work is not necessarily the real value of the work, and many cognitive functions and aesthetic functions are rediscovered by the reader, and the role of a book is created by the author and the reader. Yang Rufeng wrote about the generous mind of his parents, just like seeing the posture of the wind from the flying sand, wheat waves, and ripples. Let me read that a person who can tolerate others is easier to get rid of the shackles of bad emotions and easier to get along with people. This has been confirmed by Yang Rufeng.
Yang Rufeng's prose is not broad in vision, and most of them reflect childhood life and the emotions between relatives and friends. I was amazed at how he wrote so jumpy and so elegant, so that the scenery he wrote slowly became a gorgeous picture, like a beautiful garden full of flowers, wandering in it, feeling full of love. Just like the most powerful martial arts in martial arts novels, in the end, it can not rival a "hero", and the most classic literature is nothing more than the transmission of love. "Love" is not a matter of one or two people, but a love that transcends the world and compassion, which makes people's hearts full of beautiful yearning, like looking forward to the chivalrous for Skywalker.
The third volume of "Dragon Totem" collects the inaugural words, the preface to the volume, the legendary implications, the preface, etc. Compared with the first two volumes, this volume is unique in that it is accompanied by illustrations of works published in newspapers and periodicals, which are comparable to Dong Qiao's "Small Landscapes". "Small Scenery" has a thick opening, and almost every article is equipped with Dong Qiao's calligraphy and painting works that have been hidden for many years, beautiful and beautiful pictures, like talents and beautiful people, and a pair made in heaven. The illustrations in this book are from the hands of many of the top domestic comic strip artists, the style is changeable, fortunately the full moon flowers are good, and the piano is in tune after all.
Although "Legendary Hidden Inclusion" is a propositional composition of DaoliangMou, it is like a white magnolia, sprinkled with a leisurely silhouette, with a hint of nostalgia, a few strands of sentimentality, and the boundless moonlight finally brews the ice heart into a fragrant and mellow wine, giving people the faith and strength to continue to move forward. In addition to covering up the volume, what was passed to me was not only the spirit of concentration in my work, but also the thoughts of those witty, humorous, solemn and elegant prefaces, I don't know where his strange thoughts came from, the angle of his entry, the strangeness of the writing, and the diffuse layer of spirit, which are beyond people's reach.
The duties of the dart master Yang Rufeng are vividly displayed in this volume. Important proclamations such as "The Golden Phoenix List of The General Preface to the New Era Library" and "The Legend of the Present and Ancient Times to the Readers of the Whole Country" and other important proclamations, as well as books such as "China Report" and "Chinese Model", must be ordered to guard the dart, from words and sentences to political orientation and value orientation, and there must be no mistakes. Chief Dart Head Yan Yuanping said that he was "like an indefatigable donkey, constantly pushing out some moving sounds of the big grind of "Legends of The Ancient and Modern".
In addition to guarding the darts, Yang Rufeng also has to reminisce with other "dart masters", brag, exchange skills, and explore mental methods. For example, he wrote in chi's book "I Can't Keep My Sleeves":
It was about sixteen years ago in the summer, when a young man suddenly appeared in Chudi. He was thin, white, quiet, and didn't seem to be a great man. But it was only a few days, and the rivers and lakes were not calm. It was the Annual Martial Arts Conference, and no young man could beat his move "All the Way groaning". This young man named Chi suddenly came out on top and was named Xiaoganjun. Later into the legend, in charge of the bookstore, and deputy commander of Chinese literature, famous in the world. Gengzichun, Xiaoganjun returned to his hometown after his post, closed ding worry, and swirled "Can't Keep The Sleeves". Si is a filial son, who can sing and weep and sigh; it is a strange book, and it is true to the point of sexual affection.
This passage, like burned porcelain, should not be changed after it is discharged from the kiln. It can be seen from this that Yang Rufeng has an almost obstinate cleanliness fetish for words.
"The Three Backs of the Little Dragon" is, in a broad sense, poetry and beautiful prose. He is rhetorical and noble, and some people say that he uses keen tentacles to absorb tujia regional customs and inherit the traditional Chinese aesthetic interests. He makes good use of the technique of "people in the song are not seen, and there are several peaks and greens on the river" to elevate the narrative to a lyrical situation, and the ending is leisurely and exciting.
With an irrepressible touch and passion, I repeatedly read this set of books, and finally had to admit that this is the book of time. It is not abstract time, but with feelings, emotions, and surging power, it records the taste of time and carries the weight of time. Each of his works is like a glowing pebble tumbling through the rapids in order to create a wider and wider basin.
Closing the scroll, a sentence of sharp and flying swords, a piece of thunderbolt wind and sand, I thought of it in my mind. This work seems to activate my wisdom roots. Reading is like an adventure, you must have a strong curiosity, and I read it with great joy. Jia Pingwa said: "Nowadays, people, especially those who also have to get some literature, have already had problems, reading works is not immersion in works, not the essence of scholars, enlightening their own wisdom, but reading and selling lime can not sell flour, have not yet read the original work, only listen to others say good, come to breathe, with gas into reading, you can only pick the nose and pick the eyes." This does not harm genius, but harms one's own family. "Yang Rufeng's books can be collected and often read. Often read to learn to associate, to give an example, this association is interesting, like running a wild horse, if you remember where you camped, ran, looked, maybe understood, you will be satisfied to return to the camp.
Hölderlin said that in the hesitant time domain... There is something enduring. In the legendary dart bureau, the dart master Yang Rufeng is always connected to "present" and "ancient", and his martial arts secret is "no more words, only soul loss and broken intestines".
Perhaps, the seeds he had inadvertently planted would flourish in a season of bloom.
Book Review 2 Chinese Mountains and Rivers
Peng Siping
Who in the world dares to take such a name, I am afraid that only Yang Rufeng.
Walking into the collection of poems "Bimo Sutra" with curiosity, I was first conquered by the first "Earth". Those seemingly bland declarative sentence patterns are consciously truncated in one noun after another and cast into lines of poetry. In an instant, the tension of the noun suddenly rose. These isolated sentences, both colloquial relaxation and proverbial tightness, render a beautiful mood of static and moving, making the scenes that were originally ordinary narrated become radiant.
Yang Rufeng's "Gold, Wood, Water, Fire and Earth" group poem, there are heavens and earth and all things are my heroism, pouring out. The whole poem is made of things and people, and the endless breeze and fierceness between the lines of the words are awe-inspiring. I especially like a section in "Wood": "I am talking about the ancient books of dusty history / The hilt of the sword on the waist of the Ranger / The old lover's warm surviving cane / Between the red tiles and green bricks / Centennial Beams". This soul-grabbing verse, like a cloud in the mountains, slowly rises, like a fairy in the clouds, making me think about it. Whether to make a beam or a cane is not something that wood can decide. Deciding what to do, what to do, is the material, it is the person. Isn't that the same true, man? The greatness of poetry may be here, it shapes the imagery at the same time, but also for us to create an epiphany space, an unknown spiritual world, let us in the process of reading each other, some inspiration.
A good poem is like a moving ship, it needs a source of power. The sources of motivation that drive a good poem are different, sometimes a set of images, sometimes content or rhythm. "Nine Songs of the Three Backs of the River", which begins with nostalgia, presents the meaning of life and the content of life in the vision of folklore and nationality. Among them, "The Old Man on the Top of the Mountain" is written without restraint. From the snow that can be touched up close, to the gods and immortals in the mountains, from the mountains to the bottom of the mountains, from birth to death, a few strokes, stretching the time and broadening the space. A close-up of the poem", "I have a hard time walking / You look at the mountains", let the strong love break out of the door, let people deeply moved. "The Mother's Dowry" and "Two Wooden Fish" convey that a man cannot surpass his time, and the only thing he can do is to testify to the era in which he lived. Reading "Little Name", it is like Baoyu first saw Daiyu: "Although I have not seen it, my heart is like an old acquaintance, as if I am far away from the reunion." "It makes people fall in love with each other, and it's the same at first sight." "Children Return home" is a song that shocks the soul:
Little wind, I take you back to Peach Blossom Ferry / is to take you back to the roots of the big tree / / Genealogy / those yellowed names / You don't know / But here a grass and a tree / Every amaranth and potato / will guide you / Find the blood relatives
Western philosophy is close to life in literature and biology. The approach to literature is sensual and romantic, and the approach to biology is scientific and naturalistic, and neither enters the center of the problems of life. What is close to life in rural China is genealogy and family riding. Those yellowed names, when we were young, although we did not know, were like a vine, and sooner or later we had to climb up. This is what the poet calls "to take you back to the roots of the big tree." The poet hides the theme in a quiet narrative, not relying on lyricism but on the vitality within the language to impress the reader, with the magic of "the breeze is gentle, the water waves are not happy".
Wen Wu first. It is risky to say whose poetry is well written. The appreciation of literary works is "horizontally looking into peaks on the side of the ridge, and the heights of the distance and proximity are different", from different angles, there are different truths. Take the Tang Dynasty poet Jia Dao's two sentences" "Birds stay in the tree by the pond, and monks push the moon under the door" as an example. After the poet wrote it, he found that "pushing" was not as good as "knocking", and felt that the word "push" had its magic, and he hesitated and could not decide. By chance, he met Han Yu and judged: "Typing is good!" Since then, the poem "Titled Li Ning's Seclusion" has been "knocked" to be fixed. The word "scrutiny" has also become a good story in the literary world, and has been recited through the ages. Which thought of modern times, Yang Shuda, Guo Moruo, zhu Guangqian began to argue about "pushing" and "knocking". Yang Shuda believes that "the word 'knock' is loud, and the word 'push' is dumb, so the word knock is also good." Guo Moruo agreed with "knocking", he said: "The temple door is closed, I am afraid that the possibility of knocking is more." "Yang Shuda is a philologist who examines from the perspective of language; Guo Moruo is a writer, he analyzes from a reasonable point of view; Zhu Guangqian is an aesthetician, and he deeply explores the specific realm of the original poem:
He had to hide himself, which showed that there was only one monk in the temple who was alone. In comparison, knocking is not as cold and silent as pushing. From the previous sentence, "push" seems to be more harmonious than "knock". "Push" can be silent, "knock" can not avoid peeling pecking sound, alarming the birds, breaking the silence, but also seems to add to the disturbance. So the question is not which one is more appropriate, but which realm is said at the time and is in harmony with the whole poem.
The meaning of words in poetry is an extremely subtle creative activity. After more than a thousand years of more than a thousand years of deliberation, these two words have been debated by Jia Dao, Han Yu, Yang Shuda, Guo Moruo, and Zhu Guangqian, and it seems that everyone's learning, realm, and insight are different, and their understanding of the work is also different.
I advocate that the article is meaningless and boring to read. Frobert said: "Thought is separate from form and is meaningless." For example, an object, to its color shape mold, is nothing more than an emptiness. "Yang Rufeng's "Years" will highly unify the profound artistic conception and philosophy. Its ideological realm is higher than Su Shi's "Ding Feng Bo" and Qin Guan's "TaSha Xing".
The earth is empty / All memories have covered the snow / / I will not wait in my life / Afraid of gray hair overnight / Afraid that the years will take me to the cemetery / Not flowers / / Know / Love you, I have the same faith as pilgrimage
"The earth is empty / All memories are covered with snow." What the poet is expressing here is regret. "Tasha Xing" was written when Qin Shaoyou was relegated to Chenzhou in his later years, and was written bitterly and poignantly. "Send plum blossoms, fish pass rulers." Masonry into this hate has no weight. Chenjiang was fortunate to go around Chenshan Mountain, for whom xiaoxiang went down." "There is no weight in building this hatred", he "built" the hatred little by little, just like the wall bricks are built together piece by piece, this kind of overlapping and overlapping grief and indignation, it is innumerable and inexhaustible. "Ding Feng Bo" was composed by Su Shi after he survived the "Wutai Poetry Case" and was degraded to Huangzhou. It is written as a kind of openness, "Don't listen to the sound of the leaves beating through the forest, why not groan and walk slowly." "Years" is written as an enterprising, "I will not wait in my life / afraid of gray hair overnight".
Ancients don't know how many heroes sigh uselessly. Xin Qijie lamented in "Water Dragon Yin" that "asking for a place to ask for a house, afraid that I should be ashamed to see, Liu Hao is exhausted." "Liu Qi" here refers to Liu Bei, and the words "Romance of the Three Kingdoms, Chen Deng's Biography", say that Xu Feng complained to Liu Bei that Chen Deng had neglected him, but Liu Bei listened to it but blamed Xu Feng for only seeking material enjoyment when the world was in chaos, buying fields and buying real estate all day, and had no great ambitions. Xin abandons this allusion to say that if he buys land in Jiangnan for a lifetime, shouldn't he feel ashamed if he meets someone with great ambitions like Liu Bei? Loyalty and indignation are palpable.
Talking about aesthetic beauty, Su Shi and Qin Guan wrote well. Speaking of meaning, Yang Rufeng is even better, "Do you know / Love you, I have the same faith as pilgrimage." What is literature? Literature is about giving people hope and strength. If we do not receive the teachings of the good and the nourishment of beauty, the world and the human heart may return to primitive society. The good and bad of poetry are like pushing and knocking, which word is more appropriate, in which realm.
Sometimes, reading doesn't change the nature of our lives, but it gives us unexpected surprises. The Bimo Sutra Group of Poems let me know that the Yi Bimo Sutra, a treasure of Yi culture, is juxtaposed with oracle bone, Sumerian, Egyptian, Mayan, and Hala-like scripts, representing an important origin of the world script. Inspired by this, with a sense of agitation, the poet created the "Bimo Sutra Group Poems", like music, which is a record of invisible desire, a note created by the mystery of the soul, like the spiritual "possession" of Yi culture. Among them, "Little Leopard Sheng" is a stroke of God! "Shhh! Distant Beast/Deep Mountain Wood/Let Me Dance a Dance for You/Little Leopard Sheng. "It makes people linger, sing and sigh."
"Charm Lake in the Moonlight" is written playfully and naturally, and the jump is interesting. The poem has two imagery: water and fish. "Water" and "fish" have a difference between what can be said and what cannot be said, and the dilemma of poetry writing is to use the water that can be said, to express the unspeakable fish.
At this point, the way we are on the shore/should be the way the fish are in the water
This is different from the anthropomorphic method, which is anthropomorphic with things, which is a kind of analogy. This is the disposition of the poet seen in the water, which is possessed by the scenery itself, not added by the poet. "Wenxin Carved Dragon Search" said: "Since modern times, Wengui has been similar in shape, peering above its scenery and drilling into the grass and trees. "It means exploring the situation from the scenery and the grass and trees, that is, almost seeing the temperament in the landscape."
How many fish are like us / Clouds and mountains, lakes / And here to go / Mountains high and long
"How many fish are like us", it seems bland, but it highlights the poet's linguistic experience and imagery spectrum. For example, the "Theory of QiWu" says that the butterflies in the "butterfly dream" are vivid, the butterflies are vivid, not added by outsiders, and there is the pleasure and freedom of "taking from the landscape and the water". "The clouds and mountains are pale, the lake is full of water / And here is a farewell, the mountains are high and the water is long." This sentence is derived from Fan Zhongyan's "Records of Mr. Yan's Ancestral Hall": "The clouds and mountains are cang, the rivers and rivers are yangyang, the virtue of Mr. Yan, the mountains are high and the waters are long!" I was hit by this magical "bone sponge palm", and my face was full of sweet tears. The last sentence is only 12 words, but it vividly depicts the moving picture of parting, and it reads like a thousand precious voices: "You ask, what is the return date / I said, what is this fish". I am compatible with things, bold and profound.
By Wang Guowei's standards, this poem is not separated. What is not separated? I am one with everything.
Yang Rufeng's poems seem to be slow, gentle and calm, but they pay special attention to the beauty of the creation of imagery to present the beauty of poetry, and integrate the natural image of heaven and earth into his poetics, giving people a sense of novelty, vividness and profoundness of imagery. But I prefer its ability to control language, such as Ximen Blowing Snow Dancing Sword, one moment light as a swallow, the other as sudden as lightning, steady and appropriate, without flaws. For example, the poet wrote "Spring and Autumn in the Mountains" when he was a teenager: "The old cow mooed / Ploughed open the sleeping black earth / The simple season / On the gentle bamboo whip / Opened the flowing sunshine / Heavy hope / Drumming and swelling pain / Spring night". The poet uses a few strokes to sketch a picture with both sound and color. In addition, "I Use Spring to Lift You" uses the most superficial truth in nature to illustrate the relatively complex content of human emotions. "Love Map", a seemingly ordinary little poem, has produced an eternal charm. "Because of the pure heart of your affection / Is my vast and beloved motherland."
The poet's spirit is vividly expressed in "China, I Raise a Glass for You". "Fill the smoke of the Qinling Mountains / Fill the majesty of the Five Peaks / Fill the white dew and frost of the Bamboo Poetry Classic / Fill the bright moon of the Tang Dynasty wind with the line / Fill the nine-curved Yellow River And the sound of the Yangtze River/ Fill the flowers and tears of a hundred years." This set of comparisons, which are constantly repeated, lists the natural beauty and five thousand years of culture: heaven and earth, day and night, spring, summer, autumn and winter, suffering and flowers. The description is vivid, the imagery is rich, there are changes, there are ups and downs, and the serious political content is embedded in the beautiful verses, forming a strong spiritual bite force, so that after reading, people's hearts are full of majestic and magnificent atmosphere.
Bacon said: "Reading is not for the sake of argument, nor for the sake of credulity and blind obedience, but to think and weigh." "Since the rise of The New Chinese Poetry since May Fourth, after some tortuous or spiral development, some poems, like ancient poems, have a firm order that can withstand interpretation, and the words and sentences cannot be replaced at will, forming a perfect whole; some poems have become the dust of the times under the pressure of word-by-word interpretation. Yang Rufeng's Bi mo jing uses words as swords, gives the sleeping mother tongue a radiant bingwei color, and constructs the Chinese mountains and rivers in the midst of natural statements and appropriate inversions. The wonderful, tiny, Chinese flowers, like clouds in the mountains, rush to the sleeves, and do not take off.
His spoonful of mirror words, like a leaf light boat sailing out of a river, aroused my sense of mixed tastes; the lines of poetry explored by his text, floating and clinging to the waves of life, like thousands of armies and horses surging in my body. And his words are still as calm as the sea. Such divine feats, as the general preface of "Three Backs of the Little Dragon" says: "In him, we can feel the distinct aesthetic interest of traditional Chinese poetics, and at the same time it is easy to discern his spirit of continuous pioneering and innovation." He went hand in hand with absorption and transformation, and established his own aesthetic value and spiritual system. ”
Perhaps, what we hear from Yang Rufeng's poetry is the voice of the poem itself, pure, mellow and full of power.
Attached: Editor's Note
"Little Dragon Three Backs" "Out of the Kiln" record
We are always looking for a free life, experiencing freshness in a disturbed world; we can never forget the way home, missing the hometown of the warbler in a strange city; we indulge in the sea of time, meet with beauty, and feel the turbulence of life. These truths of life, memories of hometown, and the meaning of life are often seen in a book.
In January 2022, "Three Backs of the Little Dragon" is stained with some New Year's joy, one back to the sky and the bright moon, the second back to the homeland mountains and rivers, and the third back to the world's Taoist hearts, and set off to see you.
The typography makes full use of the artistic beauty of leaving white space
Regarding design, Li Xiaoling, art director of Yujiaolong Media, is the core. She seems to do everything by interest, and then tries her best to be professional. As early as more than ten years ago, when "Three Backs of the Little Dragon" had not yet been created, she was looking forward to it: if the author published, she must strive to do the overall design. You don't know, do you? She deliberately collected and arranged the illustrations of the works that the author had edited, and prepared for the design of the coming Day.
Her passion and yearning for book design has always been her driving force.
Based on the design direction of "Little Dragon Three Backs" of "simple atmosphere, reflecting charm", she uses a large area of white space to give the design breathing space. The wrapping and foiling of the blank area is excellent to set off the core content of the text. This kind of blank space fully highlights the minimalist style of the design, and while ensuring the sense of design, it is also introverted and quiet.
Each of the three books has its own design.
The first volume, the Bimo Sutra, is a collection of poems, and the name of each group of poems is the beginning of the chapter. This collection of poems by the author looking back at his hometown hides the passage into memories in the pages of the book. The faint scent of books begins to cushion memories of childhood from the moment the cover is opened.
The second volume, Peach Blossom Ferry, is a collection of essays, with illustrations and inscriptions installed in each essay. The simple and beautiful lines of the illustrations make the still life "revitalized" and brought to life. The ten inscriptions add a lot to the cultural atmosphere of the book, and the pen and ink are rigorous but flexible, showing the beauty of the rhythm of calligraphy.
The third volume, "Dragon Totem", contains the inaugural words, prefaces, legendary implications, and prefaces drafted by the author over the past twenty years. Compared to the previous two volumes, this volume is unique in that it includes a legendary hidden column, accompanied by illustrations of works published in newspapers. These illustrations are from the hands of many of the country's top comic strip artists, the style is changeable, the magic brush is full of flowers, and people can't help but stop the action of turning the book and concentrate on appreciating its strokes and paintings.
Slow down time, suitable for reading, reading the story of a teenager, reading his amazing, gentle verses. He stores romance in the winter, which is good to give to you in the spring.
The cover design conveys a simple and high-end feeling
A heartwarming cover is the first element of the reader's choice and opening of the book. Accustomed to reading books printed with flowers and green patterns, the simple and atmospheric, simple and mellow style of "Three Backs of the Little Dragon" is even more eye-catching.
The titles of the book,"Bi mo jing", "Peach Blossom Ferry", and "Dragon Totem" sit in the upper right corner in the form of a simplified form of a clear carving. Near the title of the book, the silhouette of Qifeng Cat Rock in front of the author's house adds a little playful flavor to The Elegance. The spine and left side of the cover of the three books are composed of golden brown, grass green, and Chinese red to compose their own "main theme". Depending on the genre, colors are also given different meanings.
The golden palm of "Bimo Sutra" comes from the firmness of the earth, the harmony of nature, the exuberant life, and the stereotype of unusual brown loneliness and depression, leaving a piece of hope and vitality; the grass and green of "Peach Blossom Ferry" carries the breath of spring, through the flowers and insects, sprinkling sunshine in the heart; the Chinese red of "Dragon Totem" inherits the red blood vein, contains the classical temperament with unique oriental characteristics, and exudes traditional charm.
Such a cover combines visual and creative, and uses minimalism to smear "Little Dragon Three Backs" with a high-level and mysterious color, amplifying a free and casual. At a glance, you know that there's something in this set of books.
The printing process buried the design of small ideas
Under the "arming" of the printing process, a good book can always be transformed into a work of art that coexists with practicality and beauty.
In the printing process of "Three Backs of the Little Dragon", Mr. Hu Bihuang of Yan Mo Printing, as an expert in printing, must have a certain kind of industry catcher temperament with a poisonous eye. When discussing the printing process, he called from time to time: "Reiko, your cat rock pattern and the word of the title of the book, or do a UV, it is best to do laser UV, this process is the most fashionable now, but there is definitely a low-key sense of high-end, after printing the book will bring a little color in the sun..." Only a few words, full of professional confidence of an expert.
As you may not know, there are quite a few unexpected vignettes in the published story.
After walking for half an hour in three minutes, determine the variety of cover hand-kneaded paper; add some ingenuity to solve the problem of thin cover paper; the binding method is changed from lock line glue to lock line empty back loading...
As the protagonists of these stories, Mr. Tu Yiming and Mr. Hu Bihuang always bring us full of emotions inadvertently with a serious and responsible attitude.
Once the sample book is printed, you can start making the envelope. This ring is indeed the most hidden one of the "Three Backs of the Little Dragon".
The envelope only has seven words of "Yang Rufeng Xiaolong Three Backs", which is made into an indentation and convex process, making the whole set of books more atmospheric and of high quality. It is worth mentioning that the indentation all copper mold is still specially customized from Guangdong. This is the ultimate pursuit of detail. The vast cat rock on the waist seal corresponds to the semi-circular cat rock pattern on the cover. The waist seal "Little Dragon Three Back" black calligraphy font uses the UV oil process. The title of the three volumes corresponds to the introduction to the Three Backs of the Little Dragon. The paper used for the letter cover is consistent with the cover, and the paper used for the waist seal is consistent with the ring lining.
Every place hides the careful thoughts of design, interlocking and complementing each other. The integration of the whole and the series forms the "fruit" of the perfect collection of multiple factors.
With meaning first, the avenue to simplicity.
In the simplicity, the most special work is created, which is the surprise and romance that "Little Dragon Three Backs" gives readers!
Binding process:
1. Cover: 157g hand-kneaded paper four-color printing, cat rock small map and the title of each volume to do laser UV oil process;
The spine and the left side of the cover are color block spot color printing; front and rear single ring 200g white cardboard, front and rear single ring lining (double special paper 120g color fiber paper).
2. Binding method: lock line empty back packing
3, the heart: 120g Asus paper, monochrome printing.
4. Envelope: 157g hand-kneaded paper mounting industrial cardboard, indentation process at the cover "Xiaolong Three-back Yang Rufeng"; ribbon extraction design
5, waist seal: Shuanghui special paper 120g color fiber paper four-color printing, the title of the book "Little Dragon Three Back" UV oil process
Cover Design:
The cover paper is hand-kneaded paper, which has good toughness, texture and texture, which is in line with the simple and heavy charm of "Little Dragon Three Backs". The title of the book "Xiaolong Three Backs" adopts Song characters, and the titles of each volume are "Bimo Jing", "Peach Blossom Ferry" and "Dragon Totem" in Qing carved simplified style, which is simple and thick. The semi-circular pattern is a simple shadow of the cat rock at the entrance of the author's hometown, which echoes the title of the book "Little Dragon Three Backs", reflecting the author's mission of "one back to the sky and the bright moon, two backs to the homeland mountains and rivers, and three backs to the world's Taoist hearts".
The spine and left side of the cover of the three books are respectively golden brown, grass green, and Chinese red blocks, reflecting the literary attributes of each book. "BiMo Sutra": golden brown is often associated with the earth, nature, simplicity; "Peach Blossom Ferry": grass green represents freshness, life, peace, nature, vitality; "Dragon Totem": Chinese red means pride, positive enthusiasm, but also the traditional Chinese red.
Typography design:
The interior layout of the three volumes of "Three Backs of the Little Dragon" pays attention to blank space, considering that it is easy for readers to read. After opening the copyright page, what catches the eye is a sentence of "Three backs of the little dragon, one back of the sky and the bright moon, two backs of the homeland mountains and rivers, three backs of the world's Taoist hearts", which is an interpretation of the title of "Little Dragon Three Backs". With 8 pounds of song script in gray, plus 50% grayscale of the author's signature, it is low-key and restrained. The beginning of each chapter of the three volumes, only the English + column title of the title of the book, are 8 pounds, simple design, highlighting the literary nature.
Each of the three books has its own design. The first volume, the Bimo Sutra, is a collection of poems, containing nine groups of poems. The name of each group of poems is the beginning of the chapter. The design treatment is still more blank. Each punctuation mark in the collection is a character's space, which is a manual adjustment of each punctuation word by word to keep the verses neat and consistent.
The second volume, "Peach Blossom Ferry", is a collection of essays, recording ten chapters of prose. This volume is unique in that each essay is accompanied by illustrations and inscriptions. The illustration is a manuscript from the famous illustrator Mr. Duan Ming. Mr. Duan Ming said: "Only by understanding the essence of the article can we draw the wind and bone of the article, which requires the author to have a keen grasp and insight into the spiritual core of the article. "The simple and beautiful lines express each prose vividly and vividly. The ten inscriptions are written by the author to the ten calligraphy masters, which are simple and thick, showing the charm.
The third volume of "Dragon Totem" is the inaugural speech, preface, legendary implication and preface drafted for the needs of work for twenty years. The layout of this volume is still serialized, and the font size is consistent with the first two volumes. Compared with the first two volumes, the unique feature is the legendary hidden column, accompanied by illustrations of works that have been published in newspapers and periodicals, which are from the hands of many of the country's top comic strip artists, with different styles and expression techniques, which are very charming and commemorative.
Lock cord empty back mounting:
"Little Dragon Three Backs" adopts the lock line empty back binding method. The common traditional binding process is gluing. After the thread is worn together with thread, the spine and the pages of the print are not glued together, showing an empty back. This makes the book easier to flip through because each page can be flattened out, resulting in a better reading experience without worrying about cracking between pages. And glue often can't unfold the book in its entirety.
At the same time, the design of the lock thread empty back mount is also an innovation, but its process is cumbersome, and the paper must be folded, and sewn with needle and thread perforation, and the lock thread is written into a book. The cost is also relatively high, and this binding process is relatively rare. While it is convenient to read, it also maximizes the simple and natural characteristics of "Little Dragon Three Backs".
Envelope process:
The envelope is designed to protect and beautify the book from the perspective of functionality and practicality.
The "Three Backs of the Little Dragon" envelope uses hand-kneaded paper consistent with the cover and is serialized. The design of the envelope is only "Xiaolong three back Yang Rufeng" seven characters, the font uses calligraphy characters to increase the standard Song font, do concave and convex indentation process, the three-dimensional sense is stronger, and the whole set of books is more atmospheric and quality. Concave and convex embossing, also known as embossing printing, is a special processing technology in the decorative processing of printed matter, which uses a concave and convex mold, under a certain pressure, so that the substrate of the printed material undergoes plastic deformation, so as to artistically process the surface of the printed matter. The embossed pattern shows different shades of patterns, with a clear sense of relief, which enhances the three-dimensional sense and artistic appeal of "Little Dragon Three Backs".
In order to facilitate the reader to extract the book, the letter sleeve adopts the ribbon extraction design, which is more practical and beautiful than the traditional extraction method of the semicircular hole in the letter sleeve.
The waist cover of the design is backed by a vast cat rock, which echoes the semicircular cat rock pattern on the cover, reflecting the author's pure heart for his hometown. The waist seal "Xiaolong Three Back" black calligraphy font is made of UV oil process, so that the text is more prominent. On both sides of the calligraphic character of "Xiaolong Three Backs", the titles of the three volumes are symmetrically treated with the interpretation of the Three Backs of the Little Dragon. The waist seal is consistent with the ring lining paper, which reflects the integrity and seriality.