"A Reflection of One World on the Other"

　　This year marks the 110th anniversary of Liang Bin's birth. There are still blind spots in our understanding of Liang Bin, and the literary world simply regards him as a literati and a writer, which actually covers up his more important role in life, that is, Liang Bin as a revolutionary and doer.

　　When it comes to Liang Bin, everyone is familiar with his influential red classic trilogy "Red Flag Spectrum", "Sowing Fire" and "Beacon Smoke Map", but his legacy, more than 1,000 representative paintings and calligraphy works and his long memoir "A Novelist's Self-Statement" are also an important part of his life's creation, which together constitute Liang Bin's overall appearance and aesthetic pursuit as an artist, and his main contribution is the exploration and exploration of the aesthetics of people's subjectivity. It is also in this sense that Guo Moruo wrote the inscription for the first edition of "Red Flag Spectrum" "The Red Flag Holds High the Red Universe and Opens the Universe New" and inscribed the title of the book; Mao Dun also praised it as "a landmark work in the history of contemporary Chinese literature".

　　The rise of people's aesthetics

　　People's aesthetics is an aesthetic theory that takes the people as the main body and takes the people as the starting point and foothold of understanding the problem, which corresponds to the individual aesthetics of Western aesthetic modernity, which is consistent with the singular culture of civilization that regards Westernization as the only form of modernization. This concept of individual subjectivity, which originated in the West, originated in the European Enlightenment in the early stage of capitalist development, and was promoted and developed by a group of thinkers such as Descartes and Rousseau, and finally Kant's philosophy, which completely established the concept of individual subjectivity. The United Kingdom philosopher Terry · Eagleton noted that "in the course of historical development, the emerging bourgeoisie once again defined itself as a universal subject."

　　When the literature that focuses on individual writing develops into a kind of private writing like a "navel eye exhibition" as Zhang Ailing said in "Tong Yan Wuji", a kind of writing that is based on the public, takes the people as the historical and aesthetic subject, and expresses the people's wishes and emotions, will flourish and compete with individual writing, so as to respond to the needs of the whole and the requirements of history. In the 20th century, China was in an era of rapid changes in which "the country wanted independence, the nation wanted liberation, and the people wanted revolution", and it was in the irresistible historical trend that this kind of people's subjectivity aesthetics that believed in the supremacy of the people and took the people as the starting point and the end result was nurtured and born.

　　People's aesthetics is first of all a kind of literature that moves from the self to the other, and the self obtains the value and meaning of survival from the association with the other, as Lu Xun said, "the endless distance, countless people, are all related to me" ("This is also life"), without coming out of the self-claustrophobia, you can not find a broad space that can realize the value of your life. The aesthetics of people's nature is also the spirit of those who stand up and fight at the critical juncture of the life and death of the nation-state, just like Shao Yongshiyun: "Please watch the wind and the night in a hurry, who is the one who is the one who sets his feet?!" ("Your Excellency Chongde Answers to the Princes and Silent Zen"), this is a kind of world as their own responsibility after the spirit of benevolence and dedication combined with the toiling masses of sacrifice and dedication, the formation of an unprecedented grand atmosphere, do not know this, can not enter the spiritual realm of people's aesthetics. The theme of the performance of "Red Flag Spectrum" is the grand theme of why China wants revolution, but its expression is autonomous, from his own unique revolutionary experience and life experience, and his revolutionary writing is subjective rather than pandering, which determines the style of "Red Flag Spectrum" and is also the key to its success.　　

　　It provides a new model for the writing of revolutionary history

　　As a revolutionary youth who joined the Communist Youth League at the age of 13 (1927), Liang Bin witnessed and participated in the "Anti-Head Tax Movement" led by the Communist Party, the "Baoding Second Division Student Tide" and the Gaoli Riot that shocked the whole country.

　　Liang Bin served as the president of the "New Century Drama Society" during the Anti-Japanese War, and they had already paid attention to the popularization of literature and art when they performed: "The object of our performance is the peasants; The soldiers are peasants, and most of the cadres are peasants, so we will act for the peasants. …… Using local materials, the peasants' lives, struggles, and folk customs are used to refine a performance system that the broad masses of the people like to see. The language does not use Jingbai, does not 'skim the Beijing dialect', and does not use the local tone, but adopts a compromise method to refine a unique stage language. The language, style, structure, and form of "Red Flag Spectrum" are inseparable from the needs of Liang Bin's grassroots work as a propagandist of revolutionary culture.

　　Liang Bin went into exile in Beiping in 1933 after the failure of the "Baoding Second Division Student Tide" movement, and participated in the Beiping Left League, where he published a series of essays, poems, novels, and a series of works in newspapers and periodicals such as Ta Kung Pao. The pursuit of fairness and justice of the national virtue and the people's revolution led by the Communist Party into one, not only found a deep soil for the Chinese revolution, but also found the future direction for the people's struggle, so it provides a new model for the subsequent contemporary literature in the writing of revolutionary history, its novel form is both world, and national, both traditional and modern, he provides a new path for contemporary literature to open up the past and the present, carry forward the past and forge ahead into the future, and have a grand momentum, so Guo Moruo has a reputation of "opening up a new face". This is also one of his outstanding contributions to modern literature.

　　At the same time, revolutionary historical novels generally lack such a continuity and consciousness that breaks through the gap between the old and the new in China and the West set in the Enlightenment era, and are mostly works on the basis of facts, while "Red Flag Spectrum" finds a spiritual source from tradition for modern Chinese's unyielding pursuit of justice and justice outside the practical utilitarian vision. Some commentators believe that Zhu Laogong was so angry that Feng Laolan and Yan Laoshang vomited blood and died at the beginning of "Red Flag Spectrum", saying that "if such a thing can make Zhu Laogong angry to death, then his ancestors should have been angry to death." This shows that the commentators have not been able to truly understand the deep meaning and historical context of Zhu Laogong's death. (Produced by the "Thought Workshop" of the social science newspaper and the financial media, the full text can be found in the Social Science Newspaper and its official website) (Produced by the "Thought Workshop" of the social science newspaper and the financial media, the full text can be found in the Social Science Newspaper and the official website) (Produced by the social science newspaper and the financial media "Thought Workshop", the full text can be found in the Social Science Newspaper and the official website)