On October 15th, the "Let Classical Poetry Live in Our Daily Life - Liu Qiong's "Outside the Words Between Flowers" New Book Launch" sponsored by Beijing October Literature and Art Publishing House, skp rendez-vous was held at the skp rendez-vous bookstore. This event is one of the series of activities of the 6th Beijing October Literature Month, famous critic and essayist Li Jingze, famous writer Zhou Xiaofeng, young critic Liu Daxian, and famous scholar and author of "Outside the Words of the Flowers" Liu Qiong, around the prose collection "Outside the Words of the Flowers", on the relationship between classical poetry and daily life and the interpretation of beauty, etc., launched an in-depth and sincere discussion on the relationship between classical poetry and daily life and the interpretation of beauty. The press conference was presided over by Liu Daxian.
Liu Qiong is a scholar, writer, doctor of art, and is currently the deputy director of the Literature and Art Department of People's Daily. His works have won the "Rain Flower" Literary Award, the Newspaperman Prose Award, the "New Criticism Award" of the Literary Newspaper, and the "Contemporary Writers Review" Criticism Award. He is the author of "Nie Er: Hurry but Eternity" and "The Road to Chaji" and other monographs.
Event scene from left: Zhou Xiaofeng, Liu Qiong, Li Jingze, Liu Daxian
Liu Qiong's "Outside the Words Between Flowers" focuses on the imagery of "flowers" in classical Chinese poetry, exploring the internal aesthetic methods of Chinese culture and the relationship between this aesthetic method and the daily life of Chinese. The works focus on the grass and trees in classical poetry, dredge or radiate multiple paths about life, art, life and so on around the core imagery, explore the literature and art in the grass and trees, and their secret relationship with life and life, reflecting the author's elegance of tasting classical literature with the heart of a critic.
"Flower", "Word" and "Outside" in "Outside the Words Between the Flowers"
For the title of the book "Outside the Words Between the Flowers", the author Liu Qiong gave an analysis of three keywords: flowers, words and outside. "'Outside' is what I want to express, my writing wants to relax and untie myself, I don't want to wrap around the "Words Between the Flowers", "The Words of the Flowers" mainly write about the daily life in China, but my "Outside the Words of the Flowers" is outside the flowers and words."
Scholar and writer Liu Qiong
Liu Qiong said that a person's writing is interconnected with his life and everything. The reason why she is obsessed with writing "Outside the Words Between The Flowers" is related to her life experience. "I am a native of Anhui and grew up on the Yangtze River, where many poems have been produced since ancient times. In my memory before I was four years old, the city I lived in and the environment in which I grew up were surrounded by peach blossoms, pear blossoms, apple blossoms, and a particularly famous yingshan red that spread over the mountains, which became symbols of memory in the early years and formed the basis for my writing of this book. ”
Regarding the words, Liu Daxian took the words of Zhou Yi, one of the "Four Great Masters of the Late Qing Dynasty", "I listen to the wind and rain, I look at the rivers and mountains, and I often feel that outside the wind and rain, there are people who have no choice but to do it", and said, "I see the major affairs of my family and the country, the grass, trees, mountains and rivers, and I always feel that there are people who have no choice outside of this, what is this 'last resort'?" It is the heart of words, that is, the feeling of the fusion between the host and the guest that surges in our hearts, and the feeling of 'I see how feminine qingshan is, and I should be like this when I see qingshan'. Teacher Liu Qiong's "Outside the Words Between The Flowers" is based on Trina, and she has invested her life experience in the flowers and flowers she wrote and the words in her memory. ”
The scene of the event
Zhou Xiaofeng believes that "the concept of 'outside' in 'Flowers Between Words' is very important, and the sound outside the string is particularly beautiful. When we see when we write flowers, when we write poems, it has the fragrance of flowers, it has the taste of situations other than poetry, it has the extra part that floats in the text that we see, it has a person, it has history, but it has growth and feelings, which is the charm that overflows outside the introduction and transmission of knowledge. ”
Han Jingqun, editor-in-chief of the Beijing October Literature and Art Publishing House, deeply agrees with this, believing that Liu Qiong's contact with classical literature is "like entering a treasure mountain, returning with a full load". He said that it is precisely the people standing outside who can truly appreciate the benefits of this treasure mountain. Just like discussing the question of hometown, it is precisely the question of leaving the hometown that can only be written about the hometown. Liu Qiong is the person who stands outside the classical poetry, she is not trapped by the classical poetry, she likes it, read it, so she writes different feelings, different aesthetic experiences.
Classical poetry and everyday life
Regarding the relationship between poetry and life, Liu Qiong explained it like this, "Poetry was originally indistinguishable, but later it was slowly divided. In short, words are short and long sentences. The rise of 'words' has a lot to do with the rise of the civic class. For example, with the rise of the capital market, the life of citizens began to prosper, words are of course more suitable for chanting than poetry, and there is an entertainment nature in it. In the Tang Dynasty, you can't come out at night, and you have to have a curfew. But after the Song Dynasty, the curfew was lifted, and it was possible to come out at night, and there was a nightlife, which had a lot to do with the prosperity of cultural life. Many art forms are also linked to the needs of life. ”
Li Jingze added: "Words were originally harmonious. The harmony of poetry has been broken off very early, has left music, that is to say, poetry is not used to sing at least after the Han Dynasty, nor can it be sung, it becomes a written thing. But the words followed, and even in the Northern Song Dynasty, they were actually similar to popular songs, and lyricists like Liu Yong are now writing popular songs. Therefore, what is particularly interesting is that on the one hand, it is written in addition to poetry, in the ancient tradition, poetry is a very important tradition, and the rest of poetry must be left in the flower room, which often shows personal interests or something. On the surface, this personal taste appears to be a private experience, a private emotional space in the modern sense, but at the same time it is harmonious, it is a public thing that participates in the construction of our daily life and daily experience. ”
What is the significance of reading classical poetry for today's readers? Li Jingze gave such an answer, "Reading the mood of others writing flowers and writing classical poetry, or pouring classical poetry into it to write, to some extent, it is earned, on the one hand, reading the article, on the other hand, you can also have a new feeling for classical poetry and those wonderful sentences." It can accompany our lives, and as we grow up, any time we pick it up again to meet it, we feel that there is something else here that I was completely unaware of in the past. Its beauty, its radiance, was something I hadn't seen at all in the past. So in that sense, we especially need to be like Liu Qiong, who allows us to feel the light she has discovered again. ”
Regarding classical poetry and current life, Zhou Xiaofeng said, "There are many flowers written in this book, not only the introduction of plant knowledge, but also the imprint of personal growth, the imprint of flowers, and the breath of today's life, which is not closed, not incompatible with today's life." Liu Qiong's writing state is alive, in the blood vein, and she really knows it this way. Therefore, if classical poetry is living in daily life, it must not be an external gesture performance, it must not be decorative, it is difficult to survive, it is difficult to integrate with your breath. ”
Zhou Xiaofeng also recalled the process of sitting in the courtyard with his family as a child and waiting for a short-lived moment. The ephemeral flower is like the slow motion in the movie, very slow, elegant, magically unfolding in front of you, but that slow contains calmness and elegance. The bloom of the flower never withered in her memory. She said: "Why did everyone have such interest and romance to watch a short flower during that time? It may be related to the relative simplicity of life, or it may be related to the fact that we have a lot of yearning for life but not so many ways to achieve it, and the reality makes you remember the blooming process of a flower for life, which is at least a particularly wonderful moment for me. ”
"Beauty is not self-beauty, but because of people"
Liu Daxian quoted a sentence by Liu Zongyuan that "beauty is not self-beautiful, but manifested by people", that is, the sun, moon and stars will not become beautiful themselves, and this beauty must be blended with the subject. "Classical poetry, all traditions must be the history of effect, must be living in the present is the tradition."
He believes that classical poetry is still growing imperceptibly in our daily lives, "the aesthetics that Chinese talk about is not rational, nor is it purely empirical, Chinese talking about the aesthetics of life, a sense of experience, a sense of integration between man and nature, man and history, and man and the universe. ”
"Outside the Words Between The Flowers" by Liu Qiong
When it comes to aesthetics, Zhou Xiaofeng believes that beauty is a part wasted outside of practicality. For example, if we want to drink water from a cup, as long as there is a vessel that can hold water, why do we have to pay attention to the shape and pattern? What it wastes, what seems useless, can actually act on the pleasures of life.
"Flowers and words don't seem to be so closely related to practical and subsistence life, but because human existence is not only material and physical, but also these elegant, beautiful, and seemingly a little bit of ethereal things, it is rooted in your heart, so that the whole state of life and soul have a moment of quietly blooming and smiling." 」
Group photo of guests at the event
Li Jingze believes that talking about culture or life is good, and it is nothing more than a good life, in order to preserve our experience and memory, and to create a rich world in our experience and memory. He mentioned a kind of memory, looking back vision that always runs through "Outside the Words Between The Flowers", "Liu Qiong has a landscape and a flower that she can remember and look back at." As for why we want to reminisce, why should we look back? It is to recreate the past in the process of reminiscing and looking back, and to rediscover and create a self. We rely on both the landscape in nature, but also the beautiful flowers, beautiful sentences, and beautiful words in this world, all of which are not said to be in this book, only flowers are blooming, beautiful sentences are also blooming, beautiful words are also blooming, and the soul of Liu Qiong in the girlhood is also blooming, which is such a very beautiful realm. ”
Li Qiong signed for readers
At the scene of the event, many readers actively interacted, and some readers sighed that Liu Qiong's "Outside the Words Between The Flowers" rekindled their beautiful yearning for poetry. The so-called, grass and trees contain affection, flowers and birds with laughter, not their own, "the wind, flowers, snow, moon is ruthless and unintentional, sentient intention is the person who writes poetry and fills in the words, is the poet who appreciates the poetry and reads the words." ”