Liu Si Fen, Lin Gang talks | At the moment, how can we "keep innovation" and reshape cultural self -confidence?

Liu Si Fen and Lin Gang talks: At the moment, how can we "keep innovation" and reshape cultural self -confidence?

Text/Liu Si Funlingang

Editor's note: A few days ago, Liu Si Fen, the winner of the Mao Dun Literature Award, the chairman of the Guangdong Federation of Literary and Art Federation, and the chairman of the Guangdong Literary Critics Association, and the professor of the Chinese Department of Zhongshan University, Lin Gang, "Cultural Confidence: The Shadow of the Opium War" series. The Evening News was published first. The two famous masters gave their wonderful and unique insights on issues such as how to recognize and rebuild cultural self -confidence. In the new era, we continue to keep up to innovation, continuously enrich and develop literary creation and theoretical exploration, and have important inspiration. This opportunity, the Guangdong Provincial Literature and Art Critics Association and the Guangdonghai Wind Magazine jointly pushed the contents of the "Innovation Articles" for the "Innovation Articles", linking the tweets from the Yangcheng faction to readers.

▶ What is "Shouzheng"?

""

Liu Si Fen: Today, let's talk about the issue of keeping positive innovation. This is consistent with the overall requirements of the Chinese nation's rejuvenation. National rejuvenation is not a national retro. On the one hand, of course, it is necessary to inherit the fine traditions of thousands of years, but on the other hand, it must follow the pace of the times and continue to move forward. "Innovation" is the motivation to promote development. What needs to be discussed now is: What is "positive"? How to keep right? What is "new"? How to innovate?

"

Lin Gang: Shouzheng Innovation has been put on the agenda on the basis of the rejuvenation of the Chinese nation. The Chinese nation encountered an unprecedented crisis of survival and survival in modern times. The Communist Party of China led the people after 28 years of blood bathing, established New China, and won national independence, especially the construction of more than forty years of reform and opening up. China's rise is in front of the world. The huge changes in this contemporary scenario put forward the new topics of our own cultural traditions.

""

Liu Si Fen: Yes, just talk about cultural self -confidence. If it is in -depth, the so -called "positive", I think it is the fine cultural tradition that the Chinese nation has continued for thousands of years. There are about the first seven points in the sum:

1. The "change" cognition of the universe view;

2. The pursuit of the "middle path" of the world view;

3. The "still use" principle of values;

4. The "Le Sheng" belief in the outlook on life;

5. The "Shanghe" spirit of social view;

6. The "people" thought of social governance view;

7. "Shang Jian" orientation of methodology.

Such a tradition is the wise crystallization of wisdom from the long history and struggle. To this day, it is still the "right path" we should adhere to.

"

Lin Gang: Your summary of the summary of excellent traditional culture is very meaningful. The tradition is not the past that has been solidified, but "the existing past." The promotion of excellent cultural traditions is to show the great light of the essence that lives in the present and long -standing flow, so as to establish a self -confidence in its own cultural tradition.

▶ How to "keep positive"?

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Lin Gang: From May 4th for more than a century, we are experiencing a huge change in the posture of traditional culture. Although the trend of New Things on May 4th is rooted in the depths of Chinese historical traditions. It is not a thing that comes from the sky, but the new trend has adopted a fierce criticism of its own cultural traditions. It has become a traditional relationship with traditional relationships, but it is reversed in the tradition. It can use "reverse" to describe this attitude towards traditional culture. The tradition of "reverse" was the product of the "Great Climate" of the country in that era, and has its historical rationality. Since it is a product of a certain historical environment, it should also change the string of "reverse" attitude towards the traditional "reverse" posture, and transform the relationship with traditional culture from "reverse" to "connecting". This is a more urgent task in the field of ideology and culture than before. Only the tradition of "connecting" can be obtained.

"

Liu Si Fen: First of all, "Shouzheng" does not mean the whole retro. However, in view of the more than a century since the Opium War, the criticism of traditional criticisms has become more and more intensive, and our culture has already experienced a huge fault. It is urgent to re -understand and judge the tradition, so that the people can re -establish their firm confidence in their own culture.

""

Lin Gang: Now it is necessary to propose a positive innovation of culture. After experiencing "incorrect", we realized the true value of "positive" and needed to keep the tradition. At the same time, it is not for the sake of keeping. "Shou" is to be able to "new" and meet the needs of the society in the past.

Today, the conservation innovation of traditional culture has to face new changes in the cultural environment. The journey of traditional culture in the past century has not only encountered overkills, questioned and over -criticizing, but it has come to an era of large -scale collisions and integration of other heterogeneous culture. Find the future in the dialogue with heterogeneous culture. Although traditional culture is the source and foundation of our culture, it also needs to open the situation to accept other new and heterogeneous cultural elements in Bayang, and develop ourselves in a diverse pattern.

"

Liu Si Fen: To this day, the compatibility and packaging needed to be positive should be the integration of Confucianism, Tao, Buddhism, and Western Scholarship, and integrate the civilized blood injected by modern west winds in the east. This tolerance is actually rooted in the "use" tradition of Chinese culture, which is not available by Western exclusive religious culture.

""

Lin Gang: In the ancient Chinese movement of the Tang Dynasty, Han Yu proposed the theory of Tongdun, and it seemed to be biased and not compatible with compatibility. But Han Yu's approach meets the needs of the times at that time. During Xianzong Yuan and years, the respect of Buddhism has surpassed Confucianism, and because of the number of monks, it has caused insufficient taxes, and serious problems such as Tian Lao Ren Geng are necessary. In fact, every ideological system is potentially looking forward to surpassing the respect of others and seeking this status. The situation of compatible and packed is not because of the virtue of Confucianism, Buddhism, and Taoism, but that society has their own needs for Confucianism, Buddhism and Taoism, and cannot leave. The three families were contradictory, restricted each other, and eventually formed a compatible situation.

"

▶ How to carry out literary and artistic innovation on the basis of "guarding"?

Liu Si Fen: Shouzheng has talked a lot, so you might as well turn to innovation. Imagine how to innovate in order to promote and meet the development of the next stage of culture and its climax?

I think that the theory, roads, systems, culture, four major topics, are both connected with each other, their own characteristics and development laws. It should not be simply mixed. Innovation is the overall requirement. However, as far as culture and art are concerned, it is more mainly a human spirit creation.

And spiritual creation is different from material production, and the better it is, the better it must be. Material production, for example, with the air conditioner, the banana fan is eliminated; with a car, there is no carriage or ox cart. The former is invented and the latter will enter the museum. But this is not the case. The Book of Songs is still the Book of Songs, and "Chu Ci" is still "Chu Ci", because they are unique and indescribable spiritual crystals, so they always read the new. It did not lose its light and value because of the appearance of later works.

""

Lin Gang: Innovation is a complex issue. No matter how good the predecessors have done and how successful, the latecomers cannot lying in the success of the former. Literature and art are destined to be innovative, otherwise how can it be called for creation?

In the history of literature and art, two kinds of innovation can be distinguished: innovation within the same literary tradition; the beneficial elements of the predecessor's creation to achieve their own innovation. The former has always been based on gracefulness, Su Shi and Xin Qiji are anti -graceful, with boldness as the words. Obverse words are their innovation. Men Zhizhi was originally written in the poem, and the words only wrote that Yan Er lingering. The bold words change, don't open a branch within the tradition of the word.

Another example is Zhang Hui's novels writing characters, who has always been simple in personality, good is good, bad is bad, and it has not changed from beginning to end. However, in "Dream of Red Mansions", the character (becoming) is complicated, good is bad, bad is good, and there are changes before and after. So Lu Xun said that Cao Xueqin broke the writing of his predecessors, which is of course innovation. However, "Dream of Red Mansions" still belongs to the work in the novel tradition of Zhang Hui. I think this innovation compares the author's skill. Those who have no artistic skills are difficult to do. The other is the Qibao Building, which has been broken by the previous works, and takes its own fragments and elements in the creation to achieve innovation.

Ancient literary traditions cannot be passed down as a whole. After the May 4th New Culture Movement, both the style and expression have changed very much. As the new poems are popular, Zhang Hui has gradually been slightly slightly slightly, and the drama has also been transplanted. The folk forms have also changed the world in terms of subject matter and performance content. In this case, "ancient is now available". It is more required not to move out the ancient seven treasure buildings, but to break its beneficial segments and elements, reassemble and arrange new products in today's new literary forms. The opening ceremony of the Beijing Winter Olympics at the beginning of this year is very brilliant. There are many "Chinese style" in sets, arrangements, and dances. In a modern ceremony, Chinese elements were successfully set.

"

Liu Si Fen: Since the value of spiritual creation cannot be simply judged with "new" and "old", there is still a strong inheritance connection. So can we think, what is the innovative significance of culture and how to reflect it? We must talk about innovation under the premise of the unique laws of spiritual creation. You are a critic and I am a creator. I want to mention some of my experience as a creator for reference.

""

Lin Gang: Okay, this is precious wealth.

"

Liu Si Fen: To put it bluntly, everyone's recognized evaluation: Both of my novel creation, calligraphy and painting creation, all have unique personalities, and rarely repeat them. Should this be innovative? But from my own wishes, I have never deliberately innovated. There are no two exactly the same leaves in the world, nor two exactly the same artists. As long as you play your talents, academic care, ideas, and life experience, it must be new. The author has no intention of seeking new but readers consciously.

""

Lin Gang: The issue of innovation, I agree with what you just said. In fact, artists do not need to always warn themselves to innovate and innovate. Innovation is actually realized invisible. They are naturally irreplaceable to play their talents and potential.

Some arts, such as calligraphy, painting, poetry, etc., may also be particularly prone to innovation anxiety because of high artistic content of its own forms, and it is also particularly easy to cause creative problems. Innovation is shallow and deep. The writer must be able to break, be patient and sinking. Pursuing deep -level innovation to resist the temptation of shallow level innovation. The shallow level innovation is because the creators are too anxious, distorting the feelings of the heart and the world, but they are not able to make good works. A mind is innovating, and the water has not arrived. This is not a real innovation but a new difference.

The reason why innovation is a strong public topic is because we are affected by scientific and technological ideas. Scientific and technological innovation is for the purpose of replacing the old things, and literary and artistic innovation does not replace the predecessors, but the creator's true temperament and talent. This difference needs to be understood.

"

Liu Si Fen: Yes, it is important to establish this understanding.

▶ Wen Host knows new, read poems first

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Lin Gang: In unintentional innovation and new, this is the state of innovation. If you are new and the so -called "personality" is deliberately established, in fact, there are only some things that flowers and embroidered legs, which cannot be culturally. Talking about innovation and returning to the topic of Shouzheng. I am afraid that there is no objection to excellent traditional culture, but how to revive? There must be a specific door. Compared with Zhixin, warmth is equally important.

"

Liu Si Fen: Yes. Because our advocacy innovation is innovation under the premise of righteousness. This "positive" is the fine tradition of our national culture. Only by grasping this tradition, innovation will not run into the direction. Of course, these principles have different practical performances in the long history, and the results are different. It is necessary to use Marxism's ideological methods to identify, distinguish achievements and deficiencies, essences and dross, and give objective and practical evaluations. As a result, a sober and firm cultural self -confidence is not blindly negative. When it comes to Shouzheng's path, I think reading classical poems should be a convenient way.

""

Lin Gang: Why do you say that?

"

Liu Si Fen: Because China has always been known as a poetic country. For more than 2,000 years since ancient times, due to the preferences of the people, coupled with the strong advocacy of the rulers, the number of works left by poetry and the author of poetry, the number of works left by the poetry, is the second to none in the world.

In particular, the main body of these poetry authors belongs to the knowledge class at the time. They read poetry books. The ancient classic works were familiar to them. The traditional Chinese values, outlook on life, morality, ideological methods, and aesthetic concepts have penetrated their bone marrow, and penetrated and melted in their works anytime, anywhere.

Through reading, we can understand all aspects of society at that time, and feel the joy and sorrow of people at that time. Therefore, it can be said that these classical poetry itself is an encyclopedia of traditional culture. And the most important thing is that for today's readers, the biggest feature of classical poetry is different from other ancient classics. It is a literary work and expresses the human heart by artistic image and emotion. Coupled with their rhymes, rhyme, easy to recite and easy to recite, this will be far more easy to read and accept more easily than those of the average people. With this foundation, it is much smoother to read other classic ancient books.

Of course, reading ancient poems is also difficult, because after all, it is an ancient work, and not to mention ideas, just to send words and grammatical structures, there is a lot of distance from today. This requires common sense, or check the right dictionary.

All in all, with my own years of experience and experience, starting from classical poetry is indeed a shortcut to enter the traditional Chinese culture.

""

Lin Gang: In ancient times, poetry has always been taught by poetry, so it is a good tradition. Of course, today's poetry is completely different from ancient poetry. Good verses are the most essential parts in language, and exquisite verses are the ultimate of language beauty. It is indeed a convenient way to understand from poetry to traditional culture. That is, in the end, there was no interest in the four books and five sons and hundreds of sons. It was also great benefits to reading Tang Shi and Song Ci to improve their Chinese cultivation.

"

Liu Si Fen: In the end, it should also be added to a very important point: insisting on keeping positive innovation, we must emphasize opposition to "rivers and lakes" and "craftsmanship".

The so -called "rivers and lakes" refers to the means of eating the rivers and lakes in the old days. They try to use various strange behaviors to attract the attention of the audience. For the hard work of the rivers and lakes, it may be tolerant of it without being more true. But if this kind of trick is openly advertised as "innovation", even blowing into the sky. It cannot be accepted. Because it completely deviates from the traditional Chinese aesthetics, it plays an extremely bad misleading role in the lack of identification.

As for the "craftsmanship", it means that the artist is engaged in creation with a set of ready -made conceptual techniques taught by the master like a craftsman. The technology may be very familiar with it, or even impeccable, but Chen Chen Xiangyin is neither new and unique. Although this approach follows the rules, it runs counter to the "innovation" requirements.

Reading:

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Liu Si Fen and Lin Gang talk about ⑤: The shadow of the Opium War -Why said that Chinese culture is "bun" and Western culture is "pizza"?(ycwb.com) Liu Si Fen and Lin Gang talks ⑥: Why "still use" has become an important value principle of the Chinese nation?| Walk out of the shadow of the Opium War (ycwb.com)

Liu Si Fen and Lin Gang talk about: Why is it different from Europe, China will "stand by the country"?| Walk out of the shadow of the Opium War (ycwb.com)

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Liu Si Fen and Lin Gang talked about: Why did the "Ya" marked endless situation after the May 4th or ended?| Walk out of the shadow of the Opium War (ycwb.com)

Liu Si Fen, Lin Gang talks: Why is the Chinese classical novel structure a single but rich in thought content?| Walk out of the shadow of the Opium War (ycwb.com)

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