People are full of hard work, but still
Poetically inhabit this land.
——Excerpt from "Gentle Blue"
Everyone is a prophet of his own destiny. The German poet Hölderlin, who wrote the above poem, is in a state of mind swinging through his life? His life was miserable, although he was treated poorly by fate, but in return for poetry - perhaps, fate is not completely ruthless, but also pity this "gentle blue", a hundred years later, through Heidegger's elaboration, Hölderlin finally became famous in the world. For Heidegger, the "poetic dwelling" also adds a little fragrance and abundance of emotion to the "meaning of existence" that he has been torturing.
The poet Yu Jian is also a believer in this philosophy, and he does not think that "poetic dwelling" is an imported thing, which is the norm in ancient Chinese culture and Chinese life. A lot of people forgot, but he remembered, all the way to find, all the way to write, he was going to return to the great golden age.
"Very relaxing"
"Lush and literary, deep and great. Chinese culture It is a civilization that uses literature to lead life, and it illuminates the animalistic darkness of life with literature, which is civilization. ”
In the second season of "The Daily Life of Literature", Yu Jian and his friend Hu Liangcan, a cultural planner, meet in Jianshui, Yunnan. The ancient city is awe-inspiring, especially in front of the Temple of Literature, which is second only in size to the Qufu Confucius Temple, and all the awe and exclamation will echo in the chest with Yu Jian's phrase "depressed And Yu Wenya" into a long and charming bell.
Yu Jian has discussed "wen" many times in his articles. In the collection of essays " Moving " , he began with "Substitution and Self-Order" and asked himself and answered himself about "what is a text". He argues that "especially in Chinese, all writing begins with the text, and the inscription on the oracle bone is prose"; and the text is not only a noun, but also a verb, "from the ancient sacrifice of communication with the gods". Confucius warned us long ago that literature is freedom and bondage, that is, the so-called "literature wins over quality and history, and quality wins over literature and wilderness." In "Jianshui", he opened up a broad dimension to the text:
"In a broad sense, literature has been transformed into life technology and art in China, and life is the work, that is, the creation of the work. Writing is literature, cooking is literature, gardening is literature, architecture is literature, doing things is literature, a carpenter is a literati, a chef is a literati. ”
Therefore, he is not satisfied with the search of the desk, he wanders in the fireworks world, and in his daily life, he searches for a harmonious pace of progress and retreat that has been passed down from ancient times. He felt lucky to grow up in Kunming, swimming in Dianchi Lake, ascending the West Mountain, and carefully describing the morning and evening of Wucheng Road, tea houses, libraries, bamboo temples, and bathhouses... Through the middle of the journey, he met Yang Shen, Qian Mu, Shen Congwen, Wang Zengqi and others in Kunming, and then sighed:
"The prominence of Kunming is not the eminence of civilization and history, but the eminence of the earth and existence. She dedicates herself to the world not as a hero of the world, a founding hero, an iron-blooded prime minister, or a ruthless monarch. Rather, it is the simple and simple sunshine, blue sky and white clouds, flowers, air, spring, the earth and the daily life that is beneficial to life, and it is an awakening to the feeling of inhabitation that has been numbed by the civilized world. ”
He wrote "Kunming Chronicle" for Kunming, "Jianshui Record" for Jianshui, and "River of Gods" for Lancang River... Among them, he not only recorded the "poetic dwelling" he found in writing, but also dedicated the life of ordinary people he remembered with the shutter. Yes, he is not only a poet and essayist, but also an outstanding photographer, who has held photography exhibitions in Dali, Kunming, Macau, Shanghai, France, Spain and other places, and his series of photographs have won the National Geographic Global Photography Competition Huaxia Collection Award.
Yu Jian said, "People are alive through the appearance of Wen. Man becomes a man through literature", "poetic dwelling" is also a text.
Returning to Wen is Yu Jian's pursuit, and he wants to "tattoo the world with life and write everything."
"Big block fake me with article"
"The one who is the master of heaven and earth, the rebel of all things, the one who is time and the yin, the guest of hundreds of generations." And floating like a dream, for the joy of geometry? The ancients traveled by candlelight at night, and there was a good way to go. The situation Yang Chun summoned me to smoke the scene, and the large piece of fake me to the article. ”
——Li Bai, "Spring Night Feast from the Garden of Di Tao" (excerpt)
On a spring night when the fragrance of flowers floated, Li Bai and a group of brothers took a dip in the garden. The moon is hazy, the poems are budding, and nature has piled up the splendid scenes in front of him, and Li Bai has not failed to live up to it and written down this ye ye huang huang. Most people are intoxicated when they chant the first two sentences, but Yu Jian's words are "a big piece of fake me with an article". For him, it was a methodology, a sense of truth from what nature had given.
The colorful Yunnan that gave birth to him, Yu Jian of course did not fail, step by step, inch by inch, wrote "Kunming Record", "Jianshui Record", "Behind Lijiang", "Yunnan Side" and so on. He paid attention to the Lancang River, which feeds the cangcang mountains and mangy rainforests in Yunnan, and spent more than 6 years and countless visits, from the place of origin to the entrance to the sea, to complete "China's first book written for a river" - "The River of the Gods".
As a young man, he was a reader of Romain Rolland, Dumas, Balzac, Hugo, Zola, Maupassant, and others, and later went to Paris with the thought of visiting. The old world he saw in front of him made Yu Jian think that "he had come to a certain page of "Grimm's Fairy Tales", and every corner of the streets and alleys could correspond to what he knew in the book, and the pulp in the room made him intoxicated. Thus, there was "Paris".
He loved Su Shi, "one of the greatest and most classic literati of the Golden Age of Chinese civilization," so he made a pilgrimage to Meishan. He saw that the Minjiang River was overjoyed, and immediately pulled up his pants to cross the river crossed by Su Shi; when he went to the Sansu Ancestral Hall to pay respects, he saw that the cultivators of the ancestral hall followed the tradition, using cotton, twine, stone powder, glutinous rice, etc. to make hemp tendons and glue bricks and tiles, and he cheered that "an ancient beauty has returned again"; he went to the hotel to order Dongpo meat, "a piece of belly, immediately reconciled with the world" ... "On the side of the Eastern Slope: Su Shi" was born.
In addition, "India", "Somewhere in the Mississippi River", "Dark Box", etc., Yu Jian likes fieldwork, believes in the unity of knowledge and action, "only write what I have experienced, seen, I do not like to take it for granted." I come, I see, I write—to civilization.
Man is full of labor, but poetically inhabited
The works mentioned above are only a small part of Yu Jian's creations in the past years, and his life is undoubtedly "full of hard work", but "poetic inhabitation". He is obsessed with the everyday, the text tirelessly describes every daily life, and the camera remembers the moments of life.
Chess game next door to the barbershop (Yu Jian photography, selected from "Jianshui")
He wrote About Jianshui, starting from the Jianshui seen by Yang Shen, who walked alone in the Literary Circles of the Ming Dynasty, and listed the city towers, streets, restaurants, courtyards, play, food, transportation, Tianyuan Bridge, friends, etc. One by one, the various flavors and undulating sounds that drifted in this were carefully recorded. Watching "Jianshui Ji", there is a feeling of being in a three-dimensional version of "Qingming Upper River Map".
"Construction water is full of details. Recessed here, protruding there, unable to see in full, everything is curved, curved eaves, curved walls, crooked doors, crooked yards, crooked alleys, everything is meandering, winding paths. ”
One of the alleys of Jianshui, there is a bird calling when pressing the shutter (Yu Jian photography, selected from "Jianshui")
He loved to provide rich details, writing prose without scruples of ink and ink, and writing poetry that abandoned written, delicate expression and used colloquial narratives.
"Six Shangyi Street
French-style yellow house
Old Wu's pants hung on the second floor
With a shout, the head with the eyes popped out from under the crotch
Big toilet next door
There are long queues every morning
We tend to come at dusk
Open the cigarette case and open your mouth
Turn on the lights
The wall is nailed with Yu Jian's paintings
Many people disagree
They only knew Van Gogh
……”
This is a passage from Yu Jian's famous work "No. 6 Shangyi Street". Before that, the poetry world was once elegant and hazy, serious and angry, beautiful and obscure, magnificent and fierce... But Yu Jian chose to go to the colloquial, silent, daily trivial "wasteland", which was forty years. In his new work this year, "The Record of Du Fu", the opening scene is still "Once upon a time, there was a person born in Henan in China named Du Fu Man Born in Early Spring" -- as if to give you an ancient gossip.
Reading his poems is more like watching a movie, the montage-like scenes are jumping, the breath of life is full, and from time to time there is a bit of ridicule, humor, self-deprecation, and irony.
In 1986, as soon as "No. 6 Shangyi Street" was published, Yu Jian became a representative figure of the "third generation of poetry", which led to the trend of oral writing. He rejects metaphors because, in his view, "language itself is a metaphor for the world," and rejection is the salvation of metaphors—the everyday goes into poetry, life returns to itself. In other words, he chose the everyday precisely because Yu Jian discovered divinity from the everyday, or rather, he deeply realized the uselessness.
Yu Jian wrote a "Little Record of Planting Trees", starting from an experience of planting trees in primary schools, thinking of school breeding materials, "most of the students have not become the towering trees expected by education", and then asked: "Is it not the life of those who have not become the big trees expected by the school to live?" Then he said to Nietzsche, who pursued the "philosophy of the superman":
“...... The world is only left with Nietzsches, there is no contrast between gentlemen and small people, big trees and mediocre talents, isn't the world also very mediocre, there is no world, old Ni. ”
Therefore, don't care about success or failure, whether it is excellent or mediocre, while "full of hard work", people who also ponder "poetic inhabitation" are worthy of praise in The view of Yu Jian. And Jianshui is the place where he admires such a poetic dwelling. Straits Satellite TV on April 27, 22:07 Straits Satellite TV, April 28 Southeast Satellite TV 21:00, Youku video 0 points "Literary Daily" season 2, and Yu Jian & Hu Liangcan, to Yunnan Jianshui to feel the poetry attack.
- Yu Jian's Awards (Partial) -
Lu Xun Literature Award, Zhu Ziqing Prose Award, Hundred Flowers Prose Award, Taiwan Lianhe Bao 14th New Poetry Award, Taiwan "Genesis" Poetry Magazine 40 Years Poetry Award, "Chinese Literature and Media Award" Poet of the Year Award, "Feel the World" Asian, African and Latin American Excellent Literary Works Sponsored by the German Association for the Promotion of Asian, African and Latin American Literary Works First Place, National Geographic Magazine Global Photography Competition Huaxia Collection Gold Frame Award.
About Yu Jian, your unmissable works (partial)
"Yu Jian's Poems"
It includes most of Yu Jian's works from the 1980s to the 1990s. Including "No. 6 Shangyi Street", "Luo Jiasheng", "The Tree of Shelter from the Rain", "Naming a Crow", "Event Series", and the long poem "O Files", "Flight" and so on.
"Moving"
Yu Jian's self-selected collection of essays, including more than 20 essays, are unpublished works.
River of the Gods
A biography of the Lancang River. Yu Jian visited the Lancang River many times in 6 years, conducted field investigations from her birthplace to the mouth of the sea, poured out what she saw, shared what she felt, "A river is a history of civilization. ”
"Kunming Chronicle"
Yu Jian's prose photography collection about his hometown of Kunming narrates the various appearances of Kunming in his eyes, history, nature and people's vivid life from the two dimensions of personal memory and changes in the times.
《Jianshui Chronicle》
In Yu Jian's prose photography collection about the ancient city of Jianshui, the poet shuttles through the streets and alleys of Jianshui, understands the architecture, craftsmanship and way of life of Jianshui, details the past and present lives of this ancient city, and explores why Jianshui people can still "poetically inhabit" to this day.
Paris Chronicle
What Yu Jian saw and thought about Paris for more than 20 years. When he didn't see it, he thought it was a city of the future, but when he arrived, he was shocked that she was still the old world depicted in the classic novel. He indulges in the beauty of the city's pulp, presenting its spiritual landscape to us in the form of words and pictures.
The Book of India
Yu Jian presents a colorful India in the form of words and photography. In 2012, he won the People's Literature Award for Best Non-Fiction, and his photographic works won the National Geographic Magazine Huaxia Collection Award.
"On the East Slope: The Book of Su Shi"
Following the Song Dynasty recorded in the "Tokyo Dream Record", Yu Jian traveled all over Kaifeng, Meishan, Hangzhou, Huangzhou... In the interweaving of ancient and modern scenes, restore a more real Su Shi and reproduce a great golden age.
Somewhere in the Mississippi River
Yu Jian's prose photography collection. Yu Jian drilled into all aspects of the United States infiltrated by the Mississippi River, reconstructing the Mississippi River alone through different linguistic forms.
"Cassette Notes"
A collection of fragments of Yu Jian's thoughts. Yu Jian wanders around the world to observe and describe the daily life that is regarded as ordinary or even backward by the impetuous industrialized society, and in the ordinary life, he discovers the poetry of life.
"A Few Minutes Of Encounter"
A text about everyday life, body travel and spiritual travel. It includes more than 50 essays by Yu Jian, including: "Swimming Pool", "Looking at Paintings", "Lake on the Stove", "Specious Mirror", "Young China" and so on.
Edited by | He Jiayi
Editor-in-Chief | Zhang Sugui
Producer | Wang Shengzhi