Huxiang Culture - Humanities and History - The Long March in Mao Zedong's Poetry The Long March, which gave Mao Zedong, who was extremely poetic and talented, a rich source of creativity, recorded this thrilling and great expedition in seven poems.
In mid-March 1935, the night before the third crossing of the Red River, Mao Zedong came to the machine section. At this time, the main force of the Red Army was in the Zunyi area of Changganshan and Fengxiangba to seek to annihilate the rashly followed by the Sichuan army.
"Chairman Mao suddenly recited especially loudly in Hunanese: Changganshan ...... Fengxiangba ...... I could see that Chairman Mao was in a very good mood." Yang Chuzhen, a machine staff officer who stood right behind Mao at the time, recalled that during the Long March, Mao often came to the machine section where Yang Chuzhen was, guarding the phone and directing the battle.
In Yang Chuzhen's memory, Mao smoked fiercely and poetically. However, the battle of Changganshan and Fengxiangba was not fought as scheduled.
Otherwise, there might have been an additional heirloom about Changganshan and Fengxiangba in Mao's poems. From the Laoshan Boundary in Guangxi to the Skull Mountain in Guizhou, until the Red Army occupied Zunyi and advanced into Qian, Yunnan and Sichuan, Mao Zedong wrote Three Poems on Sixteen Character Orders under the title of "Mountains" in the mountains and hills of Southwest China.
From these three small orders, you can clearly see the subtle changes in the strategic situation of the Red Army: out of the Xiangjiang River, the Red Army, "the whip has not been saddled", all the way forward, trying to get rid of the situation of being surrounded on all sides; Guizhou, with hundreds of thousands of enemies in a fierce battle, "the sea of reversal of the river rolled the huge waves! "After the Zunyi Conference, Mao Zedong regained the command of the Red Army, once again using the sword as a metaphor for the mountain, waving his division northward, "piercing the blue sky E has not yet been broken," showing that "The sky wants to fall, rely on it" of the sky. "That period of time is a very critical moment for the Red Army, if there is no correct leadership of Comrade Mao Zedong, the Red Army may not go to the Dadu River has been completely destroyed."
The old Red Army Dai Jingyuan, then secretary of the party branch of the Central Military Commission's radio station, recalled. After the second crossing of the Chishui, the Red Army suddenly returned to capture Tongzi, captured Loushanguan, the second occupation of Zunyi city, a bite ate Wang Jialie eight regiments and Wu Qiwei two divisions.
Participated in the capture of Loushanguan battle of the old Red Army Wang Daojin recalled: "deflated for a long time the bullet bag, this time all filled." On the evening of February 28, 1935, Mao Zedong boarded the Loushanguan Pass after the fierce battle, brewing the song "Remembering Qin'e - Loushanguan".
But the victory of the battle did not make him happy, due to the failure of the battle of Tucheng, so that the Central Red Army was not able to according to the plan to cross the Yangtze River north to meet with the Red Army of the Fourth Side, hundreds of thousands of enemy troops are still trailing behind. In 1958, Mao Zedong said in a note to the song, "The Long March, a thousand miles, a thousand twists and turns, the smoothness is less than the difficulty I do not know how many times, the mood is somber."
The Long March is a long way from the beginning. Perhaps this is a kind of expectation of Mao Zedong to encourage morale at that time? The "encirclement", the atmosphere of writing the spring and autumn Until the fall of 1935, Mao Zedong's depressed mood has been eased.
In September, the main force of the Central Red Army has got rid of the Kuomintang army's siege and blockade, is walking through the Minshan Mountains at an altitude of more than 4,000 meters, advancing to the Gan and Shaanxi regions. "At that time, we had already come out of the grassland and could see the hope of victory, everyone was in a good mood."
Huang Jiaxiang, an old Red Army man, recalled.
Mao Zedong has clearly begun to plan for the national war of resistance. "
The first time I saw the world, I saw the world, I saw the world, I saw the world, I saw the world, I saw the world, and I saw the world.
Flying up the Jade Dragon three million, stirring the circumference of the sky cold. Summer dissolved, the river overflowed, people or fish and turtles.
A thousand years of work, who has commented on it? And now I say Kunlun: not this high, not this much snow. I'm not sure how much I'm going to be able to do, but I'm sure I'm going to be able to make it work. A section of the European legacy, a section of the gift of the United States, a section of the return of the East.
The world of peace, the world with this hot and cold." In this strange imagination, majestic "Nian Nujiao - Kunlun", Mao Zedong start sentence atmosphere, reproduce the momentum of the year, let a person can not help but think of a number of years later, he waved a big hand of the amazing words: all imperialism is a paper tiger.
"Kunlun: the theme is against imperialism ......," Mao Zedong wrote in the notes to the lyric. On the night of October 1, 1935, in the Wenmiao Primary School in Tongwei County, the oil lamps were like beans, and the Central Red Army cadres' conference was held in the Wenmiao Primary School.
The next day, they would continue northward in search of the Red Army in northern Shaanxi and create a base. Mao Zedong mobilized for the next day's action at the meeting, and also recited aloud the ancient song - "Seven Droves - Long March": "The Red Army is not afraid of a long march, ten thousand waters and thousands of mountains are only waiting for leisure.
The Five Ridges are curving into a fine wave, and the Wumeng Pound is going through the mud. The water of Jinsha is warmed by the cloud cliffs, and the Dadu Bridge is cold across the iron rope.
What's more, I'm glad that Minshan Mountain has a thousand miles of snow, and that the three armies have all opened their faces." "After Chairman Mao recited the poem, a long and warm applause rang out in the venue."
Hu Anji, an old Red Army man, recalled. Probably even Mao Zedong did not expect that 14 years later, on the same afternoon, he would announce the founding of a new China from the Tiananmen Square citadel.
Based in northern Shaanxi, the magnificent ambition to draw the river and mountain The Liupan Mountain, at an altitude of 2,928 meters, is the last obstacle on the Red Army's long march. This is no longer a problem for a troop that is on its way to victory.
The sky is high and the geese are going south, the red flag is rolling over the Liupan Mountain. Mao Zedong, under the hunting red flag, wrote "Qing Pingle - Liupan Mountain": "The sky is high and the clouds are faint, looking at the south flying geese.
Not to the Great Wall is not a good man, the finger trip 20,000. The red flag is rolling in the west wind.
Today's tassel in hand, when to tie the dragon?" I do not know after writing this word, Mao Zedong has not thrown the pen long smile? On October 21, 1935, an ambush was fought in the town of Wuqi. The battle ended victoriously with 700 prisoners and 200 captured horses, realizing Mao's aim of not bringing the tail into the base area.
When Peng Dehuai, the commander of the battle, returned to the headquarters from the front line in a dusty condition, Mao Zedong emotionally wrote a poem in six lines on a piece of combat telegraph paper: "The mountains are high, the roads are far and the pits are deep, and the armies are galloping across the country. Who dares to cross the road? Only I, General Peng!" "The mountains are high, the roads are far and the pits are deep" - Mao Zedong's first sentence on the battle order issued before the war is also the same.
Peng Dehuai saw the poem, humbly changed "Only I, General Peng" to "Only I, the heroic Red Army".
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2. high scores to seek about the Hunan culture of 35 ancient poems and ancientDufu Jiangge profile - - wind and rain asked the year, living in Xingsha, the guest hate has been the title of the Water Pavilion Gangs to leave the victory, what is the division of Hunan and Shu, the soul of poetry is still tied to Raccoon Stream According to the history of the Tang dynasty three years of the autumn of the Dali calendar, Dufu friend Wei Zhijin transfer to the Tanzhou Razorback, cast to wait for the arrival of Wei died, and the Dufu friend Wei Zhijin, the Dali calendar of the Tang dynasty three years of the fall. The first time I saw this, I was able to see it in the back of my head, and I was able to see it in the back of my head, and I was able to see it in the back of my head.
At the beginning, I sent the boat, parked in the South Lake Harbor.
The first time I was in Changsha, I was in the middle of a boat, and I stopped at the South Lake harbor.
Fu two goodbye to Judge Liu, the poem "Duling old man in the fall tied boat, help the sick know Changsha post", "other day to be, Changsha old post building". Later moved to Xiangbian tenant building, or in Changsha Xiao Ximen area, called themselves "Jiangge".
There is "Jiangge on the rain have wistful" poem cloud "layers of the pavilion with Lei Yin, the face of the long sky water text", "Jiangge lying down sick to go to the pen" poem cloud "guests kitchen thin, Jianglou pillow seat clear". Du in the Jiangge, had met Su Lax, "Su Lax to be the Royal" poem Yun "thatched King of the city door, drugs Chu old fishermen market"; also met Li Guinian, a poem Yun: "Gi-Wang House unusual to see, Cui Jiutang a few times heard.
It is a good view of Jiangnan, and meet again at the time of flowers. The remains of the Jiangge not exist, and now have to rebuild in the original site.
Dufu, the poet saint, was twice in Changsha in his later years, living in Jiangge, leaving more than fifty poems in Changsha. In order to commemorate this great realist poet and world cultural celebrity, the Changsha Municipal People's Government built the Dufu River Pavilion in the Xiangjiang River Scenic Zone.
In view of the fact that Dufu Jiangge was Dufu's residence in Hunan for a long period of time, and as a point of contact between Hunan culture and Dufu's all-around contact and Dufu's indissoluble relationship, we decided to take Dufu Jiangge as a carrier, trace the origin, disperse the radiation, and carry out the corresponding investigations, so that while remembering the great poet saint, we can trace the mutual influences (or call it the force of action) of Dufu and Hunan culture. ). The investigation report begins with Dufu Jiangge itself.
The Dufu River Pavilion, built in memory of Dufu, is located on the Xiangjiang River scenic zone where Changsha's Xihu Road meets Xiangjiang Avenue, forming a cultural belt with the Tianxin Pavilion, the Yuelu Mountain Daolin Temple, and the Yuelu Academy. During the Kangxi period of the Qing Dynasty, Changsha, there are literati and celebrities proposed to build a river pavilion for Dufu, a monument, a statue in honor of the poet.
Since then, the call has never stopped, and in 2002, the Changsha municipal government finally took up this important task.
Dufu Memorial Hall, east of Xiangjiang Avenue, in front of the entrance to the square level steps; west facing the Xiangjiang River, the main building from the Xiangjiang River embankment 5 meters, a terrace floating on the Xiangjiang River 5 meters. Dufu Jiangge's north-south corridor for the poetry and monument gallery, columns on both sides of the stone tablets engraved Dufu's poetry for people to learn, poetry and monument gallery has a fan-shaped gallery, curved corridor, stone monuments dotted with settings.
Dufu Jiangge northward planning arrangement of hexagonal pavilion, heavy eaves roof, pavilion in the monument, the Changsha Municipal Government to build Dufu Jiangge origin and through. Dufu Jiangge southward by the Xiangjiang Avenue pedestrian access roadside square pavilion, connected with the poetry and monument gallery, is the secondary entrance to the Dufu Jiangge, square pavilion for the single-story roof four slope roof.
Jiangge is a four-story building, the outdoor ground (embankment ground) to the bottom of the gable height of 15.9 meters, to the top of the roof ridge height of about 19.5 meters. The building's second floor plan for Du Fu Memorial Hall, the museum is neutral Du Fu statue, the outer wall 2.1 meters high open high windows, the real wall with paintings to introduce the poet's biography, the third and fourth floors of the Poetry and Paintings Club, set of celebrities and elegant men and women will be poems and paintings, the first floor of the poems and paintings of souvenirs store.
The fa?ade of the building is in the form of traditional Chinese Tang Dynasty architecture, with vermilion pillars, antique grille windows and white walls. The balustrade of the corridor steps is made of stone columns with cloud pattern and stone panel balustrade.
The roof has a hermetic roof, far picking eaves, green and black tiles with curved roof, curve stretching, reflecting the basic characteristics of Tang Dynasty architecture of simple, majestic and heavy. Facing Xiangjiang Avenue and Xiangjiang River, the east and west elevations are the main elevation, and a horizontal flat is set up under the eaves of the roof, with the inscription "Dufu Jiangge" in four big characters.
Dufu Jiangge calligraphy gallery project is located in Changsha City, West Lake Bridge Xiangjiang River Scenic Zone, an investment of more than 1 million yuan, will be completed in February next year, from the works of Dufu in Hunan when the 59 poems selected will be presented in front of people. The Calligraphy Monument Gallery is part of the Dufu Jiangge, written by nationally renowned calligraphers such as Shen Peng, Li Duo, Yan Jialong, Li Li, He Manzong and so on.
Dufu's later years in Hunan were characterized by about 100 compositions, and since he was alive for 59 years, only 59 compositions were selected for commemoration.
The second floor is designed as a memorial hall. On the front of the hall is a large wooden shallow relief carving of Du Gongbu's travels in Hunan, which shows Du Fu's travels when he was living in Hunan, and mirrors the statue of Du Fu in the center of the hall.
The two sides of the hall are decorated with Du poems and poetic paintings by famous calligraphers and painters such as Zhang Daqian, Lin Sanzhi, etc. Together with the couplets, large vases of poems and paintings, large antique mahogany seat screens, flower racks, several cases and valuable potted flowers and bonsai, etc., the whole hall is full of a rich cultural atmosphere. The third floor features the life of Du Fu.
Among them, in the form of poems and paintings, it focuses on the poems of Du Fu in Hunan for three years, showing his plight of old age, illness and lonely boat life as well as his great sentiment of worrying about the country and the people. The exhibition is divided into six sections: Family History, Travels, Words, Poetry History, Xiang Soul, and Luster.
More than a hundred pieces of photo materials, poems and paintings, versions of Du's poems, and physical materials*** are to be displayed. In addition, the overall style of the exhibition hall and the Jiangge architectural style similar to the exhibition wall using the Wanzig door and window type modeling, this architectural language can effectively bring the audience into the historical time and space tunnel, coupled with the layer of the design of the plate using the form of the ancient line version of the page, the combination of the two to make the flavor of the ancient culture more intense.
Both can make visitors in the rich Tang culture in memory of the poet saint, but also make the whole exhibition hall simple and bright, sparse and dense, relaxed and comfortable. The fourth floor of the design landscape to meet friends and fine display place, tentatively called "Jiya Xuan".
Proposed to be divided into three small areas of the model show, to the friends and audience rest, the center of the hall placed a model of Jiangge, both sides of the layout of the Qing Dynasty mahogany furniture, four treasures, antiques and paintings, embroidery and stone boutique and so on. The four walls have Changsha humanities meta character story group painting, tell the story of Qu Yuan, Jia Yi and other historical and cultural celebrities to reflect Changsha's deep historical and cultural heritage.
"Poetry" Du Fu in his later years in Hunan more than two years of wandering, was in Changsha Xiangjiang River "River Pavilion", and is the poet spent the last years of his life. In two years, Du Fu left more than a hundred poems, of which more than 50 were written in Changsha, including the famous "Jiang.
3. Poetry with the color of Hunan cultureHeart with Hunan
You open a window for my heart,
so that I can see the rays of sunshine.
From now on, I will forget about my despair,
and let the warmth grow with me.
You have sent me a dream for my life,
so that I feel the coolness.
From now on, I will abandon all my worries,
and let the sincerity accompany me to the top.
You made my sails sail again,
Let me hear the sound of the trumpet.
From now on, I will ride on the huge waves,
and let my courage push me to go out.
You make my life full of hope,
let me read the chapter.
From now on, the blunt pen will be shy to recite poetic lines,
so that the heart springs with love to sing.
4. About Hunan CultureHunan culture is a unique part of the diverse structure of Chinese culture.
Over the past hundred years, with the outstanding performance of Hunan characters on the historical stage, Hunan culture has been widely noticed and recognized by the world, and has become an important topic in the study of modern Chinese history. Needless to say, although these studies are numerous and under different names, there seems to be a gap between the overall grasp and the specific grasp.
Professor Liu Xu's "Introduction to Hunan Culture" is an important attempt to shorten this gap and approach the essence of Hunan culture from systematic thinking. The key to grasping the whole is to find a window that is large enough to summarize the whole picture, and this is not an easy thing to do.
The ingenuity of this work lies in the fact that it does not focus on the surface of the facts and phenomena as many scholars do, but rather on what is most important for the culture as a whole - its soul. This "soul" is not something else, but the kernel that lies deep within the whole, the general hub that "pulls one hair and moves the whole body" and is sufficient to "stir up the whole world". --The basic spirit of the culture.
What is the basic spirit of Hunan culture? The author summarizes the following four aspects: "simplicity and righteousness", "bravery and martial arts", "the use of the world", "self-improvement ".
"Righteousness", that is, a strong sense of justice and to the group. "Courage and martial arts", that is, the spirit of not being afraid in the face of danger and being at home in the face of death.
The integration of the two, constituting the unique strong characteristics of Hunan culture, with a distinctive color of heroism. That is, Mr. Qian Kibo said: "Hunan people so for Hunan, and the different military to adapt to the terroir of the people, in a nutshell, said strong only."
"The world of practical application", that is, the pragmatic spirit of the importance of practice, is the practical rationality and "the world's prosperity and demise, the responsibility of the participation of the awareness of this universal category, once combined with heroism, it has become a kind of "today's world, the world's responsibility. -Once this universal category is combined with heroism, it becomes a kind of "dare to be the first in the world" of "the world today, I am the only one who dares to be the first in the world", which provides a clear goal for Hunan culture to strive for. Self-improvement" is the basic form of the cosmic spirit of "Heavenly Conduct", but in Hunan culture, it is categorized as the category of "human extremity", and is regarded as the "extreme principle" of culture. "
These are the basic forms of the cosmic spirit.
This gives Hunan culture a unique philosophical basis. It is because of this that Hunan culture has a special character of "independent and uninhibited, recluse and not boring".
This generalization is extremely comprehensive and appropriate. Before that, the commentators often use "Hunan character" or "Hunan cultural character" to summarize this.
In contrast, the depth of this work is clearly highlighted. The first step is to make sure that you have a good understanding of the concept of the "spirit of Hunan.
As Hegel said, "The widest extension is the deepest connotation. ...... The more advanced the concept, the greater its clarity, the more definite, the more playful, the deeper it is, and therefore its field is also the widest." Undoubtedly, this is a historical breakthrough in the study of Hunan culture, but also the first major contribution of this book.
The excellence of this book lies not only in the revelation of the most basic cultural spirit of Hunan culture, but also in the analysis of the unique environment that formed this unique spirit, which is "to discuss the source along the waves, and to search for the root by vibrating the leaves". According to the author, the most basic form of things is space and time, and space and time are the most basic external environment for the movement of things, which affects the nature of things to a large extent.
In terms of space, Hunan is surrounded by mountains on three sides and water on the other, which is a horseshoe-shaped territory. There are heavy mountains in the back, and a big river in the front. In ancient times, it was a relatively closed place in terms of information compared to the Central Plains, but on the other hand, it was a place of "hardship and suffering, and you will be able to accomplish it".
The hardship of the environment, the exercise of people's strong and courageous character.
The environment of the closed, cultivated people's independent thinking, do not follow the spirit of the people overlooking.
The ancients called "deep mountains and swamps, actually produce dragons and snakes", that is, this is called. From the time point of view, the Chu people contain ancient barbarians blood, after the fusion of culture with the Yanhuang culture, an important part of Chinese culture, both accepted the influence of the Central Plains culture, but also retained the barbarians culture of fierce and robust legacy.
And the regional closure, more so that this unique gene can continue. The core of culture is human beings, and human beings are the products of the environment, so Hunan culture and people with this cultural character were born in this special soil.
The author's assertion is in line with the basic law of material dialectics, and is therefore convincing. Time and space are, after all, external conditions for the development of things, and it is well known that external causes always work through internal causes.
So what is the internal cause of the formation of Hunan culture? The synergy of this systematic movement comes from two aspects: one is the indigenous culture, that is, the Qunmiao culture, that is, the Southern Chu culture represented by Qu Yuan.
One is the Central Plains culture, that is, the Confucian culture represented by Confucius. Hunan culture is the result of the conflict and fusion of the two.
The combination of the two genes, the "elegance" of the Central Plains culture and the "savagery" of the Miao culture, constitutes the unique "stubbornness" of Hunan culture, The combination of these two genes constitutes the unique style of Hunan culture, which is "stubborn", "firm" and "harsh". The so-called "outstanding people, the great Confucian iterative, before and after not seen, there is no independent and free thinking, there is a strong and unfailing ambition" that is, so to speak.
This is the Hunan culture, "deep understanding of ancient learning, but can create their own way, not for the ancient school caught", and then "the style of self-creation, can be different from the characters in the Central Plains to stand up for themselves" is an important reason. The formation of Hunan culture is the inevitable result of the systematic movement of the above factors.
The author thus summarizes - a conclusion: "The geographical environment of the Great Lakes, the developed agricultural economy, and the integration of diverse cultures of various ethnic groups in the Hunan region have formed a distinctive regional culture."
This is the second major contribution of this book. The outstanding contribution of this book is also manifested in the comprehensive revelation of the internal system structure of Hunan culture.
It is also a misunderstanding that the structure of the inner system is the decisive attachment and concrete form of the basic spirit. The authors have analyzed it from several aspects: Hunan philosophical thought Hunan philosophical thought, pioneered by Hu Anguo in the Song Dynasty, has formed its own unique style through Hu Hong, Zhang Zu, Wang Fenshan, Zeng Guofan, Tan Sitong, Yang Changji, and even Mao Zedong; "the science of....
5. Poems about Mount XuefengMount Xuefeng
You are the ancient Kunlun as the dragon swims here
The rivers of Hunan go around you
A dragon dancing happily and vigorously
Love my land into eternity
You come in the sunshine of ten thousand fathoms
Let the world feel the magic of nature
In the haze of smoke and rain you go far away
The world feels the magic of nature
The world feels the magic of nature
In the haze of smoke and rain you go far away
In the haze of smoke and rain you go far away.
You are far away in the misty rain
Let the world feel your mystery
Cliffs and valleys
Who knows that you have gone through the harsh baptism
Leaving traces
Mountains and mountains are stacked up
A manifestation of the vitality of life after the wind and rain
Peaks and peaks are linked
Ridges continue to be built up
The life of the tenacity of life is unending.
The invasion of the outside world
You raised your sword
In the face of humiliation
You defended your dignity
You showed the world
You're the birthplace of Hunan culture
Standing on a mountain
I'm looking out at you
Surrounded by points of light, the peaks of the mountains
Like the moon surrounded by stars
I'm looking at you. p>
Standing on the mountain
I look down
At the touching picture of the later ones climbing the mountain
On the top of the mountain
A strong wind is blowing
I feel it's the winds of a thousand years
The winds of culture are pouring in
On the top of the mountain
The leaves of the green leaves are gently swaying
I feel a mother's blue rocking her son
Up and down the mountain
You have been nurtured for thousands of years
You are the totem of the children of Hunan.