【Jiaodong Prose Annual Selection · 2021】 Yuan Henglei | silhouette of a hand-painted famous artist

A silhouette of a hand-painted master

——After reading "Jiaodong Prose Twelve Jia Jiao Hongjun Volumes"

Text/Yuan Henglei

Huanghuang six volumes, a collection of seventy-two Jiaodong regional prose masters of the series of prose volumes - "Jiaodong Prose Twelve", recently launched by the Yellow Sea Digital Publishing House, after reading through the Jiaodong prose twelve Jiao Hongjun prose volume series works, I found that his reading horizon is broad, but the pen is picky - he finally pays attention to the extraction of classics. This is very good, after the time washing of the famous classics is undoubtedly the most nutritious, miscellaneous reading is not impossible to compare reading, but a little careless, easy to lose appetite. Jiao Hongjun's prose is a serious study and respect for the predecessors, although his prose is diverse, but in his dazzling works, what impresses me most is that his silhouettes painted by hand for many famous artists are particularly outstanding.

What is a hand-drawn silhouette of a famous artist? Let me borrow a specific title from fine art terms—that is, his unique interpretation of famous writers—not from birth to death, as in a tome biography, but through the actual visits to the former homes of celebrities, the individual interpretation of documents, etc., to write about these famous writers, or the well-known or little-known side. Because of the thickness and thickness of the writing, there are tendons and flesh, which is comparable to the silhouette of a hand-painted master. This is the most impressive impression of his prose.

And look at which famous artists he interprets? They are Lu Xun, Bing Xin, Zhang Zhongxing, Ji Xianlin, Ren Jiyu, Wang Xiaobo, Zhang Wei and others. These people are undoubtedly the most famous people in modern and contemporary times. It is said that interpreting their works has long been full of sweat, how difficult it is to write new ideas! But the novelty is to think about what others have not thought, to send what others have not thought. First look at Lu Xun, Jiao Hongjun wrote an essay entitled "Lu Xun Standing in the Courtyard". As we all know, we know that the image of Lu Xun is mostly sitting, and Mr. Big looks solemn and looks at the camera. There were also standing, mostly holding cigarettes that were being lit, and his hair was standing upright, just like his tough and upright spirit.

When did Lu Xun stand in the courtyard again? The title is very eye-catching. In fact, anyone who is familiar with Lu Xun's works will know that Lu Xun really likes to stand in the courtyard. Needless to say that he has more works, it will be found in the well-known "From the Hundred Grass Garden to the Sanwei Bookhouse" and "Two Jujube Trees" that are widely known in the middle school Chinese textbooks. And Jiao Hongjun not only read these texts, he actually went to the former residences of Shaoxing and Beijing, and checked the relevant information about Lu Xun's former residence in Shanghai on the Internet, which indeed have courtyards. Jiao Hongjun wrote several works about Lu Xun in these former residences, and in these former residences, he found that Lu Xun was very fond of the courtyard, and even concluded: "The depth and breadth of Lu Xun's juvenile knowledge, Lu Xun's love for naturalism, the study of the knowledge of grass, wood, fish and insects, and the transcription and photocopying of the purpose of ancient books and books, all of which have had an impact on his future literary creation, ideological origins, and personality formation, and all of this originated from the courtyard when he was a teenager, connected with the yard, the courtyard, It is also the root of the great Lu Xun. This interpretation is really very innovative, as far as I know, Jiao Hongjun became famous by writing the first domestic biography of a long historical figure that recounts the preaching of Ma Yuxiuzhen, a great disciple of Quanzhen, and in the face of the interpretation of Lu Xun's imperial masterpieces by various Chinese and foreign celebrities, the author dialed four or two thousand pounds, cutting into Lu Xun's life and works from the perspective of the courtyard, and pushing backwards and sideways, which shows the author's profound cultural heritage and writing skills.

Look at Zhang Zhongxing, Ji Xianlin, and Ren Jiyu, the "three elders of Peking University". These three Peking University masters can be described as giants in the Chinese academic circles in the 20th century, and the study of their related works is also a big slip on the wall of the book. In the face of these academic giants, Jiao Hongjun did not describe their brilliant academic careers head-on, but carefully carved the love lives of several old gentlemen - this is very interesting to read. As far as these three old gentlemen are concerned, the one I am most familiar with is Ji Xianlin Liude's ten-year love affair, because he has a special illustration and has long become a celebrity anecdote that people talk about. Jiao Hongjun wrote these three old gentlemen in chronological order and according to Li Yu's most famous "When is the Spring Flower and Autumn Moon" as subtitles, with a novel format and novel content, so that readers have a deeper understanding of the marriage story of Zhang Zhonghang and Yang Mo, Ji Xianlin and his wife Peng Dehua and the German girls Imgard, Ren Jiyu and Feng Zhongyun - and most of the content is very little known. The valuable thing about Jiao Hongjun's account of their stories is that the penmanship is skillful and eloquent, although it is like a smoke in the past, but it is really like an important paragraph in the biographies of these famous artists, there are details and comments, which also shows that Jiao Hongjun has made enough efforts to study the relevant literature. For example, when writing about Ren Jiyue's farewell to the deceased Feng Zhongyun, he quoted Ren Jiyue's daughter Ren Yuan and son Ren Zhong's commemorative article "Memories Forever Treasured" in memory of Ren Jiyue, these details really read so that the image of the couple who have been in the literary world for many years can be more three-dimensional and profound, quoted here: "In 2005, my mother unfortunately died. Dad wrote on the farewell card: 'Zhong Yun, you are temporarily gone, but we will always be together, never separated.' On the day of Mom's farewell ceremony, Dad got up at 3 o'clock in the morning, washed his hair carefully, bathed, shaved, and put on a clean white shirt. For more than two hours during the farewell ceremony, the chair behind him did not sit for a moment. At the end of the ceremony, when the family made a final farewell, Dad walked over to Mom, reached out, and gently and gently touched her hair and face, as if afraid to wake her up from sleep. Tears ran down Dad's face. ”

If these famous artists are a little far away from the era of Jiao Hongjun, then Zhang Wei, as a contemporary, is the most intuitive and three-dimensional writing object. As two well-known cultural business cards in contemporary Shandong, Mo Yan and Zhang Wei have an international influence and have already left a brilliant chapter in the history of literature. As their fellow countrymen, Jiao Hongjun naturally felt proud that such cultural giants had been produced in the township, and there were also relatively convenient conditions to observe and understand them at close range. In the article "The Spirit of the Lower Ding Family and zhang wei's literary constellations", the author visited Zhang Wei's studio at Wansongpu Academy in Changsheng Village, Xiadingjia Town. The layout here and what works were produced are carefully described. Mo said that Zhang Wei's long-form masterpieces such as "Ancient Ships", "September Fables", and "You are in the Plateau" that have long been well-known at home and abroad, and even series such as "Songpuju Essays" written in recent years have also made people have a strong interest in this newly created literary mecca. Jiao Hongjun takes us on a sneak peek in this article, and the reason why I call it a literary holy place is not only because so many splendid articles mentioned above are written here, but also because Zhang Wei himself has a high degree of reverence for literature, in which he describes the set here: "In the low farmhouse, in the two-bedroom room, the east room is placed on the east wall with writing desk chairs, and the walls of the studio are hung with statues of Mencius, Hugo, Li Bai, Du Fu, Tolstoy, Lu Xun, Marquez, Sol Bellow and other famous artists. Each of these spiritual constellations in the eyes of Chairman Zhang Wei has the power to move people's hearts..." From his description, we can find that the decoration here is not luxurious at all, it is the most return-to-basic farmhouse furnishings, but the ancient and modern Chinese and foreign literary stars on the wall are awe-inspiring, he is Zhang Wei's spiritual target, and he is also the writing tutor of all our literati." "There are a few stacks of famous books in the north bookcase, a bed in the west, a smell of books and volumes, imagining Chairman Zhang Wei's diligence and hard work in writing, we feel a baptism of culture." In the face of this simple but extremely respectful study studio, without more words, Zhang Wei's understanding of his works will undoubtedly be greatly deepened.

In addition, in Jiao Hongjun's prose, there are also some famous silhouettes that are more brilliantly written, such as Wang Xiaobo's "Along the Road Wang Xiaobo Has Walked--Remembering the Returning "Zhiqing Writer" Wang Xiaobo Who Came Out of Qinghu Mountain", which uses more than 10,000 words to comprehensively narrate several important paragraphs of Wang Xiaobo's life, which can be said to be a very wonderful personal biography of Wang Xiaobo. However, I still prefer the meticulous hand-drawing of his concentrated pen to only write a silhouette of a famous artist rather than such a comprehensive statement—the novelty, detail, and profundity are all superior. As a relatively mature essayist, Jiao Hongjun naturally has tried many areas of prose, but he knows where he will be handy. As a reader, after the horizontal and vertical comparison, I especially admire the works such as the silhouettes of his hand-painted masters. I also sincerely hope that more famous side notes can appear in his pen to feed the readers who love him.

About author:Yuan Henglei, born in 1984, Manchu, currently living in Huadian, Jilin Province, member of the Communist Party of China, member of the Jilin Writers Association, director of the Jilin Writers Association, master of philosophy, published 30 academic papers. He has published millions of words of prose essays, literary criticisms, poems and other works in national newspapers and periodicals such as "Literature and Art Daily", "China Art Newspaper", "Literature Daily", "Literature Daily", "Wen Wei Po Reading Weekly", "Writer", "Essay Hundred Families", "Prose Selection", "Grassland", "Yanhe", "South Cavity and North Tune", "Tonight Newspaper", "Reader", "Yilin" and other national newspapers and periodicals. He has published books such as "Living Life as a Tree and Blossoming", "Heidegger Living in the Countryside", "Youth Grows in Rituals", "Every Drop of Water is the Smile of the River" and so on.

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