□ Lu Dunki/Wen
The second half of the sentence "Read a book, read a book" can be read into two tones. Reading into a lower tone, writing it down is an exclamation point, indicating contempt for the reader and the reader: "How to read for half a day (or how many years) is useless!" More thoroughly: "Silly reading, it's hopeless!" "This tone can be fully understood by those who have not read books and those who are stupid in books. Yes, from the usual utilitarian perspective, a person reads a book and gets some realistic success, that's it. But if you have read many years, read a lot of books, and mixed up badly, isn't that a great waste and a lot of trouble? I don't want to hide from you, I really think so. Among my lifelong teachers and friends, I have the most admired several people, during which the number of people who read more is almost the same as the number of people who read less. And in my heart, I probably admire those who read less. Yes, to make the same impressive achievements, some people have read a lot of books, others have only read very little (completely unread, limited to my observations, I have not really met, here aside), then how can I not admire those who read less? At least they look more in line with the principle of conservation.
However, if the "what book to read" is read as an ascending tone, the sentence must be written down, and a question mark must be added after it, indicating the curiosity of the reader and the seeking and even admiration as a peer. This situation can be roughly divided into two categories: First, reading is regarded as an entertainment activity, the so-called "good is not as good as the happy", and ordinary people eat snacks, watch movies and television, fishing, rubbing hemp, etc., as long as they do not cause harm to society and do not bring great harm to themselves. The other is the learning attitude, feeling that the success and extraordinary of others should have a fairly close relationship with what books they read. If I followed suit, maybe I would. At this point, one has to ask for a bibliography from others.
The bibliography is inevitable. Since the invention of writing, the importance of literature has been recognized by all sectors of society. Whether the Xia Dynasty exists or not is still a dispute, in the final analysis, it is that several or even one written document written in the Xia Dynasty era has not been found. Liu Bang's entry into the customs will rob the goods Xiao He alone to receive books is more familiar to everyone. At that time, the library and archives were important places in the country, unlike now, which was only a subordinate unit and juxtaposed with many others. In the early years, a qualified director of books and archives had to have a catalog to arrange the collections in the library. Ancient and modern, Chinese and foreign, there is no exception (do not think that only their ancestors can read and understand books, libraries all over the world will do this). In this way, a variety of book classification systems have emerged. Subsequently, there may be some post-learner mortals who ask for the benefit of their considered university and successful people, asking them to declare the secret books that should be studied, and personal bibliographies have also been produced. Finally, focusing on education and having a more far-sighted vision, I felt that I should summarize the achievements of the spiritual world and even the material world of my predecessors for the students of Guangdong University and future generations, and teach the way of learning to read, so there is a larger and more academic list of required books.
Coming and going, I had some bibliographies at the head of my bed, and only two were left at the end: "Bibliography Q&A Correction" and "Ideal Collection". As we all know, the "Bibliography and Answers" was written in the hands of Zhang Zhidong and his staff in the late Qing Dynasty, when the traditional Chinese scholarship was closed, and the eyes of overseas were first opened, and it was possible to make a systematic management and summary of the tradition. In the first compilation, the framework of traditional Chinese learning and important works have been listed, even if you only look at the bibliography, you can indeed understand the general idea. As for the version hints during the period, today it is no longer valid for the vast majority of people, and it is possible to ignore it. The one I have in my hand was revised by Fan Xizeng, Shanghai Ancient Books Publishing House, 2001 edition. The Ideal Collection was published in 1988 by the French, translated by Yu Zhongxian, and first printed Chinese by Guangming Daily Press in 1996. In addition to reading books, I often turn out these two bibliographies to circle and make some marks. In particular, I would like to add that the Ideal Book Collection is not so ideal for me: first, because this book is written by the French, and the importance of legal person works is far greater than that of other countries; second, this book is mainly literary and artistic, and the first 35 categories of the 49 categories in the book are literary and artistic. Of course, the French have always considered the center of the world's culture to be the only one, but people in other countries do not think much of it. However, after searching for books, there is still no similar Chinese bibliography that can be replaced, and it is still old.
Recently, in the morning, flipping through two bibliographies, Huo Ran found that why did he read far less ancient books than foreign books? I don't know any foreign languages, I remember a lot of words before, but I still lack the ability to read them through; second, I don't study foreign cultures. It was only once held that in today's society, if there is no foreign reference, it is not enough to read ancient books. As a result, I read some foreign books backwards. For example, under the "Russian Novel" section of the "Ideal Collection", the first 10 recommended "The Master and Margaret", "Correma Stories", "Idiot", "Dead Soul", "Contemporary Hero", "Doctor Zhivago", "Captain's Daughter", "Cancer Ward", "Steppe", "Anna Karenina", have been read for decades, although only one or two of them have been deeply understood. However, in contrast to the ancient Chinese books, the first page of the "Bibliographic Answers" "Jingbu" and "The First Commentary on the Canon", the first item of the "Thirteen Commentaries on the Thirteen Classics", although it was bought in the early years, has not yet been finalized. Although the "Twenty-Four Histories of King Ding", which was "the first in the history of the history" of the History Department, was also bought at home, most of them had not read it after all. Not to mention the two parts of the sub and the set. The ancient interpretation that I fell in love with when I was a teenager was disposed of as cultural garbage in the "Bibliography and Answers": one was not collected. Incidentally, I personally think that regarding traditional culture, Mr. Liang Qichao opened a "minimum required reading list" in 1923, which is more general than others, and is quoted as follows:
The Four Books, the Book of Changes, the Book of Books, the Book of Poetry, the Book of Rites, the Zuo Chuan, Lao Tzu, Mozi, Zhuangzi, Xunzi, Han Feizi, The Warring States Policy, the Shiji, the Book of Han, the Book of Later Han, the Chronicle of the Three Kingdoms, the Zizhi Tongjian (or the End of the Chronicle of tongjian), the End of the Chronicle of the Song Dynasty and the Ming Dynasty, the Chu Ci, the Anthology of Literature, the Collection of Li Taibai, the Collection of Du Gongbu, the Collection of Han Changli, the Collection of Liuhe Dong, and the Collection of Baixiangshan. Other songwriting collections are read as many as you like.
The above books, whether it is mining, engineering... All must be read. If you don't read this, you really can't think of Chinese scholars as a scholar.
The courage to propose a discussion is to feel that the book "Sun Tzu" should be included in everything. The four words "soldiers are not tired of deception" say how much the utilitarian nature of traditional Chinese reality is! Of course, even this "minimum" bibliography is still difficult to implement today. Measured by the standards of Mr. Liang, my generation has long been a non-Chinese scholar.
In my daily experience, most of the main reading materials of people who love to read are not ancient books, with the exception of ancient culture researchers. There are not many people who especially love to read ancient texts. This phenomenon exists more widely, and the reasons for this seem to be clear at a glance, but it is not so easy to tell it carefully and make a distinction. The author has been carrying this question for many years, and recently consciously understands its reasoning. The analysis is as follows:
The first, and the least necessary to explain, is the estrangement of words.
Although the Chinese characters used today are basically the same as those used a hundred years ago (except for simplified characters), there are different disciplines of ancient Chinese and modern Chinese in universities, and the meaning, grammar, and rhetoric of Chinese have also changed to varying degrees. To put it simply, the vernacular language is almost barrier-free among people who have received compulsory education (of course, there are some articles that we know every word, but we can't understand it at all when we read it together, and if we want to make a judgment about it, it is: either it is indeed the peak of knowledge, which is really difficult for ordinary people to understand, or it is half a bucket of water that swings into a bucket of water, pretending to deceive people, pretending to be a ghost, and so on. The two are not difficult to distinguish, so I will not say anything here).) And the text does bring dyslexia and comprehension to contemporary people. If nothing else, take myself as an example: I was the first college student after the "Cultural Revolution", and although the Chinese department I studied was not Peking University or Fudan, it could also be regarded as a domestic famous brand, and at that time, the department was known as "eight professors", and the lineup was absolutely luxurious. I felt that I was a median student and loved ancient cultures, but I didn't pay attention to it. In this way, the real situation when I graduated from college was that I could read the annotated books, which could be extended to the annotated books made by the ancients. But to give a white text (i.e. a book without any punctuation) is probably not reassuring to read. It is conceivable that standing in front of an ancient stone stele at that time, facing the dense text is an embarrassing feeling. That is to say, when taking the master's degree, it took half a year of hard work, and only then did the situation of reading ancient books be smoother, but that is, it can only be dealt with, and various tools must be used when encountering problems. Moreover, the most crucial thing is that if you read online texts today, especially popular online novels, you can understand almost without using your brain, and you can read it effortlessly while standing on the bus and subway. When encountering wen yanwen, you can first cheer up your spirit, correct your attitude, and treat it as a job in order to read it smoothly. The difference between the literary language and the vernacular is clearly understood in everyone's heart. Let's put it this way, in general, the number of literary manuscripts in academic journals on modern and contemporary Chinese literature is much higher than that of ancient Chinese literature. why? Just because reading modern and contemporary literature lacks a word barrier. If a student is lazy, he will choose this road that looks wide but may be more crowded. Therefore, the gap between ancient and modern languages has become the first reason why ancient books are difficult to read foreign books.
Second, and extremely important, many ancient books are no longer a book for us.
This sentence seems clear, but it really needs to be analyzed.
We usually want to read a book, open its front page, and most of the time we have an expectation in mind: it is about something that has something to do with me, or it may be a completely new field that needs to be understood, or it is purely for fun. After this thought, we will have a preconceived idea of where the book will begin, how the main part will unfold, and where it will be tightened. In other words, a book must have a small system in which the reader makes such predictions. The author is even more certain, unless his brain is broken. Of course, there are many authors with bad brains throughout the ages, but they write books in this way, first, it is difficult to write, and second, even if such books are written, they rarely have the opportunity to circulate and pass down, and it is even less likely to enter the "Bibliography Q&A" and "Ideal Collection".
Chinese, since the Western Han Dynasty, only someone has seriously written books. Most of the books before this were not books, and what we see today are basically compiled by later generations. The book written by the Western Han Dynasty, Sima Qian's "Records of History", if you want to talk about the system, should be the most systematic.
Where is the systematization of the Chronicle? Comparison is always the most important way to clarify things. Before the "Chronicle of History", the ancient history of China was the "Spring and Autumn Zuo Shi Biography". It is about major historical events according to the chronology, as for the big and big things, you can't do anything, he didn't write about it, you know what? Regardless of this, when we read "Zuo Biao" today, the first thing that catches our eyes is a story of one thing in a certain year. There are stories, there must be people involved, and these people have several titles, as shallow as me, basically can't figure out what his identity is. Official positions are generally also accounted for, but most of the years in which this person was born, how he became an official, his temperament, his position, and so on, are mostly missing. Of course, it is not that the author of the "Left Biography" did not understand and therefore did not clearly explain, mostly because the cost of writing is too high. Coincidentally, when we look at the history of ancient Greece and Ancient Rome that has been handed down to this day, in addition to the chronicles, isn't it also a bit like "Left Biography"?
Only in this way can we see how good Sima Qian is. This is good, and the most important point is systematic. Beginning with the Twelve Benji, these twelve essays provide a unified background and continuation of Chinese history, starting from the Five Emperors and to the present day. In this general background and framework, sometimes there are various local politics, and the time differences are intertwined, so that ten "world tables", "chronology" and "monthly tables" are established. Sima Qian, unlike all the historians before him, paid special attention to the influence of society, system, and culture on people, so there are eight books of etiquette, music, law, calendar, tianguan, fengchan, river canal, and pingzhun. It was followed by thirty "families" for princes and nobles, which is also the true state of ancient society. Followed by seventy "column biographies". In addition to the single biography of the characters, there are also classified Xun Guan, Ru Lin, Rangers, Yu Xing, etc., and the "Biography of Cargo Colonization" is a classic chinese concise economic history and economic thought history.
This new system is a subversion of the "Spring and Autumn Zuo Clan Biography" because of the years and events. In the Chronicle of History, things are mainly related to people, and only people can see things. Xiao He received the Qin State Map Book, and could not check it in which year, but had to go to find "Xiao Xiangguo Family". The key is also that this new system was confirmed by future generations of scholars and regime owners, and there was a succession of twenty-three histories. Fu Sinian, Qian Mu and others regard Chinese scholarship as a "unit based on people" rather than a discipline, and more or less out of the grasp of traditional historiography. The people-centered approach is indeed the starting point of traditional literature. Needless to say, personal cultivation is actually the center of the teaching, and correcting human nature can solve all problems is almost the setting and intention of traditional Chinese scholarship. The thinking of many scholars and literati has invariably fallen to this key point.
Of course, this is not to say that traditional Chinese historiography only erased other ways of writing by Sima Qian, and the Zizhi Tongjian, which is the same as the "History", is the imperial masterpiece of the later chronicle. The ancients said "two Sima in ancient articles", that means that Sima Qian and Sima Qian are similar. However, if there are two Simas in the ancient histories, they can only be Sima Qian and Sima Guang. Later, some people specially adapted the main history into a chronicle. why? Save time and energy on reading. Attaching importance to events in the light of the times is also the general principle of history. The later invention of the chronicle is also a grand view.
However, the established system of traditional Chinese books, since the end of the Qing Dynasty, has indeed encountered great challenges, and in the end, almost the entire army has been destroyed, and there is no ability to fight back. The most obvious example is that the Twenty-Four Histories can no longer be continued. The "Draft History of the Qing Dynasty" is still the "Draft History of the Qing Dynasty", and it is impossible to enter the room and eventually take a big seat, and it is impossible for anyone to issue an authoritative certificate for it. How to write the history books in the back is also a difference between people and differences. But what they have in common is that the old system is no longer possible.
Why didn't the old system work? This question is too big to be answered in such a small article, but one of the most obvious reasons is that the world has entered the age of science. The so-called science, temporarily taking the most common meaning, can be tested, can be universal. This principle is simple to say, but it is completely incompatible with the original principle of "I think" and "I feel". The human center has since become centered on objective things, and the personal opinion has become completely irrelevant, even reduced to an object of abandonment. No less than the great cultural changes in the vicissitudes of sangtian, as far as Si!
As a result, the system of traditional Chinese books completely disintegrated. For example, the historical notes of the Grand View are varied and complex, but they are all written around the center of the author. As a literati, his hobbies, his daily concerns, his joys and sorrows, although tied to his individuality, also implied the common intentions of the same class of people. But once this center is removed, the notes have to be scattered into pieces, turning into a broken copper and iron yard or a garbage dump, of course, people with eyesight can also come here to pick up sand and gold, and turn waste into treasure. More generally speaking, traditional Chinese literature has only become a bunch of new academic materials. This intention was already revealed by Liang Qichao and others in that year, and by the early years of the Republic of China, it had become a consensus in the academic circles. From the whole book to the material, it can be seen that the original systematization of the ancient book has been completely overturned. Later generations wrote books, the first thing is to follow scientific principles and make a systematic architecture. Today, there are, of course, many books that are not constructed according to scientific principles, but their proportion of all publications has dropped significantly. Writing books today no longer requires the imitation of learning by treating ancient books as a book, but only as a bunch of fragments, that is, a bunch of materials. The new technological revolution, especially the search function, is a godsend for them. Any vocabulary, a search is available, which one is still necessary to read the ancient book in its original place? In particular, the style of quotations, from the "Analects" to the "Zhuzi Language Class", many classic ancient books, no matter how people look at them today, they are no longer like a book. Therefore, the number of readers reading ancient books has been reduced.
The third is what people today tend to ignore, that is, the decline of traditional entertainment methods. This is also a major reason for the weak position of ancient books today.
The long stories that began to appear at the end of the Yuan Dynasty and the beginning of the Ming Dynasty were also considered large in ancient texts, although they had not been on the hall of Daya until the end of the Qing Dynasty. In addition, oral literature such as opera, commentary, bullet words, and storytelling is generally popular in the folk, which is widely circulated and noisy, and its records are all literary works with intentional implications. In fact, until the "Cultural Revolution" period, although it was ostensibly exterminated, it was still undercurrents and far from extinct. The author still remembers a scene in his village nearly 50 years ago: it was a rainy and snowy day in winter, the production team could not work in the fields, and the male laborers in the countryside at that time basically did not do housework, so they had the situation of listening to villagers with reading ability reading novels at home. At that time, most of the elderly villagers had limited literacy, and books were extremely scarce and difficult to obtain, and some people read and lectured, and the audience already felt that it was a supreme enjoyment. I remember reading a "Xue Ding Shan Zheng Xi" that day, in today's field of novel research, it is almost impossible to get my hands on the work, but in my memory, that Xue family yanyi series is widely circulated in my hometown. It was only when I went to college that I learned that ancient Chinese novels flourished in the Ming and Qing dynasties. On the other hand, today, in addition to the four famous works plus "Jin Ping Mei" is still well-known, "Fengshen Yanyi", "Sui and Tang Dynasty Yanyi", "Saying Yue Quan Biography", "Three Heroes and Five Righteousness", "Mirror Flower Edge" and the like have been rarely favored, while "Xue Rengui Zhengdong", "Di Gong Case", "Three Treasures Eunuch Western Record" and the like are almost absolutely loud, basically disappearing in the public's reading advanced space.
The decline of traditional novels and operas is indeed inevitable. As we all know, their drawbacks are, first of all, stylization, that is, repetition. In opera, not only is the story stylized, but the singing voice is also stylized, and the two singing words with completely different contents can be sung with exactly the same singing voice. The book "Three Heroes and Swords" is a miracle in the book industry, the length is huge, the popularity is wide, it is difficult to match, but its structure is very simple: "The hero is righteous and courageous, the bad guy is obscene, and with a stupid and brave, he will stage a good play in the bookstore every day." (Zheng Ji: "The Long-Neglected "Folk Martial Arts": On the Origin and Spread of the "Three Heroes sword"," Zhejiang Academic Journal, No. 3, 2019) Isn't the same true for novels? Even "Journey to the West", the demon Voldemort, is nothing more than several modes. In a sense, stylization also takes a serious toll on entertainment. The same joke, can you laugh out loud after listening to it?
But stylization is necessary for audiovisual literature other than words. Reading is a job that can be repeated, in other words, you find that you can't read it, missed some important key words and twists, move your fingers, rewind a page or pages, and you can reconnect the clue. Operas, commentaries, bullets, etc. are not the case, they are all fleeting scenes, and it is completely impossible to go back and continue. Therefore, only a preset laughter can make it easier for the audience to laugh. Reading is then substantially different from watching and listening. Of course, such distinctions are sometimes overlooked, resulting in futile explorations, such as contemporary storytellers who have changed Gu Long's "Amorous Swordsman Ruthless Sword" into a commentary, with the result that the original unique style of language is lost and appears to be unremarkable. Of course, stylization also comes from banal thinking. There are many reasons why people think about the formation of stylization, and the provision of audiovisual forms is undoubtedly one of the causes.
In my opinion, except for a very small number of works such as the four masterpieces, the overall decline of traditional Chinese popular literature and art actually occurred in the 1980s. The reason for this is the emergence of martial arts literature represented by Jin Yong and Gu Long and female literature represented by Qiong Yao and Yi Shu, and the second is the rapid popularization and development of film and television, whose irritation and popularity are unattainable by traditional entertainment methods. Leaving aside the latter point here, take the development of martial arts literature as an example to talk about how they are better than traditional popular literature and art with new content and form.
Meng Yunfei calligraphy
The new martial arts can cleanse the old martial arts, generally speaking, of course, for many reasons. But there is one point that may not be many people who care, that is, the new martial arts novels since the Republic of China are very different from before, they are no longer scripts or written for storytelling, but independent of oral literature and written with pens. In other words, the readers of the new martial arts and the listeners of the old martial arts are already two very different groups of people. The readers of the new martial arts are the recipients of modern newspapers. The development of the new martial arts has always relied on the buzzing press. Readers of newspapers and periodicals must have a considerable level of education, and the level is not ordinary. The writing of the new martial arts has thus been freed from the stylization caused by audiovisual limitations, and has become meticulous and exquisite, and the key is a high degree of writing and literature. This is a formal evolution of innovation. In addition, it is also more important, that is, on the surface, the new martial arts are "new bottles of old wine", and writing and writing is not the "chivalrous righteousness" that China has always had? In fact, the new martial arts have been "old bottles of new wine" since birth, and finally even the "old bottles" have been renovated.
Pingjiang Buxiaosheng, the founding father of the Martial Arts of the Republic of China, can be said to be "old bottles of old wine" and has a huge impact, but the "Biography of Modern Chivalrous Heroes", which he also wrote with Huo Yuanjia as the protagonist, has shaped the patriotic characters of the new era and embodied the awe-inspiring national righteousness. This was groundbreaking in the history of martial arts, but readers at the time were not quite comfortable with it. Gu Mingdao, who grew up in Suzhou, took women as the protagonists of martial arts, took chivalry as the theme, and integrated martial arts romance into one, which greatly opened up the market for modern martial arts reading. The leader of the martial arts of the Republic of China, the master of the ZhuZhu Building, his writing has both a beautiful and open realm, and has a strong traditional prose color, but it is based on the contemporary world, often beyond the national territory, heaven and earth, omnipotent, and has opened up the atmosphere of contemporary fantasy novels. Wang Dulu and Bai Yu are both writers nurtured by the May Fourth New Literature, no wonder Wang Dulu's "Crouching Tiger, Hidden Dragon" can be adapted into a movie decades later to win the Oscar laurels, and Bai Yu's "Twelve Money Darts" is not so much a fight in the rivers and lakes, but rather that the rivers and lakes are covered by the short light of the parents, and the jealousy and resentment between young men and women are many times more vivid than the vendetta. Zhu Zhenmu reversed the old concept of male superiority and female inferiority, and pioneered the model of women chasing men and even multiple women chasing a man, completely subverting the traditional love model, and can be regarded as an extreme advocate of women's liberation. Liang Yusheng not only accepted the dominant ideology of the new era, praising the people's criticism of the rulers, but also vigorously adopted the new trends of the times such as psychoanalysis to structure novels, so that readers could be refreshed. Jin Yong, the peak of the new martial arts, is even more innovative. Over the years, I have often been praised in front of me for Mr. Jin Yong's proficiency in traditional Chinese culture, but I do not know that his greatest contribution is not in Sri Lanka, but in making the superficially traditional form completely embody the new spirit of the times. On the right side of the poetry, Mr. Jin Yong is obviously inferior to Liang Yusheng; on the Five Elements Bagua, Qi men dunjia, and medical astrology, Sima Ling is obviously more miscellaneous. However, in terms of the overall achievements of his martial arts novels, Jin Yong is alone in the world, and he is already recognized by the world. The key lies in his comprehensive innovation. He is familiar with the scene arrangement after the film technique, and often sets the perspective with a perspective, such as Guo Jing Huang Rong going to the secret room to heal his wounds, seeing the outdoors coming and going, a hundred scenes and miscellaneous Chen; such as Yi Lin's story of Ling Hu Chong Dadou Tian Boguang, tens of thousands of words are not lost, and has completely eliminated the traditional novel", "two flowers bloom, each table has a branch" of the tedious and lack of connection of the old technique. The performance and re-elaboration of the spirit of traditional Confucianism, Interpretation and Taoism in "The Legend of the Eagle Shooter", "Eight Parts of the Heavenly Dragon", and "Laughing Pride of the Jianghu" are even more contemporary! Mr. Jin Yong's achievement of his martial arts novels with his extraordinary penetrating power and supreme spiritual world is by no means a general resurrection and interpretation of traditional ideas and concepts.
Speaking of which, let's sum up: Traditional Chinese entertainment literary and artistic works have disappeared today, for example, the new martial arts that imply new concepts and new technologies have completely cleaned up the old martial arts. What needs to be pointed out is that new styles such as detective novels that originated from outside have also played a great role in replacing old entertainment literature. On the surface, the overall decline of traditional Chinese popular literature and art is the replacement of the old by the new, but in fact, the new also implies foreign factors, but because of the relationship between popular literature and art, it is more tortuous and complex.
Bibliographic Q&A and The Ideal Collection, although on my nightstand, often accumulate a thin layer of ash. That is to say, I don't have much energy to follow tussocks, and many of the new books I am reading are unlikely to be included in these two catalogues because of the later release. The above is nothing more than a description of a small realization after many years of reading by a book lover. The weak position of traditional culture is also a global phenomenon, which is very normal. The emergence and rapid development of science and technology has only been in the center of the world stage for hundreds of years, and the concession of other roles is also a matter of course. However, in addition to the standard of science and technology, after all, all ethnic groups must have their own voices, especially a country whose civilization has lasted for thousands of years and whose economy ranks second in the world. In this regard, I only have two sentences: First, traditional wisdom still has its strong vitality, and classic ancient books need to be "read a hundred times, their righteousness is self-evident", it is difficult to replace it with today's advertising-style popularization and explanation, and the inheritance of hard reading and familiar reading can still not be ignored. Second, Mr. Fei Xiaotong's famous words "each is beautiful, the beauty of beauty, the beauty of beauty, the beauty of the united, the world is one" at least represents a cultural ideal of the Chinese nation. The first thing we do is "the beauty of beauty", that is, to examine the tradition from a contemporary perspective, to find the true strengths of the tradition, and then to focus on continuing to carry it forward under modern conditions, in today's words, that is, "creative transformation" and "creative development", rather than de-mechanizing the short and long in all aspects. That kind of all-round mechanical comparison is ultimately a fantasy.
(Transferred from Zhejiang Social Sciences, No. 7, 2021)