【Editor's Note】
The light of The Mindu passed on the torch.
On March 24 this year, General Secretary Xi Jinping came to Fuzhou Sanfang Seven Lanes to inspect, listened to the introduction of the protection and restoration of Fuzhou Ancient House and Sanfang Seven Lanes, and also inspected Nanhou Street and Langguan Lane on foot to visit Yan Fu's former residence. General Secretary Xi Jinping has repeatedly stressed that it is necessary to "let history speak and let cultural relics speak" and "let the cultural relics collected in the Forbidden Palace and the heritage displayed on the vast land come alive."
This year, the 44th World Heritage Conference will be held in Fuzhou. It is imperative to protect the historical and cultural heritage, retain the cultural roots, keep the soul of the city, build the international brand of Mindu culture, and consolidate the cultural foundation for accelerating the construction of a modern international city.
To this end, "Minsheng" magazine launched the "Qingfeng to the Deceased - The Ink Of Fujian Celebrities in recent times", which is the physical evidence of the Collection of Fujian Calligraphy and Painting, more than 40 famous artists old ink, 200 pages and 200,000 words, more than 100 pictures, involving the late Qing Dynasty and the Republic of China academic circles, political circles, business circles, calligraphy and painting circles, collection circles, religious circles, education circles, literary circles and other fields, with historical and artistic value that cannot be underestimated.
This book is a monograph on Mr. Lan Ruo's calligraphy and painting collection, involving many knowledge sections such as original works, interpretations, small notes, examinations, appreciation, and reviews. We will continue to publish the wonderful content of "Qingfeng To the Past - InkBlot Talk of Fujian Celebrities in recent times", return to the "old bright moon" with you, touch those words with history, temperature and interest, and appreciate the profound and profound spiritual outlook of Fujian culture.
Lin Shu (1852-1924), first known as Qunyu, Ziqinnan, Weilu, Leng Hongsheng, Daqiao Liuweng, Chunjuezhai Master, etc. A native of MinXian County ,Fujian (present-day Fuzhou). He is a famous writer, translator and painter in modern times. In the eighth year of the Qing Dynasty (1882), he served as a teacher at The Beijing Normal University, worked on poetry and ancient texts, and worked painting, known for his translation of Western novels, and authored Wei Lu Anthology, Wei Lu Poetry Cun, Chun Jue Zhai On Painting and so on
In the summer of 1897, the 45-year-old Lin Shu was depressed. Not long ago, his beloved wife Liu Qiongzi died, and his family advised him to go out to visit his friends to relax, and his close friend Wei Han introduced him to Wang Shouchang, who returned from studying in France.
Wang Shouchang was teaching French at the Mawei Ship Politics School at this time, and Wang Shouchang recommended that there was a French novel that was very beautiful, not like a translation, but also a comforting sadness. Lin Shu refused at first, but he was deeply moved to hear the story, but he still made a condition, saying: "You must invite me to visit The Stone Drum Mountain." Therefore, on the boat from Mawei to Drum Mountain, Wang Shouchang held the original French text in his hand and dictated it word by word, while Lin Shu "chased the ear by hand" and compiled it into a chapter with Yajie's "ancient text". Lin Shu lifted the pen, deep affection, did not feel entangled and poignant, revealed between the lines. Whenever the translation is about lingering pity, the two often look at each other and cry, and even cover their faces and cry bitterly. A sensational Ancient Chinese edition of "The Testament of the Traviata de Paris" was thus completed.
Lin Shu later recalled this past: "Recalling the memories of Ma Jiang, who was a guest, and translated the "Relics of the Lady of the Traviata" with Prince Ren (i.e., Wang Shouchang), when the lotus leaves were watered, the painting boat connected to the window, the Linshu sighed, the Jujufu translation, the Chang'an Sorrowful Autumn, and the Hundred Shapes of Xiao Ser. At that time, the poignant and sad feelings in his heart were in line with the tragic stories of the male and female masters in the novel, which was also the reason why the translation was touching and profound.
Lin Shu to Wang Shouchangzha (choose one) Note paper
Knowledge: From the vulgar guests to the rocks, the accumulation of green heavy throwing small halls. The mountain spirit rested and slept, and Song Tao left it for the five more to listen. When the Yusu Stone Drum had this scene, twenty-three years after leaving the country, the mountain ape crane should laugh at me! Lin Shuji
Seal: After seventy years of Fear (Zhu)
Shu "To and from the Clouds Mountain" axis color on paper
"Poor volume of "La Traviata", cut off the intestines of the prodigal son" (Yan Fu poem). After the novel was published, Lin Shu's reputation was greatly enhanced, and the "Lin Translation Novel" was unexpectedly unobtainable and swept away. In his lifetime, he translated as many as 206 kinds of works and more than 12 million words, involving 107 writers from 11 countries such as Britain, France, the United States and Russia. Shakespeare, Dickens, Cervantes, Balzac, Hugo, Tolstoy, Ibsen and other masterpieces are familiar and loved by domestic readers through his brilliant writings. And all this began inadvertently in him, and the result was even more unexpected, which can not but be said to be a miracle.
Lin Shu and his family
The success of Lin Shu's translations is due to his profound achievements in ancient chinese. Lin Shuzi worked hard, memorized a lot, wrote poetry, calligraphy and painting, and became famous in the township. He was particularly fond of the ancient texts and prayed to the elders of Tongcheng. Its text is concise and euphemistic, and the text is elegant and timeless, such as his "Record of the Pan Moon in the Heart of the Lake": "In the middle of the fog and the moon, the lake is pure blue, and the boat stops along the white causeway." Yu Dengjin belt bridge, Xia Xuan is blowing the flute behind the moon, into the willow shade. The willow is a dark shadow, and the willow break is the moon. Xia Xuan stood in the middle of the moon in a white jacket, the cool cicadas touched the hoops, the police and the noise, and the night scene was clear. "The whole text is less than 100 words, and the writing is white and light, which makes people feel like they can see it." The ancient text is contained in his pen and exudes endless emotions.
At that time, readers liked to read Lin's translated works, and Zhou Zuoren's "Zhitang Memoirs" mentioned: When he was in Japan, "he was so enthusiastic about Lin's translated novels, as long as he printed one and came to Tokyo, he would definitely run to Kanda's Chinese Bookstore to buy it, and after reading it, Lu Xun also took it to the Nail Bookstore, modified the cardboard writing, and used green and gray cloth on the back ridge..." Lin's novels led to the Zhou brothers' enthusiasm for translating Western novels. Guo Moruo once said that Lin's translated novels "had a decisive influence on my later literary tendencies." Qian Zhongshu also said: "The role of Lin Shu's translation as a 'medium' is already an accepted fact - after contacting Lin Translation, I learned that Western novels can be so fascinating." Mao Dun, Zheng Zhenduo, Lu Yin, Su Xuelin, etc., were also influenced by Lin Shu's translations. The splendid beauty of Lin Shu's ancient texts combined with foreign novels has illuminated the spiritual world of a generation of young people.
Press: Chen Wentai, zi youbo, number Shi Qianshan people, Fujian Quanzhou people. He was a teacher of Xie Zhenqiao, good at high pine orchid bamboo, feathered flowers, and has its own style
Chen Wentai's "Sunset on the Ancient Mountains" axis is colored on paper
Lin Shu is good at Danqing and has profound achievements. In his early years, he studied painting with Xie Guanqiao and Chen Wentai in Fuzhou. In 1901, he entered Beijing and taught at the Beijing Normal University Hall and other places, and became acquainted with Chen Shizeng, Qi Baishi and other famous artists in the painting world. He is committed to traditional landscape painting, full of "Four Kings" landscape, the pursuit of Song and Yuan relics, the division of ancient and self-will, the painting style is fine and rigorous, quiet and elegant, learning the ancient style. His studio has two cases, one case painting, one case composition, left and right bow, sitting uncertainly, rarely in time, an arm waving, silver dollars rolling, Chen Yan jokingly called his room "mint". He painted the "Map of The Ten Thousand Woods And Grass Hall" for Kang Youwei and the "Picture of the Translation of The Book of Zun Doubt" for Yan Fu. There is a landscape work by Lin Shu in Lu Xun's tibetan paintings, presumably because he liked to read Lin's translation works when he was young, and he had a feeling of gratitude for his words!
Lin Shu carved his own seal
In Yu's impression, Lin Shu's paintings are very similar to his writings, taking the old path of classical tradition. His paintings exude a simple, thick bookish atmosphere from simplicity. His landscape works Lingxiu are slightly similar to Wen Zhengming, and the thick point is close to Dai Xi. Yu's collection of Lin Shu shallow landscape axis, the atmosphere is elegant and ancient, belongs to the typical fine thirst pen all the way, and zhu Wenyin "fear Lu seventy years later". Lin Shu is afraid of Lu, and his intention is not to forget the ancestral precept of "fearing the heavens and following the divisions", always checking words and deeds, and restraining himself everywhere. Obviously, this is his homesickness in Beijing in his later years, and the text is still so fresh, elegant, and humorous and playful. Twenty-three years ago, the landscape of his hometown was still so clear and pure in his heart, he lived in Fuzhou when he was young, and Drum Mountain was his place of wandering, and he once said: "Shigu Yongquan Temple, scholars are very prosperous, I will travel every year, counting to the twenty-seventh degree of the mountain." "The stone drum scene in the painting should be one of them
The virtual realm depicts the "perch" in his mind. In Han Zhai's collection of another painting of "Visiting Friends with a Staff", the clouds in the mountains are swirling, the pines and bamboo are green, the birds are chirping, and one person goes to the crown and ties his hair, and the staff walks, and it is clear that it is him! He was "proud of his old cloth clothes", never involved in the official field in his life, and was always a self-reliant person. He was in a hurry, as if he could still hear his panting, and perhaps there was a hermit in the mountain whom he was anxious to visit!
Press: Shen Boyun, a native of Tongxiang, Zhejiang. Poet and collector of the evening sun. He is friendly with Wu Changshuo and Wu Botao
Shu "Counselor Visiting Friends" Axis Silk book color
Lin Shu calligraphy is also quite powerful, common in his calligraphy and painting, starting with a sharp edge, laying a heavy press when closing the pen, the strokes are gentle and smooth, the lines are beautiful and elastic, the knots are thick and cute, plump and ethereal, quiet and beautiful, quite Jin and Tang style. In his later years, Lin Shu wrote "On Painting in Chunjuezhai", which explained his conceptual experience, aesthetic orientation, and stylistic characteristics, and his exposition was incisive, which is one of the important painting works in modern times.
Press: Chen Baolu, the second brother of Chen Baochen, the second brother of Chen Baochen, the sixteenth year of Guangxu (1890). Grandfather of the famous economist Chen Dai
Lin Shu "Lotus Pond Qing Fun", "Writing on Painting Sentences" Silk Book
In October 1924, Lin Shu died of illness in Beijing. At the beginning of this year, he once wrote such a picture of Yang Lian: "The only way to see the mountain is good, and to get involved in the world knows that it is difficult to be widowed", which is also the enlightened language of his approaching the end of his life. In his later years, he regarded himself as a "widowed old man", and single-handedly fought a "cultural battle" with Liu Bannong and Qian Xuan and other new cultural cadres to defend guwen. In fact, what the old man clings to is nothing more than the traditional personality spirit and moral values. Nowadays, when we re-read Lin Shu's translations, we cannot but praise his persistence: Ancient Chinese literature, even when in line with world literary masterpieces, can bloom the brightest light.
Former residence of Lin Shu in Liantang, Fuzhou
Source: Minsheng Media