Lu Xun believes in treasures
"Lu Xun's letters are a commentary on Lu Xun's life and a key to understanding Lu Xun's thought and literature."
Lu Xun's letter vividly reflects the social life of that era and expresses his views on life and society. The letters selected for this book span from 1904 to 1936. Readers can find out the changes in Lu Xun's writing and the changes in thinking, and get intellectual lessons and emotional resonance from subtleties.
No.1
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Lu Xun's "family letter" to his mother
Filial piety comes first. The book begins with four letters from Lu Xun's "To The Mother" dated August 31, November 15, December 4, 1935, and January 8, 1936.
Each letter begins with the honorific title "Mother is at her knees, the devotee..." and begins with "The male tree is prostrated." Guangping and Hai Baby knocked together. "The honorific ends.
Through the tunnel of time and space, it seems that a gentle and elegant Republic of China man is lying on the ground and telling his heart to the old mother of Gao Tang.
The content of the letter is some family affairs that ordinary people will encounter. Report your recent situation on going out, care about the health and safety of the elderly, introduce your family's diet and living, and so on... The recent development of the child is even more important to mention - this is the mother's most concerned.
Letters are at most two pages long and short, written on flower notes with gold without changing small brushes, the language is simple and peaceful, the layout is exquisite, the writing is elegant and free, but compared with the letters written to friends and lovers, the font is more dignified, and there is no place to change, which is very different from the eloquent, word-and-sentence, and witty style of Lu Xun's works, not like a warrior who wears a battle, replaces the pen with a tit-for-tat, but is more like a wanderer who has gone away to report peace to his mother, and his longing for the feelings of remembrance is overflowing with words.
In a letter dated January 8, 1936, Lu Xun told his mother and third brother Jianren to share the "soil method" of hometown cuisine: "A large box of sauced chicken and brine melons, etc., received today, when a portion is out, tomorrow sent to the third elder." Fair and reasonable, not arbitrary, this is a brother who respects the old and loves the young.
From fundraising everywhere to buy Badaowan No. 11, giving the largest and best room to the brother's family to live, signing the big name of the brother who is not yet famous published his own articles, giving fame and fortune to his family, working part-time to support the family, handing over the money to confiscation, even if the brothers are out of harmony, the mother chooses her own unsatisfactory marriage, and silently chooses to endure or even sacrifice, such a "reverse obedience", to see the big picture, completely subverting the image of Lu Xun in people's impression of "horizontal eyebrows and cold pairs".
From these family letters, we can basically conclude that Lu Xun's filial piety to his mother is from the heart and lifelong, and is a continuation of the excellent traditional Chinese virtues of "the old and the old, the young and the young and the old", and eventually became the source of Lu Xun's idea of "liren".
No.2
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Lu Xun's "Love Letter" to Xu Guangping
Lu Xun's "love letter" to Xu Guangping includes a total of five links in the book. Among them, the june 2, 1925, September 26, 1926, and May 1929 three links, according to the progress of the relationship between the two parties, can be roughly classified as three representative time nodes in love, before cohabitation and after cohabitation, although the contents of these letters have long been collected and published in Lu Xun's "Book of Two Places", but some words and sentences and personal names may have been deleted or replaced by "inappropriate remarks" and "inappropriate for publicity" at the time, and the publication of the original can restore some historical truths.
It is worth mentioning that the "Book of Two Places" is typeset and printed in lead, and the original manuscript just makes up for the "texture" and "sense of field" that the "Book of Two Places" does not have.
For example, on May 15, 1929, the credit was two pieces of paper, one with a loquat pattern and one with a lotus pattern, loquat was a fruit that Xu Guangping liked to eat, and the lotus was pregnant. Xu Guangping understood the intention and said in his reply: "Those two pieces of paper must not have been chosen arbitrarily. Lu Xun admitted in his letter on the 27th of the same month: "The two pieces of paper selected in my letter on the 15th of the same month do have a little meaning, roughly as you speculate. There are lotus seeds in the lotus canopy, especially the reason why I take it. ”
▲ On May 15, 1929, the credit was given two pieces of "loquat" and "lotus" pattern paper
Another example is that the letter of September 26, 1926, accompanied by Lu Xun's sketches of the faculty dormitories and surrounding buildings of Xiamen University, Liao Liao counted several strokes, jumped on the paper, and saw his solid sketching skills, inadvertently leaving a rare archive for the protection of cultural sites for future generations.
▲ Letter to Xu Guangping dated September 26, 1926
From calling Xu Guangping "Brother Guangping" to "Little Hedgehog" and "Good Girl", and painting a cartoon "little white elephant" at the end of the letter, Lu Xun in life is so funny and cute that there is no shelf of "old man", "expert" and "parent", vividly interpreting the love concept of "respecting each other as guests". `
▲ The letter has different titles for Xu Guangping: "Brother Guangping" to "Little Hedgehog" and "Good Girl"
▲ Lu Xun will draw a cartoon "little white elephant" at the end of the letter
The letter is mainly to share his experience and feelings with his lover, compared with the letter to the mother, there is more philosophical thinking in addition to family affection, such as the letter on September 26, 1926, which talked about the issue of living expenses, Lu Xun believed: "There is a life without a 'fee', although it is painful; There is a 'fee' without life, which makes people even less interesting. "This is still of contemporary value for people to correctly handle the relationship between material and spiritual life." Perhaps ordinary people cannot reach Lu Xun's profound learning, but some practices of family harmony and filial piety to parents, mutual respect and mutual love and mutual trust between husband and wife lovers can be started from me.
No.3
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Lu Xun's letter to friends
Lu Xun's letters to friends and friends were very rich, and the objects of communication were Cai Yuanpei, Hu Shi, Qian Xuantong, Xu Shousheng, Xu Maoyong, Xiao Jun, Neishan Guanzhao, Zheng Zhenduo, Ba Jin, Tang Tao, and a large number of cultural celebrities at that time, involving content including creation and publication, interpersonal exchanges, social activities, and daily life.
▲ Letter from October 8, 1904 to his classmate Jiang Shujie, who stayed in Japan
On October 8, 1904, the earliest letter to his classmate Jiang Shujie, who stayed in Japan, the Jiang family was wealthy, and in the early years he funded the publication of "A Collection of Novels Outside the Territory" for the Lu Xun brothers, which can be said to be the first noble person in Lu Xun's life, the two had a good relationship during the sendai medical college study, in the popular words of "iron brothers", when writing this letter, Jiang Shuyi was returning to China to recuperate, Lu Xun mainly introduced him to the recent situation of campus life, and pointed out that the thinking and behavior of Japanese students was not better than that of Chinese students, but their social activity skills were strong, thinking that " With optimistic thinking, the spirit of the Yellow Emperor or not to be discouraged", cultural self-confidence is a more basic, broader and deeper self-confidence, Lu Xun portrayed a "Chinese dream" of the rejuvenation of the Chinese nation.
▲Part of the original envelope
Many letters also carry original envelopes, the pattern of the stamps on them, the style of the postmark, the inspection badges of the procuratorial organs, and the imprint of the times, all of which make people have a strong interest, becoming a precious image historical material for deciphering Lu Xun and his era and interpreting the chinese social and cultural life of the 1920s and 1930s. From another aspect, it also provides a "template" for repairing "interpersonal apathy" for the highly developed social urbanization in the information age.
Lu Xun's calligraphy appreciation
If "Xinzha" allows us to return to a Lu Xun who loves life and has delicate emotions, then "calligraphy" also allows us to get closer to a Lu Xun who naturally exudes humanistic feelings and is knowledgeable.
"Mr. Lu Xun has no intention of being a calligrapher, and the handwriting he has left behind is his own style. The melting seal is subordinate to a furnace, allowing the heart and wrist to respond, simple and not cramped, free and lawful. Far beyond the Song and Tang Dynasties, straight up to wei and jin. The treasure of the world is not because of people. Guo Moruo commented on Lu Xun's calligraphy.
What era was Wei Jin, a book Saint Wang Xizhi's "Orchid Pavilion Collection" let the world worship, according to this deduction, Lu Xun's ink is described as a valuable city and a national soul treasure, and this is only the result of his "unintentional being a bookmaker". Compared with the laurels of the literary thinker revolutionary, the world owes Lu Xun the title of a calligrapher.
This book is selected from the 17,000-page manuscripts of Lu Xun in existence, divided into ten compilations, such as self-composed poems, ancient poetry manuscripts, manuscripts and translations, letters, diaries, inscriptions, ancient books and stone carvings, manuscript notes, and inscriptions, covering literature, archaeology, Chinese and foreign literature and history, book binding design, ancient book examination, folklore, epigraphy, philology, natural science, etc., with the help of advanced photocopying technology, "awakening" these manuscripts that have been sleeping for a hundred years.
"Calligraphy is not poetry, it does have the charm of poetry; it is not a painting, it does have the beauty of painting; it is not a dance that does have a rhythm of dance, it is not a melody of song and song."
——Lu Xun's classic comment on Chinese calligraphy
Lu Xun's calligraphy is a perfect combination of technique, calligraphy and learning. The rich and thick text information conveyed behind it is the unique charm of Lu Xun's calligraphy. He integrated poetry, painting, song and dance into calligraphy, so that calligraphy reached a realm of movement and tranquility, and otherworldliness.
▲ On the cover of this book are the words "Autumn Su Chun Wen"
The four words "Qiu Su Chun Wen" on the cover of this book are derived from the poem in Lu Xun's "Autumn Occasional Works of The Cruel Autumn of the Hai Nian" given to his close friend Xu Shousheng on December 5, 1935: "Once the autumn su came to the world, and dared to send Chun Wen to the end of the pen." The so-called "despair is vain, just the same as hope", which fully demonstrates Lu Xun's humanistic feelings of integrating knowledge and action.
Some of the calligraphy works are appreciated
▲This book is included in the "Miscellaneous Essays of the Pavilion"
Commentary:
Tomb of Wei Junsu Garden
Born on June 18, 192,
It graduates on August 1, 1932. 呜 呜,
Great talent and long-term ambition, doom in a short year. Wenyuan Lost,
Ming Dynasty with mourning, brother congwu, you jingnong, JiYe Libiao, Lu Xunshu.
Commentary: The Scream novel collection, by Lu Xun. The cover was designed by Lu Xun.
Note: Budding Monthly Literary And Art Monthly. Edited by Lu Xun and Feng Xuefeng, the cover was designed by Lu Xun and the title was inscribed by Lu Xun.
Interpretation: Lu Xun re-catalogued the "Travels of Xu Xia" and the trek.
Lu Xun's writing is like a throwing dagger, while the calligraphy appears to be highly rational and peaceful. The reason is that Lu Xun, as the savior of the right path, shows Lu Xun's concept of salvation through words from the heart, and its process is no longer a simple calligraphy art creation, but also a display of the spiritual world, so that the nature presented to the reader is the materialization of Lu Xun's soul that integrates technique, calligraphy, learning, and morality, which is the so-called "book, heart painting".