Right and wrong between celebrities
Liu Gewen
Where there are crowds, there are contradictions, and celebrities are no exception. Youdao is "literati are light", and the grievances and grievances between cultural people, right and wrong, are no less than ordinary people. And because they are celebrities, their affairs are even more interesting.
In the author's collection, there are some letters that deal with the contradictions and entanglements between celebrities, reflecting an aspect of the cultural circle and literati life. Here are a few pieces to be exhibited, I think they are also of interest to readers.
It should be noted in particular that the author only objectively expresses and briefly analyzes the matters mentioned in the letter based on relevant information, and has no intention of judging who is right and who is wrong.
Xu Beihong and Liu Haisu: The unfinished grudge of the century
Xu Beihong and Liu Haisu are both masters of art.
Xu Beihong (1895-1953) was a native of Yixing, Jiangsu. Chinese modern painter, art educator, the first person to study art at public expense in China, former president of the Central Academy of Fine Arts, chairman of the China Artists Association, known as "the saint of modern Chinese painting" and "the father of modern Chinese painting".
Xu Beihong
Liu Haisu (1896-1994) was a native of Changzhou, Jiangsu. A modern Chinese painter and art educator, he was the president of Nanjing Academy of the Arts and the honorary chairman of the Shanghai Artists Association. The Cambridge International Biographical Centre in the United Kingdom awarded the "Outstanding Achievement Award", and the European Academy of Italy awarded the "European Palm Gold Award".
Liu Haisu
The contradiction and entanglement between Xu Beihong and Liu Haisu are mainly two things: First, is the relationship between the two teachers and students? Second, is Liu Haisu a traitor?
The first thing began a century ago.
In 1912, Liu Haisu came to Shanghai with 200 silver dollars donated by his father and founded the Shanghai Picture Art Academy with friends, when Liu Haisu was only 17 years old. The first batch of enrollment of the school totaled 10 people, and Xu Beihong's name was not on the list. Xu Beihong also attended this school, but only for about two months, that is, without saying goodbye.
According to Xu Beihong's wife Liao Jingwen, "Beihong saw the advertisement saying that the Shanghai Picture Art Institute had good teachers and equipment, so he went. But then Beihong told me that there were less than 10 students, not even plaster casts, so they took a printed painting and hung it on the wall for them to copy. Because he couldn't learn anything, in less than two months, Beihong was gone, and his tuition fees could not be refunded. He had never seen Liu Haisu at all. ”
Later, Liu Haisu repeatedly said that Xu Beihong was his student, but Xu Beihong never admitted it, and thus laid the groundwork for the grudge afterwards.
On November 3, 1932, Xu Beihong published a personal notice in the "Declaration", denouncing Liu Haisu's school as a "pheasant school": "The institute has no essential subjects such as anatomy, perspective, art history, etc., and there is not a single half-body plaster model... I was not yet twenty years old, coming from the field, confused by advertising... In this article, a magazine accused me of being a disciple of Liu, and I was despised at this pheasant school, so I did not recognize everyone as a teacher. ”
After this letter was reported, Liu Haisu was furious, and a day later, he published the "Liu Haisu Notice" in the "Declaration", saying: "... caused Xu to be jealous and did not hesitate to insult... The Picture Art Academy is the predecessor of the Art College, at that time, the contemptible people were not weak, and they worked hard, and they needed to know that the creation of plaster plaster models and mannequins in China was the Picture Art Academy after several hard fights, which was known to the Chinese people... This is not something that Xu can erase. ”
Immediately, Xu Beihong published a notice in the "Declaration" for the second time, and directly issued a war letter, asking Liu Haisu to "wash the bones first, remove arrogance, be pro-Dao, use hard work, and wait for Ru for ten years, I will not slander Ru." Since then, the two have openly exchanged hatred and engaged in a multi-year contest.
The second incident occurred after the establishment of the People's Republic of China, Xu and Liu both held important positions in the art world, but the rivalry between them continued.
In 1953, the Second Congress of Literary and Art Workers was about to be held, and the provinces reported the list of participants, and the first in Shanghai's list was Liu Haisu.
Xu Beihong is the executive chairman of this cultural congress, and after seeing Liu Haisu's name, he immediately questioned it. He wrote directly to Zhou Yang, raising the issue of Liu Haisu's "traitor". The letter said: "Liu Haisu acted as a traitor, and the seriousness of his crime is not a matter of my people, but it is a fact that he lost his national integrity. ...... If he can be faithful and honest, I agree to leniency. ”
The so-called Liu Haisu "traitor" incident first appeared in the Xinhua Daily published on August 23, 1945. The newspaper published a "list of cultural traitors", the first was Zhou Zuoren, and the sixth was Liu Haisu. This list is based on readers' reports and is not an official conclusion. But at that time, the Xinhua Daily was presided over by Zhou Enlai, and afterwards, researchers mostly used it as evidence that Liu Haisu acted as a traitor.
So, how did Liu Haisu perform in the War of Resistance?
In the early days of the outbreak of the Anti-Japanese War, as a leading figure in Shanghai's art world, Liu Haisu was quite popular. As early as 1936, he created "Tiger Footing Map" to express his desire to stop the civil war and unite against Japan. In 1937, after the famous "Eight Hundred Heroes Incident", Liu Haisu wrote "Four Elements Warehouse" to inspire fighting spirit. Until the beginning of 1939, Liu Haisu also used his fame to lead Shanghai American College teachers and students to hold a charity sale in Shanghai to raise funds for the Refugee Children's Correctional Home.
At the end of 1939, the situation changed. At that time, Wang Jingwei, with the support of Japan, began to look for "talents" for the puppet regime to be established. Wang Jingwei's aide Chu Minyi invited Liu Haisu to be the minister of education. Liu Haisu recalled: "Chu Minyi is also a very good friend of mine. At first, he accompanied me to meet Wang Jingwei. Wang Jingwei asked me, do you think I will be a traitor? I said of course you won't, you are also patriotic! ...... This man has great presentation skills and looks beautiful, and honestly I was impressed by him and promised to do something educational. But after that, Liu Haisu found that most of the people who did things for the Japanese puppet government encountered accidents. Therefore, he decided to take advantage of the exhibition in Indonesia, avoid Nanyang, and did not serve in the Wang puppet government.
Later, Liu Haisu recalled, "On May 20, 1943, the Japanese sent me back to Shanghai from Nanyang by military plane. ...... At the beginning, the Japanese military department sent a special military plane to send me back, but many people did not understand, thinking that Liu Haisu must have sold himself and turned into a traitor. There are many misunderstandings, I don't care, let them say."
Soon after Liu Haisu returned to Shanghai, he married Xia Yiqiao, the daughter of a wealthy businessman he met in Indonesia, and the wedding officiant was Chen Binhe, a well-known traitor at the time, and Yoshitaro Kawamoto and Takashima Quejiro, a high-ranking Japanese military official, came to the door to congratulate him. Later, Liu Haisu recalled, "I didn't invite them to the wedding banquet, and they invited me to dinner in turn." In November of the same year, Liu Haisu held an exhibition in Shanghai, organized by Zhang Yipeng, Minister of Justice of the Wang puppet regime, and high-ranking officials of the Japanese military department were present to congratulate him.
According to facts, Liu Haisu did not "grow his beard and clear will" like Mei Lanfang in the occupied area and maintain a high wind and bright temperament, but he interacted with the enemy and the puppet and had a loss of integrity, but he did not hold a post in the enemy and puppet regime, and there was no obvious behavior of the enemy. Neither the Republican regime nor the people's government of New China treated him as a traitor.
In order to reconcile the relationship between Xu Beihong and Liu Haisu, the central leading comrades came forward to do work, but in the end they were unable to resolve the contradiction between the two. On September 23, 1953, Xu Beihong suffered a recurrence of cerebral hemorrhage while serving as the executive chairman of the Second Cultural Congress, and died in Beijing on the 26th.
Si Renxian went, and the grudge was not over. Liao Jingwen adhered to her husband's last wishes and continued to accuse and fight Liu Haisu. After that, whenever Liu Haisu took an administrative position or held an exhibition, Liao Jingwen would mostly write letters to protest. In 1994, Liu Haisu passed away, and Liao Jingwen was also in his eighties. Liao Jingwen said: "Liu Haisu is also dead, and I don't have to write letters anymore." ”
Xu Beihong and Liao Jingwen
However, just two years later, in 1996, Chen Chuanxi, a professor at Nanjing Normal University, published "Commenting on Liu Haisu" in the fifth issue of Jiangsu Picture Magazine, once again mentioning Liu Haisu's traitor problem and criticizing Liu Haisu's achievements from an artistic point of view. For a time, Xu Liu's old case caused turmoil again. Public opinion naturally appeared two views, either supporting Xu and belittled Liu, or supporting Liu and degrading Xu, and Liao Jingwen was also under considerable pressure. The following letter reflects some of the circumstances (Figure 1).
Figure 1
The letter is addressed to the list. From 1953 to 1956, in order to write a good biography of Xu Beihong, Liao Jingwen went to Peking University to study in the Chinese Department. During this period, Luo Lie served as the deputy director of the Chinese Department, the deputy secretary of the general party branch of the department, and the director of the journalism teaching and research office of Peking University. Therefore, Liao Jingwen called it "Luo Li Shi" on the letter's letter.
The text expression and the context of events in the letter are not difficult to understand, so the original text is displayed, please readers to interpret by themselves.
Listed Divisions:
Thank you very much for receiving the photocopy you sent. You have written twice with concern, which makes me cry with gratitude.
On the issue of Liu Haisu's traitor, Chen Chuanxi, a professor at Nanjing Normal University who was engaged in art history, wrote an article last year in the fifth issue of Jiangsu Picture Magazine "Commenting on Liu Haisu", which caused an uproar. Last summer, Professor Chen Chuanxi published "Answering Reporters' Questions" in the Lingnan Culture Times, talking about Liu's traitorous behavior and art. I wonder if you have subscribed to the newspaper? You can read it. Chen wrote these two articles, I didn't know beforehand. There are still many traitor activities in Liu, and I believe that future historians and art historians can write about it in a realistic manner, such as Professor Chen Chuanxi. Therefore, there is no need to worry about sinking into the case.
I went to Hong Kong to attend a commemorative event on the occasion of the 100th anniversary of my birth. Some people have shown that the magazine "Dacheng" run by Taiwan in Hong Kong contains Shi Nan's article "A Pen War that has affected the art world for more than half a century," spreading rumors and slander, vilifying the tragic hong, covering up Liu's traitorous behavior, and not hesitating to fabricate Premier Zhou Enlai's words. After reading, I can't swallow food, and I can't sleep at night. So he wrote an article entitled "Removing the False and Preserving the Truth, Defending Xu Beihong", because Dacheng stopped publication (its editor-in-chief died of a heart attack) and had nowhere to publish it, so he asked a Taiwanese friend to bring it to Hong Kong, hoping to publish it in a famous journal, but he did not achieve his wish, so he sent it to Taiwan's "Artist" magazine for publication in September last year. The purpose of this article is to clarify history and illustrate the truth. At the end of the article, I wrote: "If I do not disclose these truths to the world, I will feel ashamed of the sorrow of lying in the ground. "I really did not expect that this article would bring me disaster, and the details cannot be described here. I have suffered a lot in my life, but nothing more.
At the end of last year, President Jiang Zemin made an extremely inspiring speech, and finally mentioned that since Qu Yuan, China's great writers and great artists, among the 11 people, have listed the name of Wei Hong, which moved me! The pain I had suffered gradually dissolved in my heart. The Party Central Committee is impartial, and Chairman Jiang in particular is admirable. Although my current situation is still not good, I will not give up the fight against Liu Haisu and the like until death. I still have a lot of Liu's materials in my hands, and no matter what happens in the future, I believe that history will be fair, and these materials will one day be made public. Maybe after I died, of course.
You are one of the most memorable teachers when I was studying at Peking University, and the letter and care I received from you during my extremely difficult and painful time reflected your strong sense of justice and your noble qualities of fairness, integrity, and safeguarding the truth.
It was the cold season in Beijing, the heating in the house was not hot, and my heart was like ice and snow. I envy the warmth of the south. In a hurry, I wish you a healthy, happy and safe Chinese New Year.
Liao Jingwen 1997.1.19
On June 16, 2015, Liao Jingwen died peacefully at her home in Beijing at the age of 92. Since then, the dispute between Xu Beihong and Liu Haisu has finally come to an end.
Goki and Kyan: "Heartlock" is no longer connected
Geji (1927-2014), formerly known as Du Chenglong, was a native of Dongyang, Zhejiang. He joined the army in 1949 and was a professional writer in the creative office of the Political Department of the Beijing Military Region, and began to publish works in 1954.
Goki
Keyang (1926-2005), formerly known as Xue Keyang, was a native of Laian, Anhui. In 1939, he joined the New Fourth Army. He used to be deputy director of the Military Affairs Department of the Beijing Military Region, deputy commander of a division, deputy chief of staff of a certain army, and deputy head of the creative group of the Lanzhou Military Region. He began publishing works in 1961.
Kyan
Kerjan and Goki have published many works, but the most famous is the military novel "Heart Lock" co-authored by the two.
"Heart Lock"
"Heart Lock" tells the story of the New Fourth Army during the Anti-Japanese War, a cavalry unit participated by internationalist fighters - Korean comrades. In order to hold the anti-Japanese base in northern Jiangsu, the Chinese and DPRK fighters fought in unity, relied on the masses, fought in roundabout turns, repeatedly fought with the enemy, and won the final victory in the struggle. With novel themes and twists and turns, the novel enthusiastically praises the friendship between the Chinese and Korean peoples, portraying heroic images such as the outstanding sons and daughters of the Korean people, internationalist warriors Heo Cheol-, Ahn Young-suk, and Park Sung-mo.
"Heart Lock" was published by Shanxi People's Publishing House in 1962 and reprinted four times in 1972, 1973, 1987 and 2012, with a total of more than 2 million copies.
On October 27, 1989, Goki's letter to "Comrade Chu Ming" (draft) reviewed the process of creating "Heart Lock" with Keyang (Figure 2).
Figure 2
This book is our masterpiece, and it is the work that has the most repercussions. Keyang was my superior, he was the deputy regiment commander when I was a propaganda officer in the regiment in 1958, and in 1959 I transferred to the creative group of the Political Department of the army (Chen Sanbai, Tian Su and I were three people), and he was the regiment commander. This book was organized by our Military Political Department to be written. In 1959, the Beijing Military Region asked all armies to complete a novel to celebrate the tenth anniversary of the founding of the People's Republic of China. At that time, Kerjan wrote a film script, and the leader asked me to work with him to change it into a novel. At that time, I was a member of the Shanxi Writers Association, and the Shanxi Writers Association arranged a house for me at the Jinyang Hotel, and Keyang sent a clerk to help me copy the manuscript. We painstakingly "operated" for more than a year, and because I put a lot of energy and effort into completing this task. After the work was published, the leader specially credited me with a third-class merit. In the other reprints, Keyang was unable to participate in the revisions because of his position (I was in the creative group of the Beijing Military Region in 1973 and 74, and Keyang was a deputy division commander in a certain division), and I also completed them alone with the assistance of the leaders of the propaganda department of the military region (Comrade Hu Ke was the head of the propaganda department, and Wei Wei was the head of the creative group) and the publishing house (including the revision of the fourth edition of the Beiyue novel series included in 1987).
Just when "Heart Lock" was republished one after another, the two people who cast "Heart Lock" had already developed a deep rift. A letter written by Geji to "Brother Xie" of the Shanxi People's Publishing House reveals his conflict with Keyang (Figure 3).
Figure 3
The letter bluntly stated that "Keyang accused me of plagiarism" and insisted that this was a "false accusation". The comrades of the "creative studio" of the Beijing Military Region said that the publishing house has the responsibility to protect (not shield) the author and protect the work, not to mention false accusations! ”
Keyang and Geji are both old authors of Shanxi People's Publishing House. As Geji said in his letter: "Both Keyang and I are old 'relationships' of Shanxi Publishing House, and after Shanxi Publishing House published Ke Yang's "Heart Lock", it also published Keyang's "Capture the Knife", and the cooperative relationship should be said to be deeper than mine." In order to resolve the contradiction between the two, the publishing house did a lot of reconciliation work. For example, Geji's letter said: "Because Keyang made unreasonable troubles and deceived me too much, the Shanxi Publishing House, out of justice and adherence to principles, compiled a material in 1972 and sent the head of the party group of the literary and art office to the military region to report to the Political Department." It can be seen that as early as 1972, the contradiction was already sharpened.
Later, the relationship between the two continued to deteriorate. "In 1978, when I heard that Keyang was making trouble again and that I was ill, the leaders of the Shanxi Publishing House were very concerned, and sent Luo Jichang, deputy director of the literary and art office, to Beijing with that letter of condolences (sending me 300 yuan), and also asked Comrade Du Feng to convey the attitude of the party committee of the publishing bureau: If the military region seriously handles the matter of Keyang, they are willing to provide information, adhere to principles, and support Geji (I was present when Comrade Luo Jichang said this). Their righteousness gave me great comfort, and I was moved to tears."
Of course, Goki interprets the work done by the publishing house from a personal point of view, which is not necessarily the case. However, it is not difficult to see that the contradiction and dispute between Keyan and Goki has had an impact within a certain scope, so that it has alarmed the relevant units to organize mediation many times.
A "Heart Lock" connects the names of Keyan and Goki, and pulls the two into a vortex of incompatibility. Now, both sides of the conflict have passed away, leaving only "Heart Lock" in the world.
Birch and "So": A story of literati fighting each other
Bai Hua (1930-2019), a native of Xinyang, Henan. During the Liberation War, he joined the army and the party. After the founding of the People's Republic of China, he successively worked as a creative member in the Kunming Military Region and the General Political Department, and as a screenwriter in Shanghai Haiyan Film Studio and Wuhan Military Region Repertory Troupe. Well-known works include the films "Mountain Bell Rings the Horse Gang", "Dawn", "Starry Tonight", "Yang Guifei", TV series "Prime Minister Liu Luo" and so on. In 2017, Bai Hua won the 3rd Chinese Film Screenwriter Lifetime Achievement Award.
The following letter is about his representative work, the drama "Starry Tonight" (Figure 4).
Figure 4
The letter was sent from "No. 48, Lane 200, Yueyang Road, Shanghai" to "Comrade Chang Hengqiang of the Cultural Department of Beijing Fuwai Jiefangjun Newspaper", and stamped "Beijing 1978.12.15.8 Organ Section (West)". The text of the letter is as follows.
Comrade Hengqiang: I went to Shanghai yesterday. There is one thing that I wanted to talk to you and Shaoying, but I was afraid to embarrass you. But after coming to Shanghai, I think it might as well be mentioned. The new play I wrote this year (the five-act drama) "Starry Tonight" is based on Huaihai, writing the souls of a generation thirty years ago (mainly young soldiers at that time), and I wrote my life at that time and my thoughts in the past thirty years, and the past life has applied today. In Beijing, I only showed it to Feng Mu and Wang Yuanjian, and they were extremely encouraged (you can listen to their reflections). Therefore, I came up with an idea, in order to commemorate the 30th anniversary of Huaihai (48.11-49.1), whether it would be enough to use a supplement and add a single page after the military newspaper was published and changed to the new fifth number. This play is the best I have written so far, and it will have a strong impact on today's troops. Let many people (old, middle, and young) think about something. Of course, such a thing must be approved by the editor-in-chief. If possible, I would like to reply to the letter, and I will send the changed book.
Well! Birch hurry
12.13
Shanghai
The addressee is Chang Hengqiang (1928-2023), pen name Shang Gong, Henan Bannerman. He joined the army in 1948 and successively worked in the Jianghan Military Region, the 12th Corps of the Fourth Field Army, the Soldiers' Life Club of the Central and Southern Military Region, the People's Liberation Army Soldier Magazine, and the People's Liberation Army Newspaper. The "Shaoying" mentioned in the letter should be Liu Shaoyin, then the director of the cultural department of the People's Liberation Army Newspaper.
The drama "Starry Tonight" created by Bai Hua focuses on portraying the heroic images of several soldiers who are also 18 years old and sacrificed their youth and lives for the birth of New China through the battle story of a company of our army in the Huaihai Campaign. This play is unique in art, lyrical and intense, and the characters are relatively distinct, so that the literary masters Feng Mu and Wang Yuanjian "greatly encouraged" it.
However, even if "this play is the best play I have written so far," it would be unrealistic to publish a supplement in the People's Liberation Army Daily and add a single page. Six months later, on August 1, 1979, "Jiefangjun Bao" published a literary and art review, entitled "Stars Shining on the Bright Lights - Happy to Watch the Drama 'Bright Stars Tonight'", which can be regarded as a happy ending.
The People's Liberation Army Daily has always had a tradition of "the whole party runs the newspaper and the masses run the newspaper", and many old editors and authors have been in contact for a long time, not only have a working relationship, but also become friends; They not only talk about manuscripts and work, but also talk to each other about personal matters and confide their hearts. Bai Hua talked bluntly with Chang Hengqiang about the promotion of the script, and his wife, film actor Wang Bei, talked to Chang Hengqiang about a personal grudge (Figure 5).
Figure 5
In his letter to "old comrades," Wang Bei first talked about the events before and after Bai Hua was branded a "rightist." "When Bai Hua was sixteen years old, under the protection of the underground party, he was sent from the white and terrorist Chiang district to his own army, fought in a warm family, and grew up under the kind care of the chiefs. He did have a naïve and frank character who did not know the world, often had insufficient understanding of the complex class struggle and lacked vigilance against insidious and cunning evildoers. In (19)57, he gave a little advice to a leader of the Kunming Writers Association for the sake of other people's affairs, and was innocently deprived of his political life and the right to work for the people (profit). Even under the extremely unjust circumstances of fate, his feelings for the motherland and the people have never diminished, and he lives strong in all kinds of torments and deep sufferings... Because of this, for twenty years, some old chiefs and comrades-in-arms who knew him have always given him strength and care."
Writing here, the pen turned around: "But there are also some people of inferior quality, for their own fame and fortune, they do not hesitate to take advantage of the danger of others, and throw stones at the victims, so a certain couple is this kind of person!" ”
In this seven-page letter, Wang Bei's accusations against "a certain couple" are mainly these things.
First, in 1975, Bai Hua wrote a film script that praised the spirit of Hongqiqu, and Bayi Film Studio might be included in the creative plan, when an anonymous letter was sent to Bayi Factory, "The letter wantonly fabricated rumors and framed, and threatened that Bai had made mistakes in (19)57, Jiang Qing repeatedly named him, if Bayi Factory adopted this person's script, he would report it to the head of the Central Committee." Since then, the script has been put on hold." Wang Bei said, "This despicable act was committed by a certain couple."
Second, from July to September 1975, when Bai Hua was in Beijing on business, he participated in the struggle against the "Gang of Four", which led to the emergence of Mao Zedong's instructions for the movie "Entrepreneurship". After learning about it, his wife came forward to talk to Wang Bei, "Threatening: Bai Hua does this kind of thing, as long as someone reports it, he will kill his head and go to jail!" You make him honest! Hurry up and ask him to leave the army and return to Shanghai to become a worker! Otherwise, the person who wrote the anonymous letter would still stare at him"! "In fact, Suo Mou has already done this, and he exposed Bai Hua's anti-Jiang Qing behavior to the regiment leader."
Third, in 1976, Bai Hua was assigned by the leadership to write a script that adapted to the situation at that time, and "So-and-so actually tore off his face and accused the leaders of the drama troupe, saying that they used politically problematic people and did not train young people."
Fourth, after the fall of the "Gang of Four", a certain couple "feared that the anti-'Gang of Four' behavior in which Bai Hua participated would bring him honor, so they couldn't wait to plaster Bai Hua's face." At a criticism meeting, "So-and-so did not criticize the 'Gang of Four' and pointed the spearhead of the struggle at Bai Hua," and wanted to investigate Bai Hua's mistake in "criticizing Deng," and also "released rumors that reversed black and white, saying that Bai Hua had defected to Jiang Qing."
Fifth, Bai Hua's drama "Dawn" in praise of Marshal He Long was successfully performed, and both Xinhua News Agency and "Jiefangjun Bao" carried propaganda; "A certain couple became even more angry and corrupted, and wrote to the leaders of the Military Daily and the General Political Department and Culture Department in Beijing, distorting the truth in an attempt to confuse the public in front of leaders and comrades who did not know the true feelings, and achieve the goal of cracking down on Bai Hua."
Obviously, Wang Bei's letter was written with strong personal emotions, and the situation described was only one-sided. What the facts are, there is no need to examine here, but it can be stored as a cultural historical material for those who care about this history to investigate and study.
Bai Hua and Wang Bei
Finally, the reader may ask: Who is this so-and-so? The old man Chang Hengqiang commented: "So, that is, Soyunping." ”
Suo Yunping (1928-2005), playwright, from Ye County, Shandong. At the age of 12, he joined the revolution and worked as an actor in the Jiaodong Children's Troupe. In 1953, he graduated from the Military Academy Accelerated High School. He used to be the choreographer and director of the Nanjing Military Academy Cultural Troupe, the screenwriter of the Nanjing Military Region Frontline Repertory Troupe and the Wuhan Military Region Victory Troupe, and the head of the General Political Repertory Troupe. His representative works include the movie "Eastward Overture", "Good Brothers", "Fighting Mountain Village", "Yellow Bridge Decisive Battle" and so on. His work has also been publicized in the People's Liberation Army Daily. For the problems reported by Wang Bei, I believe he will have his own statement.
Soyunping
The old man Chang Hengqiang wrote a sentence about this letter with deep meaning: "Leave a story of literati fearing each other." Good and evil, good and evil, make people think! ”
Chang Hengqiang
Just as this manuscript was completed, Chang Hengqiang passed away on May 1, 2023 at the age of 95.
May my respected cultural elder Mr. Chang Hengqiang go well all the way.
(This article was originally published in Philatelic Expo, published in full by China New Media with the author's permission.) ）
Liu Gewen
【About author】Liu Gewen was born in May 1948 in Zhengding, Hebei. He joined the army in February 1968 and successively served as a soldier, platoon commander and propaganda officer of the third regiment of the 1st Tank Division, an officer of the Political Department of the Armored Corps of the Beijing Military Region, an editor, director of the commentary department, senior editor and deputy editor-in-chief of the People's Liberation Army Daily. He was awarded the rank of Major General in July 2003. Around the 80s of the 20th century, he formed the "Yang Liuxie" writing group with two other comrades-in-arms, engaged in speech writing, and became famous inside and outside the military.
He has worked for the People's Liberation Army Daily for nearly 30 years, and his news commentary has won many of the highest national China journalism awards, including several first prizes. He has edited (mostly co-authored) dozens of books, some of which have been rated as "selected works of the Five One Project".
Amateur philately. From 1994 to 2007, he served as the consultant of the Advisory Board of China Philatelic Corporation for three consecutive terms.
Invited editors of this column: Xin Zhen, Xu Xiaorong
Looking at the inscription on the masthead of China's new media: General Zhu Zengquan