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Text/Editor/Dayu said Begonia
On an unusual day in 1950, Nie Rongzhen, a senior general of the Chinese People's Liberation Army, faced a difficult decision: to execute a divisional cadre. The order itself was full of seriousness and weight, but in the moment before it was executed, Nie Rongzhen's actions revealed unexpected humanity and emotion. With tears in his eyes, he gave one last order - to provide the deceased cadre with some fish to eat. What kind of stories and emotions are hidden behind this move, and why does he show such seemingly contradictory warmth at such a grim moment? This historical event not only reveals the complex interweaving of military and human nature, but also raises deep questions: What role can emotions play in the balance of power and life?
At dawn in 1950, on an empty execution ground outside Shijiazhuang, a middle-aged man was facing the last moments of his life. The man showed extraordinary courage and calmness, and his face did not show a trace of fear, but an indescribable calm. Surprisingly, he clutched a photograph of Lu Xun, which seemed to be the last source of solace and strength in his heart. At this moment, the soldier who carried out the execution suddenly stopped his steps and gave him a solemn military salute, as if to pay tribute to his courage and strength. Then, with the cold morning breeze and a gunshot rang out, the man fell silently, his figure melting into the morning mist, leaving only a pool of blood that was gradually spreading.
This decision was made by his superior, General Nie Rongzhen, after much deliberation and inner struggle. General Nie's decision was fraught with pain and mixed emotions. At the critical moment before the execution, General Nie's eyes were filled with tears, and he said the poignant words to the staff around him in a trembling voice: "He loves fish, prepare some fish for him to eat." This sentence not only expresses the last concern for the person who is about to die, but also reflects the humanity and complex emotions of General Nie as a soldier and leader.
On February 24, 950, in the headquarters of the Chinese People's Liberation Army, a heavy verdict was placed on the desk of Nie Rongzhen, deputy chief of the general staff. This document proclaimed Sha Fei's fate—the death penalty—and he was stripped of his party and military membership. Sha Fei, a division-level cadre who served as director of the North China Pictorial and the first professional soldier in the People's Army to work as a photojournalist, is now facing such a tragic end.
Nie Rongzhen looked at the verdict, and his eyes seemed to be reminded of the years he had spent with Sha Fei. The filming on the battlefield, the mutual support in difficult moments, and the common experience in the revolutionary struggle are all vividly remembered. Recalling Sha Fei's familiar face, as well as his love for the art of photography and his loyalty to the revolution, Nie Rongzhen's eyes unconsciously slipped tears.
In those turbulent times, every decision came with a deep cost. Nie Rongzhen knew that as a senior commander of the army, he must unswervingly carry out orders, even if it meant losing a former comrade-in-arms and excellent comrade. Sha Fei's story and his ultimate fate is not only a personal tragedy, but also a microcosm of the contradictions and conflicts of that era. In the depths of Nie Rongzhen's heart, the memory of Sha Fei and the emotion of the ruthless arrangement of fate are intertwined, constituting a deep and complex emotional entanglement.
Sha Fei, formerly known as Situ Chuan, was born on May 5, 1912 in Kaiping, Guangdong Province, in a family that ran a medicinal herb business, and grew up in the cultural atmosphere of Guangzhou. From an early age, he showed a keen interest in art and received a basic education in Guangzhou. In 1936, he took an important step in his artistic journey and entered the Shanghai Academy Xi of Fine Arts to study Western painting. In the same year, Sha Fei's photographic talent began to show, and he took a series of photographs of Lu Xun before and after his death, including Lu Xun's last portrait and funeral, which shook the entire literary and artistic world.
With the outbreak of the Anti-Japanese War, Sha Fei's life trajectory changed, and he resolutely joined the Eighth Route Army and became a military photographer. During the war-torn years, he recorded many historical moments of the Anti-Japanese War with his lens, and became a pioneer of photography of the Chinese People's Revolution. He served as the chief of the photojournalism section of the Shanxi-Chahar-Hebei Military Region, personally built the photojournalism team of the Chinese revolution, and trained a group of outstanding photographers. Sha Fei not only put forward the "photographic weapon theory", but also created a system for the preservation of video materials, adhered to the belief that "people are in the negatives", and successfully protected countless precious historical images.
His contribution was to co-founded and served as its director of the Jinchaji Pictorial Press. In 1950, Sha Fei shot and killed a Japanese doctor due to a psychotic episode, an act that led to his death sentence and expulsion from the party and military. This decision shook the entire military and cultural circles at that time. After 36 years, in 1986, Sha Fei was rehabilitated and his reputation and contributions were restored and recognized.
In July 1937, with the outbreak of the All-Out War of Resistance Against Japan, the trajectory of Sha Fei's life took an important turn. In September of the same year, when the 115th Division of the Eighth Route Army won a major victory at Pingxingguan, Sha Fei, as a reporter, embarked on the road to cover the news. During this mission, he met an important person who influenced his life, Nie Rongzhen.
Through this interview, Sha Fei not only gained an in-depth understanding of the daily life and combat conditions of the Eighth Route Army, but also felt the strength of the revolutionary army under the leadership of the Communist Party from a new perspective. This experience greatly strengthened his determination to join the revolution. After the interview, he resolutely asked Nie Rongzhen to join the Eighth Route Army. Although they did not get along for long, Nie Rongzhen saw with his keen insight that Sha Fei not only had superb photography skills, but also had firm revolutionary ideals. Considering that there was a real need for photographers in the army at that time, Sha Fei was officially incorporated into the Eighth Route Army and began his career as a war correspondent.
Sha Fei's life as a war correspondent is full of challenges and hardships. In order to better adapt to the guerrilla warfare tactics of the Eighth Route Army, he began to learn to ride Xi horse, and although he repeatedly fell off his horse at first, he never gave up and eventually mastered the art of riding. Sha Fei is passionate about capturing moments on the battlefield, and he follows his troops wherever he goes. In the process, he created a series of classic battlefield photographs such as "Iron Cavalry in the Sand Plain" and "Recovering Bauhinia Pass", which not only showed the cruelty of war, but also reflected the heroism and fearlessness of the people's army.
The long-term travel and difficult environment had a serious impact on Shafei's health. Under the double pressure of war and fatigue, his physical condition began to have problems, which also laid hidden dangers for his later life trajectory. Despite this, Sha Fei still insisted on recording the true face of that era on the front line, and his lens witnessed history and became an indelible memory for future generations.
During the War of Resistance Against Japanese Aggression, which was full of gunpowder smoke and blood, Sha Fei was not only a photographer, but also a witness. His camera captured countless brutal acts by the Japanese army, including burning, looting, rape and other unsightly scenes. Especially one night in the winter of 1943, Sha Fei experienced an unforgettable tragedy. During the Japanese army's night attack on Baiya Village, he witnessed two innocent babies being brutally thrown into a boiling pot of water by the Japanese soldiers, a scene that deeply pierced his heart.
The cruel sight of all this caused Sha Fei's nerves to endure tremendous stimulation. Whenever he recalled those scenes of extermination of humanity, he felt uncontrollable anger. In the years that followed, Sha Fei's emotions became extremely intense while filming the atrocities of the Japanese army, and he would often stand alone against the wall and shout at the Japanese invaders.
On May 25, 1948, a new beginning appeared in Shafei's career. The Jinchaji Pictorial Press, the People's Pictorial Press, and the Jizhong Pictorial Press merged to form the North China Pictorial Press, and Sha Fei was appointed as the president. The good times didn't last long, but Sha Fei's health began to deteriorate, and he was diagnosed with tuberculosis. In this case, he was taken to the Bethune International Peace Hospital in Shijiazhuang for treatment.
There Sha Fei was treated by a Japanese doctor, Katsu Tsuzawa. This arrangement of fate is undoubtedly full of irony. On the one hand, Sha Fei's deep hatred for the Japanese army was still unquenchable, and on the other hand, he had to be treated by a Japanese doctor. This complex emotional entanglement not only filled Sha Fei's heart with contradictions, but also became a unique and profound chapter in his life.
The date of the "September 18 Incident" portrays a period of indelible humiliation and suffering in Chinese history. Sha Fei, a talented photographer, used his camera and unique perspective to capture the unforgettable memory of that era. His works are not only a testimony to history, but also a profound embodiment of the resilience of the motherland and the nation.
Under Sha Fei's lens, each photograph vividly presents the true face of that era. His work not only captures the brutal scenes of war, but more importantly, he reveals the true emotions of human nature in extreme circumstances. Each of Sha Fei's photographs is like a stand-alone story of bravery, resilience, sacrifice, and hope.
As his name "Sha Fei" suggests, he found freedom in the art of photography. In his works, Sha Fei freely unfolds his thoughts, documenting the world as it really is. His works are not only artistic expressions, but also historical records.
Although the war is a thing of the past, Sha Fei's photographs still make us feel the effects of the war deeply. His photographs help us recall that period of history and evoke the indomitable faith of the Chinese people in their bones and coexisting with the motherland. Through Sha Fei's photos, we can feel the bravery of the soldiers on the battlefield at that time, the hard life of the people in the war, and the helpless eyes of the hungry children.
Sha Fei's works are not only artistic creations, but also historical education. The precious images he left behind to future generations constantly remind us to remember history, cherish peace, and inspire us to strive for the great rejuvenation of the Chinese nation. In each of Sha Fei's photographs, there is hope for the future and a deep reflection on the past.