Lin Naibei "Digging the Daily more than the ground": paint and human nature

"Earfish more than a day" published "Contemporary" 2021 Issue 6

Paint and humanity

——The novel "Digging more than daily" creation talk

Wen | Lin Naobei

There was an acquaintance in the past. He had a very strong desire to express it, because the ingredients were not good at that time, but he could not fully express it to others. They were all hidden pain in the family. His father went to Nanyang in the 1920s and married another bunch of children in Penang, Malaysia. Because of his ashamed in his heart, his father continued to send money back, and his wife who stayed at home had a strong temperament. He used this money to retaliate and build a house to buy a land and buy himself, making himself extremely beautiful. When talking about this, he often stretches his hands, draws a large circle in front of his abdomen, and then raises his voice suddenly, saying that where the village was in his house, his mother bought it with the money sent by Penang in Penang. of. Then he would look up at the house on the opposite side, saying that the house was originally. His surname Zhao, his whole village surnamed Zhao. According to his statement, when Zhao's world, their ancestors lived in the imperial city of Jingjing. Once his granddaughter ran past, he pointed at him: "She was originally a princess in the palace!"

I used to have a villain's book. When I turned it to it, I might still be in elementary school. It was painted with a thin and insignificant old man. He was scared and his face was scared. And he surrounded him with a group of half -small children wearing red sleeves. "Change the account", for the first time I knew the word. The tall man buried the gold and silver treasures, Tian Qi, and thin accounts into the ground to escape the struggle, and tried to settle the account after autumn.

Ten years ago, I learned about lacquer painting from a friend. I was just curious. I wanted to understand the ancient skills of the painting. I didn't want to get in it. A substance from the tree, it was originally a milky white juice in the plant, but after processing, another substance of Nirvana has a mystery. The Zhuqi bowl unearthed from Hemudu more than 7,000 years ago showed the world that it was not afraid of the strong corrosion of the sun and the moon; it could infiltrate the precious jewelry and rough tile ash at the same time, showing how compatible and accumulating it was. It is very picky, the demanding environmental cleanliness, the climate temperature and humidity, and the time length of time seem to be refusing to be outside the thousand miles, but the paint plate paint bowl paint chopsticks become the most daily utensils for people to safely people. Enjoy.

A few years ago, in order to write a script for a documentary in Taiwan's historical series, I had drilled into the nearly four hundred years of history from the end of the Ming Dynasty to the end of the Ming Dynasty to 1945, and I carefully touched the complex historical materials of the strands of complicated and complicated. A lot.

With the above four, the foundation of "Digging the Fields Every Day" was launched. When I was able to paint more and more smoothly, my respect for the paint became deeper and deeper. It is like a tall woman, smart, jealous and hateful, and has an ocean, and does not look at it. How well this world can we match such a clear and clear soul? However, the world is always unbearable, the damage follows, the tears are flying, the wound is painful, so the story around her, so the hand was Xu Xuyou: the acquaintance of the family named Zhao who made the family and field production in front of her belly, that, that, that, that, that, that, that, the acquaintance of the family. The tall and thin men who turned the hoe and trembling floated the time, while the distant Penang, the islands on the other side, flashed the eye -catching ponytail boat administrative school in modern Chinese history, and the fish balls and lines that made Fuzhou people's lips and teeth. , Jasmine tea, etc., also crowded in, they tried their best to give novels with a broader and thick space and time.

"Digging more than the ground every day" has been written for four years. This is the longest novel in my writing career. Although I also wrote several others halfway, the soul has been staying here. It is said that before that, the paint has never entered the novel, which is of course not the only reason for my caution. A small village, an ordinary family, in the turbulent tide of the times, they are slightly like grass mustard, but each of them breathe, every prayer, and even the most ordinary pain like constipation, there is a specific and heavy weight of life. Essence How to embed the sadness and joy of this family into a wider and vast social background, so that they will be together with each other? I slowly realize that my deep love and paranoia for "lacquer nature". Whether people or the world, if they can be as high as the paint, they will always exude pride from the bones, allegorical, not humble, not dirty, then then What a sense of refreshing scenes!

The most difficult thing for this novel is actually the structure. I do n’t want to repeat the traditional enlightenment. I do n’t want to lay the Chenqiao section as always. Against it means that we must find another complicated way to let myself go. One story set and another story. After the normal plot is broken, the stitching is reorganized into another face. Russian dolls appeared in the brain when writing, and also thought of one thousand and one night. Digging the land every day, no matter how hard it is to pay, this process is happy. It is first of all the writers' challenges to their intelligence, like a colorful game, and every corner is interesting. This happiness is the most kind return of literature to the writer.

Article Source: "Literature and Art"

Comment

"Digging the Daily more than the ground": the mutual penetration of people and things

Wen | Teng Cuiqin

Lin Naibei's novel "Ear the Fields Every Day" is extremely full of plots, but it comes from a lie. The protagonist Zhao Dingli hugged the year and deliberately revealed the reason for the family underground treasure in order to allow his wife to accompany him. The unknown wealth and miracle of wealth are limited. Zhao Dingli has been old and old, and weaves fine family history in order to enhance the credibility of this lie. Lying became the narrative motivation of the novel, Zhao Dingli changed from a "lie" to a tireless "storytelling person." Zhao Dingli's "lies" brought out a hidden and vivid family history, showing the necessity and legitimacy of text fiction. Similarly, the fiction does not affect the sincerity of the writer's narrative and the rigor of the strokes. The Zhao family history of the Zhao family in Lin Naibei is emerging, the details are surging, the vision is broad, and the intention is full. The work emphasizes "the mutual penetration of people and things", and Xie's, who is accompanied by the lacquerware all day, is immersed in the nature and style of the lacquerware. Although the lacquerware has no mouth and nose, it is a spiritual body full of spirituality. The tolerance and harsh parallel of lacquer wares are not inconsistent. Only people with unique objects of lacquerware can finally control it. Xie's personality reflects the lacquerware tolerance and high cleanliness. Xie's married to Qingjiang Village, her husband Zhao Licheng quickly walked away from Nanyang and married again. This was a betrayal. However, Xie's choice of left -behind old house is by no means a weak tolerance. She revives her door with her superb paint art and becomes the spiritual pillar of the family. People are creators, but things have shaped people.

The traditional Chinese art of lacquerware may be the first time in a novel in a novel. The lacquerware is the flesh of the story, connecting the bones of narrative. The narrative of "Digging more than daily" is sprinkled on the details of the paint art. ", A series of professional terms can't help but respect. The author Lin Naxbe is said to have studied lacquer paintings for many years. The skills of handing over and Xingyun and flowing water are actually from the experience of experience and the tempering of the mind. The name of "Zhao Dingli" itself is the embodiment of the lacquer rules of the grandmother Xie's. Of course, the artistic realm is not easy. From the spatial pattern of Wuwa Courtyard to the aesthetic presentation of lacquer art, skills are only a way to achieve. More important content is closely related to the understanding of the world and beauty. The Great Lacquer Gate of Wuwa Courtyard is not only the facade of the family, but also reflects Xie's expectations for the family image. "White lotus, green lotus leaves, black dragonflies, the background color is the golden Zhuhong, and the red gradually out of the flowers and leaves. Deepen down, but to the back door steadily. "A door, a picture, a state of strong ink, full of business, stable and calm. Paint, door, and people can endorse each other at this time.

The exquisite lacquerware, fish balls with fragrant mouths, banyan trees covering the clouds, and jasmine tea with strong aroma ... The cultural elements of Fuzhou natives in the work can be seen everywhere, and they have become an indispensable cultural badge for novels. These imagery goes between the words of the novel, and the characters in the writer's pen are therefore full of flesh and flesh and emotion. One side raises one person, and the characters are lifelike, and they also benefit from the writer's insight into regional culture. In order to highlight the distinctive local culture, the strokes of the work extend to a farther place. The fate of the Wuwa Courtyard was closely related to overseas. Xie's property was built with the property returned by Zhao Licheng from Nanyang. The describer did not have the experience and vision of the people of Qingjiang Village. The geography and wind of Nanyang's geography and wind retention were reciprocated. Overseas elements are an important fulcrum to observe the culture of Fuzhou. Although it is far away, it hides the fate of the characters in Qingjiang Village. As the core image of the story, the lacquerware connects Fuzhou and Qingjiang Village, local and overseas, which is a distant vertical line. Because of this, despite the complicated clues and complexity of the story, the outline of the history of the Zhao family is still clear.

The blue flower landscape from a distance is rooted in the daily world, and the distance and the local area have brought together. Some people may ignore it because they are accustomed to it, but those who know that they are originally seen in their daily watches. The returns from the distance brought back to the exotic treasure, and they also returned to strange things. Xie's mother, Jiang, once said: "The word is really a magical thing, the word is wings, and the road, you can take people to other places." "The details passed by, but it made people forget. "Literacy" means the discovery and tolerance of new things, and the charm of the distance comes from this, and this also coincides with the tolerance characteristics of the lacquerware. The image of the space contains historical motivation and significance, and the perceptual narrative of the writer always penetrates inexhaustible rational thinking.

Article Source: "Guangming Daily"

WeChat editor in this issue: Yu Wenzheng

- END -