Two pieces of Qiao Yu's "Collected Works of Concubine Chuan"

Introduction: Preface to the Collected Works of Yukawa (Excerpt)

Under the active efforts of Qiao Yu, in the summer of 2018, the China International Cultural Exchange Foundation set up the "Yuchuan Literature Development Fund" for Yanqing. It subsidizes the publication of books by Yuchuan writers, and at the same time establishes the Yuchuan Literature Award, which is selected every two years. Encourage and support Yanqing writers and literary lovers to carry out literary creation, publish and publish literary works, and impact large literary awards at home and abroad, so as to promote Yanqing writers to create excellent works with the significance of the times and the vision of the world. This is a matter of merit for the development of Yanqing's literature and art in the present and future generations. It is understood that this foundation has played a significant role since its establishment, and has officially published personal literary albums and awards for 19 authors. All of the above has laid a solid and important foundation for the birth of this large-scale series of books, "The Collected Works of Yu chuan".

The "Collected Works of Yanchuan" edited and published this time is a major review and summary of Yanqing's literary creation, a symbol of the common prosperity and development of Yanqing's economy and culture, and a literary and artistic memory left by contemporary Yanqing literary and artistic workers. This collection of articles selects the literary works of 11 writers, including Qiao Yu, Shi Zhongyuan, Chen Chao, Huaxia, Yuanshan, Xie Jiuzhong, Guo Dongliang, Zhou Yi, Lin Yao, Zhang Heping, and Qian Dai, and is published in the form of individual episodes and collected into a collection of essays.

The above is excerpted from: Hu Zhaoguang: Fei Xue Welcoming Spring Arrival - Preface to the Collected Works of Yu Chuan. Hu Zhaoguang, former vice mayor of Beijing, the first director of Zhongguancun Science and Technology Park, the chairman of the board of directors of Beijing Holding Group Co., Ltd. (Hong Kong), the chairman of Jingtai Group, and the consultant of China International Cultural Exchange Center.

"Crossing the Heart Wall- Selected Works of Qiao Yu's Poetry"

Mu Xin said that Chinese suffered and suffered losses as soon as he came up. Then because of suffering, literature, poetry, philosophy, ethics came out. He also said that people who always refuse to betray themselves, even if they suffer a lot, can eventually laugh.

(i)

I was exposed to poetry in the 1980s. It was a golden age of poetry. It was a time of poetry and far away. In the context of the era of great social change, the spring tide is surging and hundreds of boats are competing for the current. Cultural revival, poetry first. The Return faction and the obscure faction sing across the river, and the "comeback poet" and the "rising poet" go hand in hand. The returning poets of "poetry is poor and then work" have made successive works. Ai Qing, Gong Mu, Bai Birch, Quicksand River, Xiong Zhaozheng... The king returns, thick and thin. The obscure poets took a different path, opened up sects, and occupied half of the country. "Watchmen of Justice" Kitajima, "Buried Poet" index finger, "fairy tale poet" Gu Cheng, who uses "black eyes to find light", Munch and Duoduo who walked out of Baiyangdian, as well as Shu Ting, Jiang He, Yang Lian, Haizi... For a moment, the stars in the poetry world were brilliant, and the purple and red were red.

It was an era when white clothes were better than snow. At the beginning of the opening of the country, the European wind and rain sneaked in, the campus songs were in the ascendant, the poetry clubs mushroomed after the rain, and the poetry theories in the north and south of the river rose and fell. On Yuelu Mountain, under the Baoshu Pagoda, on the shore of the unnamed lake, on the Whampoa beachhead, young students and begonias have formed associations, and they have passed the liquor order and filled in new words. "The long ditch flows silently, the apricot blossoms are in the shadows, and the flute is played until dawn." It was an era when beautiful girls could be "fighting for a lifetime and doing their best today" with a hazy little poem. It was a good time with poetry, songs, and dreams.

My first book of poems, "Listening to the Rain on a Lonely Mountain", was conceived and ground in this context, and finally published in the autumn of 1997, containing 54 poems such as "Along Your Low Gaze", "The Melody of the Starry Sky", "Wine", "Overlapping Movements", "Frozen Tear Lake", "Drifting Clouds", "Impressions of Heaven" and so on. They were created from 1987 to 1997, ten years of hard work, picking up flowers and flowers. This is a 10-year period from infancy to maturity. There is the throbbing of the first opening of the emotional sinus, the perception of the first involvement in the world, and the vision of the future life. There are also struggles and attempts to change styles for "giving new words to strong talk". Technique is also erratic, suddenly enthusiastic, the pursuit of a thousand miles of unrestrained; suddenly want to say hugh, keen to sing three sighs euphemism. Sensibility is more than reason, white painting is more than imagination, and imagination is the wing of literal butterfly poetry. But none of this can stop the young poet's enthusiasm for life, the pursuit of art and the vision and desire for the future.

Ten years later, in 2007, I published my second book of poems, "Xia Ru Gujing of Tanzhu Temple", which contained 46 new poems such as "Memory Millennium", "Xia Ru Ancient Well of Tanzhu Temple", "Border City Yin", "East Linjie Stone", "Let the Soul Fly Freely", "Wing Chrysanthemum", "Life is a Fate" and so on. Compared with the previous book of poems, it focuses on the taste of life, the thinking of life and the review of history, and pays more attention to the injection of true feelings rather than the carving of skills. As it is said in "Poetry with the Garden": "Poetry writes temperament".

Writing 46 poems in ten years is not a prolific one, first, because I have a wide range of hobbies and cannot concentrate on poetry. Second, some materials are used for prose poetry creation, and poetry is often in the state of "cooking without rice". There is also a depressing question here, that is, is a subject that ignites creative passion or inspires inspiration be expressed in poetry or depicted in prose poetry? It's often laborious. There are also times when the same subject is used in poetry and prose poetry, which must be a thrilling thing that must be fully cathartic. For example, "The Hometown of Mountain Flowers" and "There is a vast grassland under the Big Qingshan Mountain", the poem "Border City Yin" and the prose poem "Border City Yin".

The publication of this collection of poems has attracted some attention and comments, and here are excerpts from the poetry reviews of three writers: Mr. Zhang Tongwu, Secretary General of the Chinese Poetry Society, famous poetry critic, and editor-in-chief of China Poetry Newspaper:

"The XiaRu Ancient Well of Tanzhu Temple" contains two types of works in this collection, one is historical tracing and cultural rhyme, and the other is spiritual exploration and emotional bouquet. The former is a long river rushing, poetry and books rolling, spiritual leaps, smoke and rain mist... The latter is dazzling with red leaves and light chrysanthemums; it is also true and illusory, like waking up from a dream, which is the poetry line of divine fortune and the completion of poetry in the true sense. Because Qiao Yu is influenced by classical poetry, in the poetry full of modern consciousness, the charm of classical poetry flows, even if it is written in an extraterritorial landscape, it is also in a distinct language rhythm, embracing the Chinese-style calmness and solemnity, allowing people to walk along the Roman ancient road and the Venetian water alley, towards the grandeur of philosophy. ”

Mr. Ma Junjun, a famous writer and poet, the president and editor-in-chief of China Reform Daily: "I have to admit that after reading this new collection of poems by Qiao Yu, I have taken a new leap in my understanding of him. From the new collection of poems, we can see that with the continuous change of experience, age, and way of thinking, he has created a deep romance that transcends himself. After 10 years of sowing, the tree has become a forest, and this moment is not only a landscape, but also a realm; not only a catharsis, but also an interpretation. ”

Mr. Ke Lan, honorary member of the National Committee of the Chinese Writers Association and president of the China Prose and Poetry Society: "Qiao Yu's new poetry collection not only writes about the wind, frost, rain and snow in the world's famous capital Dachuan and his motherland in the western part of the motherland, but also focuses on analyzing the dreamy life, and writes such atmospheric long poems as "Memory Millennium" and "Border City Yin,...... The tolerance and open-mindedness shown in the new poetry collection have exceeded Qiao Yu's age. If these sincere epiphanies, in today's materialistic and Sven sweeping, how good it would be to awaken the lost social conscience. ”

In 2008, the Chinese Book Company in Hong Kong published "The Cold Moon in the Old Garden Is Like Water", which contains nearly 130 old works and new poems. It is a summary of my poetry creation, because the energy transference since then is not in love with documentary photography. There are many things to do in life, but the rest of the time is very short. "Only pity the fragrant snow plum thousand trees, and you are not allowed to take them on board with you."

(ii)

Prose poetry creation should be a continuation of poetry when it is still inexhaustible. Because prose poetry takes into account the descriptiveness of prose and the expressiveness of poetry, it has the characteristics of "the condensation and rhythm of poetry, the stretching and freedom of prose", with rich and colorful topics, short and flexible forms, and full of thinking and philosophical profundity. It is suitable for singing quietly under the moon window, and it is also suitable for singing with a sword when the song flows.

True prose poetry must have the agility of poetry, the freedom of prose, the narrative of the novel, the tension of drama, and the rhythm of music. Excellent prose poetry must have a sense of picture and a sense of involvement. The sense of picture makes the work three-dimensional and full. And the sense of involvement is the watershed between excellence and mediocrity of the work. Only by bringing in can it resonate with the reader, and then open up the space for extension and imagination. Only then can we discover and appreciate the connotations of thinking, meaning and philosophy in the works.

I compose prose poems almost in tandem with poetry, even earlier. In 1985, I got a copy of "Sixty Years of Prose and Poetry Selected Poems" published by Jiangxi People's Publishing House, which sold for 2.25 yuan and only printed 12,000 copies. The book selects the prose poems of 100 writers in the sixty-five years since the "May Fourth" and includes almost all representative figures of modern prose poetry, including Liu Bannong, Lu Xun, Xu Dishan, Li Guangtian, He Qifang, Jiao Juyin, Xu Zhimo, Guo Moruo, Mao Dun, Zhu Ziqing, Bingxin, Guo Feng, Ke Lan, Wen Jie, Liushahe, Shu Ting and other works of different periods and styles. This book brought me into a new and magical world, and since then I have developed the habit of writing diaries in prose and poetry, such as "Walking through Loneliness", "Forgetting Each Other in the Rivers and Lakes", "Passing By", "Lin Hai" and so on.

"Song Ci Characters", "Wind Xiao Xiao Xi Yi Shui Cold", "Dragon Boat Festival", "Listen to Chen Lei's Radical Guqin Caprice", "Distant Red Dust" are dialogues with the ancients. "The Green Mountains in the Bend of the Water", "A Dream Wakes Up", "The Moon is Full of Frost" is a self-encouragement that laments that life is short like a white colt crossing the gap, and it is only necessary to fight for the day. There are also works that reflect historical moments, such as "Green Mountains Can't Cover Up", which was created when he landed on Hong Kong Island in early 1997 to witness Hong Kong's return to the motherland, which was published in the Hong Kong journal "Chinese Prose and Poetry". Ten years later, he created a sister article, "I See How Feminine The Green Mountains Are", which was published in the special issue of the Chinese People's Political Consultative Conference to commemorate the tenth anniversary of Hong Kong's return to The Motherland. "Five Rings Flying in the Bird's Nest" created at the opening ceremony of the Beijing Olympic Games in 2008. There is also "There is a Vast Grassland Under the Great Green Mountain" created for the theme series of activities of "Three Thousand Orphans Entering Inner Mongolia".

In the spring of 1996, I had the privilege of getting to know Mr. Ke Lanlao, president of the Chinese Prose and Poetry Society and the standard-bearer of contemporary prose poetry. Subsequently, he was hired as the vice president of the Chinese Prose and Poetry Society, and participated in the work of Ke Lao's founding of the (Hong Kong) Chinese Prose and Poetry Journal in Hong Kong. Under the teaching and encouragement of Ke Lao, my enthusiasm for prose poetry creation is high, and the quantity and quality have reached a higher level. "Song Ci Characters" was first published in China Youth Daily on May 22, 2001, and was recommended in 2010 by Mr. Wang Dianzhonglao, a professor at the Nanjing Institute of International Relations and a famous translator (translator of "La Traviata" and "French Testament"), and later included in the national textbook. Many prose poems such as "Dragon Boat Festival", "Qingming Cold Rain and Lightning", and "Song of The Four Seasons" were produced into recitation works by the "Decibel Loud of Love" column founded by the host of CCTV. In 2012, in the Lunar Year of the Dragon, the first volume of the Year of the Dragon, "Yu Chuan Fu", which was invited to write for the magazine "Yan Chuan", was inscribed by the Yanqing District Government on the banks of the Yanshui River. After Elder Ke left, I donated his letters to me, along with the collection of prose poems I published, to the Museum of Modern Chinese Literature. It can also be regarded as a consolation to Elder Ke's spirit in heaven.

"I have come from many life paths. I am just a shadow in this great group. I don't disturb any calm, I don't cause any uneasiness, I just walk by.

I appeared quietly like a distant star. Like a white cloud floating through the sky, from the ocean of life..." — Ke Lan.

(iii)

Most of the essays I write are mainly travelogues, but I also write essays and essays, very few.

In ancient times, most of the literati and gentlemen liked to climb the mountain and visit the temple to find monks. "Walking a thousand miles" is the basic requirement for excellent essayists in ancient times. Pan Qian (1646-1708) said: "The mind of the five dusts cannot appreciate the landscape; the branch of the victory cannot be searched for secrets; the years without idleness cannot be called sexual leisure." ”

"Elder Zhuang retreated, and the landscape and water fangzi" (Liu Xun). In ancient times, the sages pursued the realm of achievement, fame, and retirement. The thing is whisked away, and the merit and name are hidden deeply. The "Retreat Garden" dotted in the famous ancient town of Jiangnan is proof of this. It is a wise choice to become famous and hide in the city or idle the countryside. Of course, there are also tried and tested readers, and there is no choice in idleness.

Sending love to the landscape, lonely temple but achieving landscape travel. Liu Zongyuan's "Eight Records of Yongzhou", Fan Zhongyan's "Records of Yueyang Lou", Su Shi's "Record of the Night Tour of Chengtian Temple", Wang Anshi's "Journey to the Zen Mountains", Yao Nai's "Records of Mount Taishan", etc., have set landmarks for travelogues, and it is difficult for future generations to surpass. Excellent travelogues are intellectual and sensual. The so-called intellectualism is the local customs and customs of the travel, the historical evolution plus the author's thinking and perception. The so-called perceptuality is to replace intuitive expression with sensory experience. Buddhism emphasizes the use of eyes, ears, nose, tongue, body, and mind to perceive the world, and a good travelogue must be the simultaneous use of sight, smell, and hearing, and touch, sensation, and thought.

"Where Chang'an is, it's only under the horse's hooves." Since the late 1990s, I have traveled to Europe, Australia and other places, writing "Walking on the Côte d'Azur", "Venice Swaying in the Water", "Australian Stargazing", "Train in the Lens" and so on. In 2000, he stepped down from power in Taipei and created "Crossing the Heart Wall" and "Beitou Hot Spring". In 2003, he went to Macau to study for a master's degree in business administration at the Macau University of Science and Technology, and wrote "Autumn in Macau is Cold". From 2002 to 2004, he went to Gansu for temporary training, the thick cultural context of the birthplace of Chinese civilization hit the soul, and his thoughts were like a spring, poetry, prose poems and prose were all fired at the same time, and he created poems "West Out of Yangguan", "Border City Yin", "Cold Moon like Water in the Old Garden", prose "Into Gansu", "Weishui River Talk Tianshui", "Jiayuguan Essay", "Sunset Mountain Outer Mountain", "A Pot of Hanging Orchids and Others I Raised", prose poems "Plum Rain in Border City", "Flying Dragonflies Flying to Dragonflies", "Thinking of You in Border City" and many other articles.

I have always pursued the creative state of writing poetry with my left hand and writing prose with my right hand, and opening up and closing with each other. Use poetry to let go of ideas, and use prose to precipitate thinking. Truly reach the realm of "poetry with words" and "literature with the Tao". The famous writer and poet Yu Guangzhong said: "Prose is the identity card of all writers. Poetry is the ticket to all art. "Thirty years of exploration, but found that the distance from the goal is getting farther and farther, I am afraid that there are still thirty years of exploration to go."

I would like to dedicate this book to all those who have made efforts and contributions to the development of Yuchuan literature!

Qiao Yu, as for listening to YuXuan in the summer of 2021

Note: This article is contained in: Qiao Yu edited "The Collected Works of Yu Chuan", Beijing Publishing House, January 2022 edition

2. "Days in the Lens - Qiao Yu Documentary Portrait Photography Collection" (photo album) Trek

The publication of "Days in the Lens - Qiao Yu Documentary Portrait Photography Collection" contains a total of 294 works, spanning 20 years, and the lens has shaken through more than 30 countries and regions. The works mainly show the living conditions of people in the outside world in the past 20 years, the joys and sorrows of ordinary people and their spiritual outlook.

It's been exactly 20 years since I published my first photo book, The End of the World, in 2000. During this period, he successively published photographic collections of "Walking Board Like Song", "Walking China", and "Landscapes and Faces along the Railway Line". He has held exhibitions of his personal photography in London and Paris, all of which are expressed in the form of documentary photography.

I love documentary photography as a creative form. Thinking, walking, anticipating, and capturing a series of operations fascinates me. Close to life, free to create, no pretense, no need for words, through the picture to convey ideas. Lao Tzu said, "He who knows does not speak, and he who speaks does not know." Language has limitations but thought does not. The boundary of words is the boundary of people's cognition, but the lens faces life and reaches far away.

Documentary photography works must be true, second, they must have ideas, and third, they must be strong in transmission. This is what I ask of myself.

Authenticity is the lifeblood of documentary photography. Good documentary photography can sacrifice artistry, but it must ensure authenticity. Documentary photographers are actually acting as witnesses and recorders of social development. This requires getting close to life, calm down to observe, and record the people's livelihood and the changes of the times through the lens. Use the lens to discover pictures with certain social significance and historical documentary value, and capture moving moments. Neither pretentious nor sensational, whether beautiful or ugly, great or small, must truly exist. Through real works, people resonate, arouse attention, arouse social conscience, and leave traces for history.

The perspective of the "Days in the Lens" series is aimed at ordinary people, truly reflecting the joys, sorrows, and lives of ordinary people. In the shot, the elderly grandmother sits in the door of the church like a virgin, and the sunset is sprinkled on the face of the old grandmother through the tall glass stained flower windows of the church, which is both warm and kind. Years of labor have made her legs and feet old, but she insists on sitting there day by day, and the power of faith makes her must do something for people, because she firmly believes that to serve the public is to serve God.

The camera pans over the tired police in New York, the Japanese monks who sneak in silently, the elders who make smoothies on the streets of Mauritius and the waiting girls, the journalists who are obsessively looking for news on Prague Square; the busy but methodical restaurant reception at the Grand Budapest Hotel, the girl who reads quietly on the Melbourne lawn, the Scottish teenager who meticulously blows bagpipes under the scorching sun, the small postal plane in Bali that can only accommodate four people, the mail, the porter who pilots the small plane...

They or they, busy living in all corners of the planet. Bathe in the same sunshine, go through the same years, but experience a different life. "The ancients did not see the present time and the moon, but this month once looked at the ancients." They may have had longing, dashing youth, endured pain and despair, shared happiness and success. Blood and spirit are passed down from the previous generation, and love and hope are passed on to the next generation. The stars shift and the cycle repeats. People are doing their duty, so that the global village has been alive and thriving for thousands of years.

Making thoughtful works is something I've been exploring. Penetrating society with a thoughtful lens is my goal. And to shoot thoughtful works, we must first have thoughts. This idea should be rooted in the sense of social responsibility, mission and human conscience. That is what the Buddhists say about always having compassion. The camera is cold, but the conscience is warm. Therefore, it is possible to realize that the lens is shaken wherever the mind goes, so that the work taken will have meaning and life.

In Europe, on the street benches, the autumn breeze is cold, and an elderly traveler holds a dry bread in his hand, looks affectionately at the lonely duck in front of him, and shares with the duck from time to time the bread that has not been much. Is the travel bag placed next to you, is it a return, or a departure?

In Japan, a young couple spent an morning in their shop, and lunch was just a small box lunch. The man held it with one hand, and the two of them were talking while you ate one bite at a time. As long as there is love, a small box lunch is enough to support a family.

In Prague, as night falls, people light candles to pray for their deceased loved ones, a little boy kneels on one leg and lights a candle with great devotion, and the candlelight hits the face of the teenager to reflect the perseverance beyond age...

In Belfast, Northern Ireland, the 158-year-old Harland Wolf Shipyard has been renewed, but only the dock that built the famous cruise ship Titanic has been left behind. An elderly gentleman in an old-school suit and staff walks in front of the dock, as if traveling back in time to the day when he first set sail 110 years ago... What should the rusty old dockyard tell future generations?

Known as the curtain bearer of modernist photography in the 20th century, the famous American photographer Mohali Nagy said: "The value of a photograph cannot be measured only from an aesthetic point of view, but must also be judged from the visual intensity of human beings and society." A competent photographer should go deep into society, observe with his eyes, think with his mind, capture with his lens, and tell with his works.

Another social function of documentary photography is transmission. British photographer Peter Adams believes that good images lie in the depth of emotion. The significance of the image is not only to retain the moment, it is full of the photographer's observation and thinking, and the language and emotion it conveys can be understood by the people of different countries and has no borders. I think so.

150 years ago, a young British man, John Thomson, came to China with a newly invented camera. The purpose of his trip is to use the lens to truthfully record the daily life of China's cities, villages, mountains, rivers and ordinary people. He hired eight people carrying bulky wooden cameras and equipment to walk between Chinese cities and countryside, walking in China for three years and shooting for three years. Three years later, he returned to London with 1,200 photographs and published a world-shattering photo book, China and the Chinese. He was later hailed by the West as the father of documentary photography.

In the more than a hundred years since then, countless British and Europeans have learned about China by reading his works. There are also many people who decide to go to distant China because they have seen his works. It can be said that this person is the forerunner of Sino-British photographic exchanges and the messenger of cultural exchanges between China and the West. In the summer of 2017, 150 years after John Thomson left China, on the occasion of the 45th anniversary of the establishment of ambassadorial diplomatic relations between China and the UK, I took my photographic work to London to john Thomson's hometown for the "Walking China" photo exhibition. I just want to pay tribute to John Thomson through my photographic works, to all the people who have contributed to the cultural exchange between China and the UK and to the friendship between China and the UK for generations.

A total of 150 works were selected in the photography exhibition, spanning 30 years, and the lens covers most of China, and the works mainly show the joys, sorrows and spiritual outlook of ordinary people in the past 30 years under the rapid changes in China. Mr. Michael Petchad, President of the Royal Photographic Society, said at the opening ceremony: "Mr. Qiao Yu's photographic works continue the tradition of our photographic art themes, that is, through photography, we connect the people of the world and show the styles of different regions and different people. Liu Xiaoming, Chinese ambassador to the UK, said: "When the relationship between China and the UK entered the 'golden age', Qiao Yu's poetic, creative and affectionate works entered the UK and landed in Britain, which played an important role in promoting cultural exchanges between China and the UK and the photography exchanges between the two countries." "After this festival, I was awarded a lifetime fellowship by the Royal Photographic Society.

That's the power of transmission. Like the Olympic torch, the Olympic flame symbolizes light, bravery, unity and friendship. And these symbols need to be passed on to make sense. After the Olympic flame was obtained from Olympia, Greece, it was relayed to all parts of the world, and the Olympic spirit blossomed everywhere and penetrated the hearts of the people.

I love the motherland, so I enjoy photographing the mountains and rivers of the motherland, and my life is varied. I also love the world, so I travel non-stop to photograph the common home of mankind and all sentient beings. Documentary photography should be an accumulation of memory, the precipitation of national memory, to gather strength with memory, and to inspire people to realize their dreams. This should be the social function and historical responsibility of documentary photography.

I would like to dedicate this book to all those who have made efforts and contributions to the development of Yuchuan literature!

Qiao Yu, as for the summer of 2021, listen to Yuxuan in Beijing

Note: This article is contained in: Qiao Yu edited "The Collected Works of Yu Chuan", Beijing Publishing House, January 2022 edition