Lu Xun was one of the giants filmed in the first season of "Century of Giants and Literature".
The first season of "A Hundred Years of Giants and Literature" filmed a total of 6 giants, Including Lu Xun, Guo Moruo, Mao Dun, Ba Jin, Lao She, and Cao Yu. The seminar and launching ceremony of "100 Years of Masters and Literature" was held at the China Museum of Modern Literature on December 14, 2014, and was reported by Xinhua Net, People's Daily and China Art News.
"When the Hundred Years of Great Masters Were Young- Lu Xun"
Lu Xun once praised the Chinese Communists as "earnest, feet on the ground, shedding blood for the survival of the present Chinese", and although he was not a Communist, he regarded many Communists and progressive youth as "big battles but all for the same goal". According to incomplete statistics, there are more than 60 Communists whom Lu Xun befriended, and their exchanges and cultural choices have become unforgettable red memories in the history of modern Chinese culture.
In 1931, Lu Xun held a woodcut workshop for a group photo
With Li Dazhao and Chen Duxiu: For the Revolution of Literature
In January 1918, Lu Xun joined the editorial board of New Youth, and in the same year published his first vernacular novel "Diary of a Madman" in New Youth, which appeared on the literary scene under the pseudonym "Lu Xun". Lu Xun's acquaintance with Li Dazhao and Chen Duxiu is related to his joint participation in the work of the editorial board of New Youth magazine.
Lu Xun highly admired Li Dazhao's moral articles, and the existing Lu Xun collection also preserves three issues of the magazine "Political Life" edited by Li Dazhao. Among these magazines, there are articles published by Li Dazhao under the names of "Shou Chang" and "Hunter", and the article "Land and Peasants" published in one of the periodicals was compiled by Mao Zedong into the "Peasant Question Series" as a study material for the students of the Peasant Movement Training Institute. During the Period of the New Culture Movement, Lu Xun repeatedly mentioned that his articles were "obedient to the general's orders" in order to "talk to comfort the warrior who galloped in loneliness, so that he was not afraid of the forerunner." In the "Marxist Research Special Issue" compiled by Li Dazhao, Lu Xun's novel "Medicine" and four "Records of Feelings" published by Lu Xun undoubtedly responded to the "General Order" in literary language. Li Dazhao also spoke highly of Lu Xun's newly published novel "Changming Lantern" at that time, saying that this novel was a battle clarion call that Lu Xun immediately followed after he shouted "Save the child" in "Diary of a Madman". After Li Dazhao was killed, Lu Xun, despite the danger, donated money for the funeral of his former comrades-in-arms and wrote an inscription for his posthumous work "The Complete Works of Shou Chang". In the inscription, Lu Xun said affectionately:
In the days of the New Youth, although I regarded him as a companion on the same front, I did not pay attention to his articles, such as the cavalry did not have to pay attention to building bridges, and the artillery did not have to be distracted by the horses, and it was not wrong to think that I was not wrong. So all that can be said now is: first, that his theory, of course, may not be perfect in the present; second, that in spite of this, his last words will live on forever, for this is the legacy of the pioneers, a monument in the history of the revolution.
In the editorial department of New Youth, Chen Duxiu had more contacts with Lu Xun and was the first person to urge Lu Xun to publish the novels. In September 1920, Chen Duxiu wrote in a letter to Zhou Zuoren: "The novels made by Yu Cai brothers really have the value of being collected and reprinted, please ask him if he thinks so, but he can cut and revise "New Wave" and "New Youth" and send them for printing. Later, when Lu Xun mentioned his novel creation, he said in "How Do I Start a Novel": "Here I must remember Mr. Chen Duxiu, who is the one who urged me to do novels the most." ”
For Chen Duxiu's personality, Lu Xun has an interesting description in the article "Remembering Liu Bannongjun":
Every issue of New Youth, an editorial meeting is held to agree on the manuscript for the next issue. At that time, the ones who caught my attention the most were Chen Duxiu and Hu Shizhi. If Tao Luo is compared to a warehouse, Mr. Duxiu put up a big banner on the outside, and the big book said: "All the weapons inside, be careful!" "But the door was open, and inside were a few guns and a few knives, and it was clear at a glance that there was no need to be wary. Mr. Shizhi closed the door tightly, and a small note was glued to the door: "There is no weapon inside, please do not doubt." "Of course this can be true, but some people — at least people like me — sometimes have to think about it sideways.
Translating with the Left: Like-Minded "Fire Thieves"
Translation and writing are two different kinds of work. In Lu Xun's view, translation is an important way to enter the new spirit, and he has translated about 3 million words of works by nearly 100 writers in 14 countries in his lifetime, which is close to the word count he created, which may prove that his enthusiasm for translation is no less than that of creation. In Lu Xun's translations, there are many works introducing Marxist literary and artistic theory and Soviet Russian revolutionary literature. In Lu Xun's "red circle of friends", there is no shortage of such "fellow travelers".
As early as 1920, the year of the birth of China's first communist group, Chen Wangdao, one of the members of this group, sent Lu Xun a Chinese translation of the Communist Manifesto that he had just translated. Zhou Zuoren recalled in his later years: Lu Xun read it again on the same day after receiving the book, and praised: "This work has been done very well, and now everyone is talking about what 'radicalism' is coming, but no one has really introduced this 'doctrine' to China, in fact, this is the most important work at present." In the second half of 1928, the Dajiang Bookstore presided over by Chen Wangdao was officially opened, and with the support of Lu Xun and others, this institution was active in the Shanghai book circles with the characteristics of publishing progressive books, propagating Marxism, and introducing scientific literary and art theories, and became an important stronghold for promoting the left-wing literary and art movement. At the request of Chen Wangdao, Lu Xun "extremely carefully, conscientiously, and meticulously" translated Lunacharsky's aesthetic treatise On Art.
"It is enough to know oneself in life, and si shi should look at it with the same heart." Lu Xun gave Qu Qiubai the collected sentence book of He Waqin and poured out his brotherly friendship with the like-minded Qu Qiubai.
In 1931, Qu Qiubai came to Shanghai to engage in revolutionary cultural work. Lu Xun heard from Feng Xuefeng that Qu Qiubai was proficient in Russian, and said eagerly: "We have caught him and asked him to translate more of these works from the original text, and his Russian and Chinese are indeed the most appropriate." In a letter to Qu Qiubai, Lu Xun affectionately referred to Qu Qiubai as "Dear Comrade J.K.", and among the more than 1,700 existing letters from Lu Xun, the other party was called "comrade". During the conversation between the two during this period, Qu Qiubai often spoke out the abdominal manuscript he conceived, solicited Lu Xun's opinion, revised and supplemented, and was written by him and published in the name of Lu Xun. The views of the two friends are similar, the styles are similar, and sometimes even Lu Xun himself can't tell who wrote the manuscript.
At that time, Qu Qiubai and his wife were engaged in revolutionary work, and some friends represented by Lu Xun not only cared for them selflessly, but also risked their lives to cover them. Between 1932 and 1933, Lu Xun accepted Qu Qiubai and his wife four times to take refuge in his apartment.
With young woodcarvers: throw yourself into the war with art
Lu Xun believed that the art of printmaking "when there was a revolution, printmaking was the most widely used, although it was extremely hurried, it could be done in an instant" and "it is an art that is in line with modern China." In August 1931, he hosted the "Woodcut Workshop" in Shanghai, and from then on the emerging woodcut movement in China began. After Lu Xun's death, some of the woodcut youths stayed in the Kuomintang area to engage in the creation of anti-Japanese prints and anti-Japanese propaganda, while Jiang Feng, Wo Zhao, Hu Yichuan, Li Qun, Liu Dan, Chen Tiegeng, Huang Shanding, and Ye Luo successively rushed to Yan'an. The vigorous development of anti-war prints fully reflects Lu Xun's strategic vision.
The writer Xiao Jun once said: "In the 1930s, Mr. Lu Xun's two hands, one hand, was to cultivate a number of young literary and artistic writers, and I myself was one of them; the other hand was to cultivate a number of young woodcarvers-Comrade Liu Dan was one of them. ”
In the early 1930s, Liu Da, who was studying at the Shanghai Academy of Fine Arts, became obsessed with woodblock prints, "all day long in woodcuts, an average of one painting per day, and when it is engraved, it is printed." According to the information recorded in Lu Xun's Diary, from January 1933 to March 1936, there were 51 correspondence between Liu Dan and Lu Xun. Liu Da kept rubbing out his own work and sent them to Lu Xun for criticism and advice, and Lu Xun "always talked so warmly and calmly, and from time to time he gave a hearty laugh."
In 1937, the "July 7 Incident" broke out, Liu Da resolutely terminated his studies in Japan, returned to China to devote himself to the anti-Japanese rescue activities, and used printmaking art to publicize the War of Resistance. In the spring of 1938, Liu Da joined the New Fourth Army, and in 1939 he went to Yan'an to teach in the Fine Arts Department of Lu Xun Art and Literature College. In Yan'an, he introduced the creation techniques of folk window flowers and New Year paintings into the creation of printmaking, and created more prints with national characteristics and popular with the masses.
Source | Guangming Daily
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The launching ceremony of "Century-old Masters and Literature"
On December 14, 2014, He Jianming, vice chairman of the China Writers Association, Shan Yuhong, representative of the Social Responsibility Management Committee of China Minsheng Bank, Yang Jingdao, producer and chief planner of "100 Years of Masters", and Xiao Tongqing, general director of "100 Years of Masters and Literature", jointly unveiled the opening ceremony of "100 Years of Masters and Literature", and the opening ceremony was presided over by Wu Yiqin, director of the Museum of Modern Chinese Literature
On December 14, 2014, the launching ceremony of "Century-old Masters and Literature" attended the guest group photo
Mo Yan endorsed "A Hundred Years of Great Masters and Literature"
Wang Meng spoke for "A Hundred Years of Great Masters and Literature"
"A Hundred Years of Great Master - Lu Xun" Cultural Relics Publishing House
Producer | Hou Xuan
Art Editing | Magical conch
Chen Yinke's triple tragedy: the most important thing is that the literati are not free
▲▲"A Hundred Years of Great Masters" was selected as a key documentary celebrating the 100th anniversary of the founding of the Party
Mr. Ye Jiaying, a 97-year-old expert in classical poetry, wrote an inscription for "A Hundred Years of Great Masters"
About us
The large-scale cultural project "Centennial Masters" is China's first large-scale series of biographical documentaries focusing on the masters and masters who made outstanding contributions to Chinese civilization in the 20th century, and is jointly produced by the China Federation of Literary and Art Circles, the Central Radio and Television Corporation, the China Academy of Arts, the Central New Film Group, the China Literature and Art Foundation, and the Centennial Masters (Beijing) Cultural Communication Co., Ltd.
"Centennial Masters" is the "Chinese Excellent Traditional Culture Inheritance and Development Project" of the General Office of the CPC Central Committee, the General Office of the State Council and the Central Propaganda Department, which has been selected for two consecutive years as the "Record China" communication project of the Propaganda Department (Information Office of the State Council), the key topic planning project of the "14th Five-Year Plan" documentary of the State Administration of Radio, Film and Television, the key documentary celebrating the 100th anniversary of the founding of the Party, the "Recording the New Era" documentary boutique project and the key documentary project (2018), and the major theme main line publicity and key topic selection project of CCTV. It is also funded by the National Arts Fund, the China Literature and Art Foundation, the China Art and Culture Foundation, the Beijing Municipal Government Cultural Innovation and Development Fund, the Beijing Culture and Art Fund, the Beijing Radio and Television Network Audiovisual Development Fund, and the Beijing Xicheng District Cultural and Art Creation Support Special Fund. It has won 12 documentary awards.
From 2013 to 2017, the filming of 43 masters in the first season of "100 Years of Masters" has been completed, which is divided into art, calligraphy, Peking Opera, drama, music and literature. The filming of 57 masters in the second season of "100 Years of Masters" has been launched in 2018, adding science and technology, education, traditional Chinese studies, architecture, traditional Chinese medicine, opera, and film, which are planned to be completed one after another, and will be presented with the "100 Years, 100 People, 100 Episodes" documentary, "100 Masters Special Exhibition" and "100 Books Publishing".
The completed documentary "100 Years of Masters" has been broadcast on CCTV (one set, three sets, four sets, nine sets, ten sets, fifteen sets, discovery channels, international channels), China Education Television, provincial satellite television, overseas television stations and other 157 tv stations at home and abroad, which have been widely praised and have repeatedly set new high ratings for similar documentaries. "100 Years of Masters (International Edition)" is broadcast worldwide in 8 languages.
CCTV Market Research Co., Ltd. (CTR) in July 2020 According to the statistical results of CSM National Measuring Instrument, "Centennial Masters" reached a total of 10.2 billion people.
The series of books "100 Years of Masters" has been distributed to nearly 1,000 colleges and universities across the country for three consecutive years by the Ministry of Education, the Ministry of Culture and Tourism, and the Ministry of Finance as a "High Art entering the campus" study book.
"Centennial Masters" has become one of the most high-end phenomenon-level brands in the field of culture, and with its unique advantages, it has built an important platform for disseminating China's excellent traditional culture, interpreting and displaying cultural self-confidence, and practicing the core values of socialism.