The Surging News reporter Gao Dan intern Tong Luya
On the afternoon of April 21, the Museum of Modern Chinese Literature issued an obituary, and Shu Yi, honorary member of the National Committee of the Chinese Writers Association, former director of the Museum of Modern Chinese Literature, librarian of the Central Research Museum of Literature and History, a famous social activist, and the son of Mr. Lao She, died at the age of 86 in Beijing at 14:16 due to ineffective medical treatment.
Shu Yi People's Vision Infographic
The surging news interview learned that the old man who had been in good spirits to devote himself to the construction of the Museum of Modern Chinese Literature, the dissemination of Lao She culture and the development and protection of Beijing City suffered from illness in the last few years, Mr. Shu Yi was urgently sent to Xuanwu Hospital for rescue due to sudden cerebral hemorrhage six years ago, the effect after craniotomy was not satisfactory, and after a year of rehabilitation in other hospitals, the condition gradually deteriorated, and then transferred to Tongren Hospital, where he lived in the ICU, and finally lived in a comatose state for a long time. You can only write in the palm of your wife's hand to convey the meaning.
The Paper interviewed colleagues who had worked with Mr. Shu Yi, the editor who negotiated with him on the publication of the Lao She anthology, and the recipients of a large number of precious calligraphy and paintings donated by Shu Yi and his family, and bid a final farewell to Mr. Shu Yi.
Half a life of enthusiasm devoted himself to the construction of the Museum of Modern Chinese Literature
Mr. Shu Yi devoted a considerable amount of energy to the construction of the Museum of Modern Chinese Literature in his lifetime.
When we mention the Museum of Modern Chinese Literature, the first thing that always comes to mind is the old man Ba Jin, on February 14, 1981, Ba Jin was the first to propose the establishment of the Museum of Modern Chinese Literature in the series of "Creative Memoirs" written for Hong Kong's Wen Wei Po. Ba Jin said that the establishment of the state-level Museum of Modern Chinese Literature was the last major event of his life. The following year, the Museum of Modern Chinese Literature was inaugurated in a building on West Wanshou Temple Road in Beijing. As a temporary site, this Qing Dynasty royal garden-style building, although quiet, is not an ideal place for archival materials of various carriers that pay attention to strict storage and collection requirements, and the space is insufficient. The state then began to prepare for the new building of the Museum of Modern Chinese Literature near The Peony Residence, and on December 14, 1997, the ground was broken, and in the summer of 1999, the new Museum of Modern Chinese Literature with novel design and modern equipment was completed.
Museum of Modern Chinese Literature
From the planning to the completion of this new museum, Shu Yi has been the actual host of this work, and Shu Yi participated in the preparation of the Museum of Modern Chinese Literature in 1984. He used to be a student in the Soviet Union, majoring in forestry chemistry, and later went to Beijing Guanghua Timber Factory as an engineer. When the Museum of Literature opened in 1985, he was one of the first staff members, and later served as deputy curator, executive deputy curator, and curator.
The obituary of the Museum of Modern Chinese Literature also said: "Comrade Shu Yi has devoted himself to the preparation, construction and development of the Museum of Modern Chinese Literature and has made indelible contributions. In particular, the completion of the new museum of literature, from the architectural layout and artistic design of the museum to the grass and trees in the garden, every sculpture and every mural is full of his painstaking efforts and ingenuity, pinning his hopes and affection. ”
We can see Mr. Shu Yi's literary taste and poetic design from the following places: for example, the "door handle" of several buildings is Ba Jin's handprint, and when people push open the door of the literature museum, it is like touching Ba Jin's palm to open the literary hall, which is Shu Yi's idea.
Engraved on the marble of the entrance to the Museum of Literature and the shadow wall of the stone tablet facing the street is Ba Jin's famous words: "What a rich treasure trove of literature we have, that is, the masterpieces left by many generations of writers, they educate us, they encourage us, they want us to become better, purer, kinder, more useful to others." The purpose of literature is to make people better. ”
"Our new literature is a rich mineral that expresses the hearts and minds of our people, a factory for shaping the souls of young people, and a school for training revolutionary fighters. Our new literature is the literature that spreads the seeds of fire, and I get warmth from it and pass the fire on to others. ”
These two sentences were selected by Shu Yi, and in addition, the emblem of the Museum of Modern Chinese Literature, a comma, was also confirmed by Shu Yi's discovery. The comma is not only a modern punctuation symbolizing modern literature, but also a kind of unfinished and continuing future.
The Paper also interviewed Ji Lei, deputy director of the Museum of Modern Chinese Literature, about Mr. Shu Yi's work in the Museum of Literature.
Speaking about Mr. Shu Yi and the Museum of Modern Chinese Literature, she said: "Director Shu has been with us since the preparation of the Museum of Literature, so he has experienced the whole process of preparation, construction and completion of the new museum. Especially after the completion and opening of the new museum in 2000, Director Shu also made many new attempts. He proposed the 'expert explanation system', not an ordinary docent to memorize the manuscript, expert explanation can talk about the literary works more deeply, so that the audience's understanding of the writer is also more profound, rather than floating on the surface, this does not know whether it is his initiative. Later, he also realized the management of the museum through property management and external bidding in the society. In addition, our literature museum has been giving public lectures since the old museum period to popularize the knowledge of literature, culture and art to the public, and after arriving at the new museum, our work is still continuing, and the audience has been increasing and expanding its influence. He also said that the Literature Museum should be built into a temple of literature, and Mr. Shu Yi greatly respected the opinions of Ba Lao and built the Literature Museum into a treasure house of modern and contemporary literature. He himself has written books called "Approaching the Present Literary Museum" and "Treasures of Modern Literature", both of which are about working in the Literary Museum. ”
Ji Lei and Shu Yi began to work together in 1989: "At that time, Shu Curator's requirement for our exhibition department was to do more exhibitions of writers and more literary exhibitions. In the preface of each exhibition, Director Shu had to write it himself and was happy to be a docent himself. He loved literature, he loved art, he loved life. He was a funny, devoted to the work of the Museum of Literature, an active social activist, and later actively contributed to the cultural heritage of old Beijing. In fact, we are in a superior-subordinate relationship, and I am led by him. He was very concerned about our work, when we built the new museum, in order to hurry almost every day overtime, Shu Curator came to visit us every time, asked us why we had not left work, and sometimes invited us to dinner, very easy-going, very kind. ”
Mr. Shu Yi tells the story behind each painting for the children
Great donation
Ji Lei said that Shu Yi's love for literary work and literature museum was deeply infected by himself: "In 2013, he and his whole family jointly decided to donate the famous paintings treasured by Mr. Lao She, plus his own book manuscript works and his mother's paintings to the literature museum, including Qi Baishi's "Frog Sound Ten Miles Out of the Mountain Spring", Fu Baoshi's "Tong Yin Tu", Lin Fengmian's "Chuanjiang Tu" and other 20 fine calligraphy and paintings, and even Lao She's former residence, Shu Yi and his family also donated to the country, this selfless donation is very worthy of people's admiration. ”
Ji Lei said that the donation is not the first time that Shu Yi has been so generous, and the surging news learned from the National Art Museum of China that Mr. Shu Yi not only cherishes the collections of his father, but also regards these works as the common treasures of the country and the nation. He has successively set up local-level museums related to Lao She's life in Beijing, Qingdao, Jinan, Chongqing and other places, displaying his parents' collections. For the works in the collection that are old or super-elegant, he is willing to donate to the national art museum. To this end, at the end of 2013, Shu Yi, on behalf of his sisters, first proposed to donate 14 pieces of Ming and Qing dynasty calligraphy and painting treasures such as Zhao Zhiqian, Weng Fanggang and Fu Shan to the National Art Museum of China.
In addition to the above-mentioned Ming and Qing dynasty paintings and calligraphy, Mr. Shu Yi considered the characteristics of the collection of the National Art Museum of China, and donated the fine works of a number of modern and contemporary art masters such as Ren Bonian, Wu Changshuo, Chen Shizeng, Qi Baishi, Fu Baoshi, Lin Fengmian, Chen Banding, Wang Yun, etc. to the National Art Museum of China, which can almost represent the highest level of modern and contemporary Chinese painting and calligraphy, which is of extraordinary significance.
Lin Fengmian Bozhou 1941 40cm×56cm Ink and color on paper 2015 Shu Ji, Shu Yi, Shu Yu and Shu Li of Lao She and Hu Huqing's family donated to the collection of the National Art Museum of China
Yu Fei Min Qiushan Mangrove Figure 74cm×40cm Silk Coloring In 2015, Lao She and Hu Yuqing's family members Shu Ji, Shu Yi, Shu Yu and Shu Li donated to the collection of the National Art Museum of China
Qi Baishi Red Oxback Rain Silk 1952 151.5cm×56.5cm Ink on Paper Coloring 2015 Lao She, Hu Xiaoqing's family members Shu Ji, Shu Yi, Shu Yu, Shu Li donated to the Collection of the National Art Museum of China
Wu Weishan, director of the National Art Museum of China, said that he deeply felt the charm of Shu Yi's personality: If you use folk words, Mr. Shu Yi is a person with "many things", but his "many things" are not for himself, he has a sense of social responsibility, so he is called a social activist. His demeanor, style, style, and demeanor are unforgettable, and the people of the National Art Museum of China will always remember him, and I will always remember him.
When Lao She and his wife were alive, they hung the collection at home and invited friends to enjoy it in the form of traditional literati collections, and in the long run, the west wall of their living room was known as the "Lao She Gallery" at that time. This was the way the Lao She couple could think of and do at that time. His descendants expanded and upgraded the scope of this exchange, and turned the private collection of The Lao She and his wife into a national treasure in the form of donations, so that as a spiritual and cultural wealth of the ancestors, it was displayed on the platform of the National Art Museum and was appreciated by people from all walks of life, and its scope of influence and the number of beneficiaries were beyond the reach of the previous generation.
In addition, there are also records that Mr. Shu Yi, as the honorary president of the Ice Heart Research Association, also donated a batch of Ice Heart materials to the Changle Ice Heart Literature Museum. At present, the museum's collection of objects related to ice cores has reached tens of thousands, becoming the single writer's museum with the largest number of physical objects in China. The materials given by Shu Yi are extremely precious, including 21 letters written by Bingxin to his third brother Xie Weikai in the 1980s, 7 cassette tapes and 7 CDs, including recordings of the meeting between Bingxin, Ba Jin and Xia Yan in 1985, the recording of Xia Yan, Deng Yingchao and Zhao Puchu visiting Bingxin in 1987, the recording of Bingxin visiting Ye Shengtao and Xia Yan in 1987, and the recording of the visit of Bingxin by Fujian villagers.
We all know that one of the important functions of the Museum of Modern Chinese Literature is to collect and preserve the manuscripts of Chinese writers. Shu Yi once said: The writer's manuscript is a kind of historical existence, it has birth and death, if it is not collected and preserved, it will be lost, and the lack of classical literary manuscripts is an example. As soon as the Museum of Modern Chinese Literature was established, it attached importance to the work of collecting writers' manuscripts, and many of the manuscripts included in the Museum of Modern Chinese Literature also became the "last manuscripts" of the entire era. The Museum of Modern Chinese Literature now has a total of more than 600,000 pieces, including books, manuscripts, letters, photographs, calligraphy and paintings, physical objects, audio and video materials, etc. If the secular people look at the value of these famous manuscripts, we can refer to a batch of Zhou Zuoren manuscripts auctioned by Guardian last December - 42 Zhou Zuoren's 1960s manuscripts were sold for a high price of 12.8685 million yuan, so we can imagine how Mr. Shu Yi and many people like him built such a literary temple belonging to the people, and once generously donated.
In 2000, in the face of the rapid demise of hutongs and courtyards in the old city of Beijing, he and cppcc members Liang Congjie, Mi Songyi and Li Yan jointly put forward "Ten Urgent Suggestions for Protecting Beijing's Famous Historical and Cultural Cities" and assumed the historical responsibility of protecting old Beijing. From 2002 to 2007, during his tenure as a member of the National Committee of the Chinese People's Political Consultative Conference, he devoted himself to the protection of urban cultural relics and cultural heritage, and wrote three inspection records: "Beijing-Hangzhou Grand Canal, Broken Splendor", "Sui and Tang Grand Canal, Underground Splendor" and "Jiangnan Canal, Splendor of Water Town", and actively called for the protection of the Grand Canal. He believes that the canal is as great as the Great Wall, just as remarkable.
Identity itself is meaning
Of course, Shu Yi's most mentioned identity is "son of Lao She", which is a label that he can never abandon, and Mr. Shu Yi also gladly accepts this label and has done a lot of positive work.
The surging news interviewed Wang Haibo, the editor in charge of the "Complete Works of Lao She", who said: "Several children of the Shu Family have their own division of labor, the sister Shu Ji is responsible for Mr. Lao She's works, and Shu Yi is responsible for Mr. Lao She's life deeds, so the compilation of the "Complete Works of Lao She" is mainly shu Ji to provide information, compile selected articles, etc. So I didn't have much contact with Shu Yi in private, and he mainly attended meetings, book launches, and other activities. Once, when the Chongqing Beibei edition of "Four Generations Together" was published, Mr. Shu Yi was responsible for writing the preface, participating in the design of the cover, illustrations, and some exchanges. The relationship between their brothers and sisters is good and relatively harmonious, for example, in our company, although the remuneration is given to Shu Ji's teacher, but in the end it all belongs to four people, and their relationship is very harmonious and close, including after Shu Yi fell ill, his sisters and sisters often went to visit and take care of the sick. ”
Wang Haibo believes that Shu Yi's understanding of old Beijing and the understanding of Beijing's flavor culture are all continued from his father Lao She, "He usually takes the initiative to publicize and inherit Lao She's ideas and ideas, and the things he writes are also about Lao She's life, creation, and thoughts, mainly focusing on this aspect." ”
Talking about his interaction with Shu Yi, Wang Haibo said: "When the revision of the Complete Works of Lao She was first published, he came, and he was still very sure of our work. Because we have confidence in Mr. Lao She's works, we have printed 10,000 copies on the front page, and he also appreciates our approach. The same is true of the manuscript of "Shoko the Camel", because the state of the original manuscript is not very good, and he is also very appreciative and affirmative of our efforts and achievements, and he feels that it is not easy to achieve this level. Although there is no specific guidance, it is more like the role of a spiritual pillar for us. His appointment as the curator of the Museum of Modern Chinese Literature is pioneering, and his contribution is great, and in terms of the big aspect, it is of great benefit and significance to have such a social activist figure as him in the initial period to support him, with his identity and influence. ”
Wang Haibo believes that Shu Yi's identity itself has a very special and great significance: "He mainly does some work from the perspective of Lao She. The children of their family are also so obligated to inherit the spiritual culture of Lao She and the culture of old Beijing, and they are very active in doing such things. ”
Family
One summer in 1951, Lao She and his wife Hu Huqing and a son and three daughters stood in the courtyard, with a bird cage hanging behind them, surrounded by flowers and trees that were high, Lao She and his son Shu Yi had a more serious expression, while his wife and three daughters were smiling. Mr. Shu Yi went to the two sides, but he could finally be reunited with his father.
Editor-in-Charge: Liang Jia
Proofreader: Liu Wei