-Wind and rain asked that year, the stars and sand flowed, and the guests hated the waterfront pavilion.

Rivers and mountains remain the same as their glory, why Xiangchuan, the soul of poetry is still Huan Huaxi.

According to historical records, in the autumn of the third year of the Tang Dynasty, Du Weizhi transferred to Tanzhou to study history, and waited for it. He is just a poor and sick man living in Changsha. At first, it was just sent to the boat and stopped at Nanhu Port. The postal building near Hong Kong is also a place to welcome other friends. It was only twice that Judge Liu was sent away. In the poem, it was said that "the old man Qiu Lai sailed in a boat, but he knew Changsha post when he was ill" and "he will stay on the river one day and stay in the old post office building in Changsha". Later, he moved to Hunan Electric Building, or claimed to be "Jiangge" in Xiaoximen area of Changsha. There are poems such as "Jiangge is pregnant with rain", "The floors are covered with thunder and the sky is covered with water", "Jiangge is sick" and "The guest is thin in the kitchen and the pillow at the bottom of the river is clear". Du Yu met Su Xun in Jiangge, and wrote a poem "Su Xun Waiting for Imperial Palace Que" and "Mao Zhai Setting the Gate of the King City, Medicine Chu Old Fishing City"; When I met Li Guinian again, a poem wrote: "It is common to see him at the home of the King of Qi, but I heard it several times before Cui Tangjiu. It is a beautiful scenery in the south of the Yangtze River, and I will meet you when the flowers fall. " The ruins of Jiangge have long since disappeared, but now they have to be rebuilt on the original site.

Du Fu, a poet sage, stopped in Changsha twice in his later years and once lived in Jiangge, leaving more than 50 poems in Changsha. In order to commemorate this great realistic poet and world cultural celebrity loved by the people of all ages, the Changsha Municipal People's Government built Du Fu Jiangge in the Xiangjiang River scenic belt. In view of Du Fu's long-term residence in Hunan, as the intersection of Huxiang culture and Du Fu's all-round contact, we have an indissoluble bond with Du Fu. We decided to choose Du Fu's Jiangge as the carrier, trace back to the source, radiate and conduct corresponding investigations, and pursue the mutual influence (or force) between Du Fu and Huxiang culture while remembering this great poet.

The investigation report begins with Du Fujiang's song itself.

Du Fu Jiangge was built in memory of Du Fu. It is located in the Xiangjiang River scenic belt where Xihu Road and Xiangjiang Avenue meet in Changsha, and forms a vein with Tianxin Pavilion, Yuelu Mountain Daolin Second Temple and Yuelu Academy. During the Kangxi period of Qing Dynasty, a famous scholar in Changsha proposed to build a pavilion, a poem tablet and a statue for Du Fu in memory of the poet. Since then, this phone has not been disconnected. In 2002, Changsha municipal government finally took on this important task.

Du Fu Memorial Hall, Xiangjiang Avenue in the east, with square steps in front of the entrance; The Xiangjiang River is in the west. The main building is 5 meters away from the Xiangjiang levee, and a terrace floats 5 meters on the Xiangjiang River. Du Fu Jiangge North-South Corridor is a poem tablet gallery. On both sides of the column, Du Fu's poems are engraved on stone tablets for people to learn. There are fan-shaped cloisters, arc-shaped cloisters and stone tablets. In the north direction of Du Fu Jiangge, a hexagonal tablet pavilion, a double-eaved roof and a neutral tablet in the pavilion are planned, and the origin and process of the construction of Du Fu Jiangge by Changsha Municipal Government are described. There is a pavilion on the sidewalk of Xiangjiang Avenue in the south of Du Fu Jiangge, which is connected with the stone tablet gallery and is the secondary entrance of Du Fu Jiangge. The square pavilion is a single-story roof with four slopes. Jiangge is a four-story building, with the height from the outdoor ground (riverbank ground) to the bottom of the cornice of 15.9 m and the height of the top of the roof of 19.5 m. The second floor of the building is the Du Fu Memorial Hall, centering on the statue of Du Fu. The outer wall is 2. 1 m high, with high windows. Painting on the real wall introduces the poet's life. On the third and fourth floors, there are poetry and painting clubs, which collect poems and paintings of famous scholars. On the first floor, there is a poetry, painting and calligraphy souvenir shop. The facade of the building is a traditional Tang-style ancient building in China, with vermilion columns, antique lattice windows and white walls. The railings of colonnade steps are moire stone pillars and slate railings. The roof rests on the top of the mountain, overhangs and cornices, and the curved roof is black and blue, which embodies the basic characteristics of ancient, majestic and heavy buildings in the Tang Dynasty. The east and west facades facing Xiangjiang Avenue and Xiangjiang River are the main facades, standing horizontally and vertically under the roof eaves, with the words "Du Fu Jiang Ge" written on them. Du Fu's calligraphy tablet gallery project is located in the Xiangjiang River scenic belt at the mouth of West Lake Bridge in Changsha, with an investment of 1 more than 10,000 yuan. It will be completed in February next year, and 59 poems selected from Du Fu's works in Hunan will be presented to people. Calligraphy stele gallery is a part of Du Fu Jiangge, written by famous calligraphers Shen Peng, Li Duo, Yan Jialong, Li Li and He Manzong. Du Fu wrote over 100 works when he was in Hunan in his later years. Because he lived for 59 years, only 59 works were selected to commemorate him.

The cultural project of Du Fu Jiangge main building is mainly designed around the poems written by Du Fu, Changsha and Du Fu in Hunan and the influence of Du Fu on Huxiang culture. At the same time, pay attention to the overall environmental layout, in order to create the best historical and cultural atmosphere, adapt to the audience of different social classes, and achieve the effect of integrating knowledge and leisure.

The second floor is designed as a memorial hall. On the front of the hall is a large wooden bas-relief "Du Gongbu Xiaoxiang's whereabouts map", which shows Du Fu's whereabouts when he lived in Hunan, and complements the statue of Du Fu in the center of the hall. On both sides of the hall are the poems of Du Fu and the poems and paintings of famous painters such as Zhang Daqian and Lin Sanzhi. In addition, couplets, large vases of poems and paintings, large antique mahogany screens, flower stands, several cases, rare potted flowers and bonsai make the whole hall full of rich cultural atmosphere.

The third floor is devoted to the study of Du Fu's life. Among them, in the form of poems and paintings, Du Fu's poems in Hunan for three years are emphatically displayed, which shows his life predicament of being sick and lonely and his great feelings of worrying about the country and the people. The exhibition is divided into six parts: family background, travel, ambition, poetry history, Hunan soul and glory. It is planned to exhibit 100 pieces of pictures, poems, paintings, Du Fu's poems and physical materials. In addition, the overall style of the exhibition hall is similar to Jiangge architectural style, and the display wall adopts the style of swastika doors and windows, which can effectively bring the audience into historical just visiting. In addition, the lamination design adopts the page form of ancient thread-bound edition, which makes the charm of ancient culture stronger. It can not only make visitors remember the rich poets in Tang Wenhua, but also make the whole exhibition hall concise, lively, dense and comfortable.

The design team on the fourth floor is a place to show literary friends and fine products, and it is temporarily named "Juyaxuan". The plan is divided into three small areas: model display, meeting friends and audience rest. There is a model of Jiangge in the center of the hall, with Qing Dynasty mahogany furniture, Four Treasures of the Study, antique calligraphy and painting, Xiang embroidery and strange stones on both sides. There are story paintings of Changsha people on the four walls, telling the stories of Qu Yuan, Jia Yi and other historical and cultural celebrities, so as to reflect Changsha's profound historical and cultural heritage.

Du Fu, a "poet saint", wandered in Hunan for more than two years in his later years, and once lived in Xiangjiang Jiangge, Changsha, which was the last days of his life. In the past two years, Du Fu has left more than 100 poems, among which more than 50 poems were written in Changsha, including the famous "On Meeting Down the River": "It is common in Qi Wang's house and heard in the first few times of Cui. It is a beautiful scenery in the south of the Yangtze River. " There is also the name of "Changsha" in Fatanzhou: "Get drunk in Changsha at night and enjoy spring scenery in Hunan. Flowers fly on the shore to see guests off, and Yan language keeps people ... "These epics add luster to Huxiang culture.

Edit this passage of Du Fu in Changsha

-Xikangzhou, with the child to take refuge, in Dongting in December.

It's a pity that Fang once gave me a shoe, but it's not my soil that is tired of going upstairs.

Glue paint should be difficult to combine for a long time, and it will be collected late when it is smeared with mud.

Du Li's fame is really embarrassing, and crescent clouds and cold chrysanthemums are twice as worrying.

Du Fu, a poet saint, left Zhongshu for Hunan in the late autumn of the third year of Tang Dynasty (768), preparing to go to Wei Zhijin, an old friend who was about to be transferred to Tanzhou for secretariat. Unexpectedly, when Du Fu arrived in Changsha, Wei Zhijin had died suddenly, and Du Fu had to spend the last two years of his life in Changsha.

From entering Changsha to returning to Xiangjiang River, Du Fu formed an indissoluble bond with Changsha, and wrote more than 50 poems, leaving behind "drunken Changsha wine at night, swimming in Hunan spring water", "honey on the trees is in a hurry, mud in the river is light and swarthy", "A thousand people leave Changsha in a day", "Don't look at the old site of the king's city, but still hold long arms" and "The temple gate is high.

When he first came to Changsha, Du Fu lived on a boat, which often docked at Nanhu Port. Changsha Post Building near Nanhu Port has also become a place for Du Fu to bid farewell to his friends. Among them, there are many beautiful sentences such as "Old people in Ling Du tied boats in autumn to help them get to know Changsha Post" and "Changsha Post meets a passenger ship by the river".

Later, Du Fu rented a simple building by the Xiangjiang River outside Xiaoximen. Because the building faces the Xiangjiang River, "Poet Saint" named it "Jiangge". Du Fu described "Jiangge" many times in his poems. "Jiangge loves rain, and two people camp together." There is a saying: "The south century is stormy, and rain and sunshine are always inseparable. Shan Ye is popular, and rivers flow into Shan Ye Cloud. The pavilion is surrounded by thunder and shade, and the weather is hydrological. When the rain reaches the north of the copper pillar, the Fu Bo army should be washed. " There is another cloud in the poem Rain: "Shan Yu doesn't make mud, and the river clouds are as thin as fog. It's sunny and flying halfway up the ridge, and the wind is chaotic and the sand is flat. The scenery on the island is dim and the rocks are bare. " It can be seen that the "Jiangge" was facing the Xiangjiang River at that time, and the clouds were lingering, and the cranes danced in white sand and filled the fields. Among them, the scenery of Orange Island is swaying and the foothills are looming.

In this period of drift from place to place, "Jiangge" became the only place where Du Fu could live. Here, Du Fu not only got temporary peace, but also made many old and new friends, Su Xun being one of them. Su Xun wandered the Jianghu when he was young, and later he was admitted to the Imperial Academy. Although he is in the officialdom, he is a loner and does not be a guest of the state capital. One day, Su Xun came to Jiangge to visit Du Fu, and they were drinking wine, talking about poetry and paper, which was very harmonious. Du Fu spoke highly of Su Xun's talent, calling him "infinite in strength and touching in words." The aftertaste of the next day is still like the sound of stone. Almost written as "Pei Daozhou's calligraphy was abandoned in late autumn and sent to Su Xun to serve the royal family". "Mao Zhai set the king's castle gate, and medicine Chu old fisherman's market. Every time the north of the city meets shoulder to shoulder, Guo Nan holds an urn to hide a few ",which comes from this poem. Since Du Fu met Su Xun, they have been close friends and friends in need.

During this period, Du Fu also met his old friend and great musician Li Guinian. It is said that Li Guinian once sang Wang Wei's "When Those Red Plums Come in Spring" and "Love Spring Breeze and Bright Moon" at a banquet hosted by an interviewer in Hunan. All the audience stopped drinking and sobbed. When Du Fu lived in his aunt's house in Luoyang, he had heard Li Guinian's singing in Li Fanzhai, the king of Qi, and Cui Difu in the temple for many times, but he didn't expect to meet again in Changsha. With joy and emotion, Du Fu wrote "On Meeting Downstream": it is common in Qi Wang's family, but it has been heard several times before Cui. Never thought, in this Jiangnan scenic area; It is the season of falling flowers, and I can meet you, an old acquaintance. A few words, including the turmoil of the times, the rise and fall of the country, the exile of the people and personal joys and sorrows.

In the winter of 770, Du Fu died on a ship from Changsha to Yueyang at the age of 59.

Edit this interaction between Du Fu and Huxiang culture.

First, Du Fu culture has injected new blood into the development of Huxiang culture.

Throughout the pre-Tang period, the economy and culture of the vast southern areas of China were in a very backward state. During the Qin and Han dynasties, the southern region was just incorporated into the territory of the Central Plains, and the development of regional literature was far less than it is now. The turmoil of more than 400 years in the late Han Dynasty and early Tang Dynasty greatly slowed down the development of regional literature in this area. The backwardness of Hunan at that time was even more surprising. According to Zhang Weiran's Historical, Cultural and Geographical Study of Hunan, according to the household registration statistics of Sui Shu Geography, the population of the whole province was only 280,000 in the fifth year of Daye (609). In the third year of Zhenguan (639), the population of the whole province was 3 1 10,000. Even in the first year of Tianbao (742) more than 100 years later, the registered permanent residence was nearly 950,000. There are only 300,000 to 900,000 people in the province with nearly 2 1 10,000 square kilometers, which shows that the development level is low and the economic and cultural level is only backward. Tang was published in 1962 and 1986. Jing, Yi, central Guizhou, central Fujian, Lingnan and other counties all belong to the slave trade zone. Bai Juyi mentioned in Dao Zhou Min: Dao Zhou Min has many dwarfs, but his elders are just over three feet. It is said that in Zhongdaofu, Zhenyuan, there is a state dwarf secretariat named Gong, which is very likable. There are also many maids in monasteries in Tan Hong and other states. These examples show that the customs in central Hunan during the Tang Dynasty were ignorant.

Only in the golden historical period of the unification of Sui and Tang Dynasties did the economy and culture in the southern region develop greatly, and the southern literature began to have its own characteristics, and gradually merged with the northern literature. The main way of integration was the exchange of various personnel. The Tang dynasty strengthened its rule over the south by appointing officials, appointing officials, relegating officials, imperial examinations, hanging curtains and other means, and maintained close ties with the south. At the same time, the northern literati traveled south to the north, which is also a dynamic process in which the northern culture was exported to the south, and the vast backward areas in the south accepted the advanced culture of the north, forming regional literature.

Northern literati not only became the most important social relationship of lonely Hunan literati, but also brought the atmosphere of northern literary world. Northern scholars often go to Hunan to talk about the wall, sing peace and pay homage, which brings vitality to Hunan regional literature. It is in this social background that Huxiang culture gradually began to develop by inheriting Chu culture.

Under such a historical premise, Du Fu, as the greatest poet at that time, his trip to Hunan and his poems and relics left to future generations undoubtedly had a great influence on the blending of Hunan regional literature and northern literature, and even on his regional literature.

In the third year of Dali (768), Du Fu visited the Daolin Temple in Yuelu Mountain and had a trip to the Daolin Temple in Yuelu Mountain: "The southern foot of Yuquan Mountain is very different, and Daolin competes for land. The temple gate is wide open, and the foot of the temple is inserted into Chisha Lake. In May, the wind is cold and the Buddha's bones are cold, and the incense burner is happy at six o'clock. The spirit of the earth steps on the snowy mountain grassland, and everyone is a monk. The tower robbed the palace wall of the majestic enemy, and the abbot waded into the sea, hanging the garden to find the river. In my later years, I am happy to be close to classics. Taoyuan people changed the system, and the land in Orange Island is still fertile. Tan Fucheng is very old, and the prefect doesn't shout at the court. In the past, the decline of the world was all gloomy, but now it is fortunate to have a happy country and a small body. It's not too late to stay in the old house, and wealth and fame are not enough. For a long time, I have been looking for a secluded place for strangers, and I have learned how to avoid loneliness. Once I cover my heart again, tits are my friends. Duke Song exiled Zeng Tibi and found a place to live with the old lady. " It is also called "Four Musts" with the Song Dynasty's "Sleeping in Xiangjiang River" and later the Mutan Building. Since the middle Tang Dynasty, people have cherished them, made them into four pavilions and hung them in the temple with a poem board. The four wonders and pavilions have become a landscape in Tanzhou. Wei Chan's poem said: "Shen Pei's pen is vigorous, and Song Du's poems are elegant." This shows the infinite admiration of future generations. The scenery around Sijue Pavilion is extremely beautiful, which makes the literati's poetic interest higher. Miracle's "Friends of Huaidaolin Taoist Temple" says: "The four wonders of the Tang Dynasty are full of wood and autumn, and the green and uneven shadows overwhelm Hunan. Think about the juniper poem board and rest on the bar the next day. " A lot of poems were written in this way, and later became a collection, "New Tang Shu Yi Wen Zhi Si".

Secondly, Du Fu culture promoted the development of mourning literature in Huxiang culture to a certain extent.

After Du Fu died in Xiangjiang River, there was a tomb of Du Fu, and Du Gongbu's poems were only built for generations. Their fame shook the sun and the moon, and they were admired by future generations, and they sang many mourning poems for future generations:

Boat under Jingchu, fighting to contain the pawn, swimming in Yueyang. Nine times out of ten.

-Tang Yuan Zhen's Tomb Inscription of Du Jun, Yuan Wailang, Engineering Department.

Its pawn should be between Tan Yue and autumn and winter.

-Song Zhenghe and Feng Taizi Wang Dechen Yan Fu's "History of Lady" in five years.

When the water meets the murmur, the heavenly heart is deep. Waiting for death in the Ministry of Industry to accompany the doctor's soul. Wandering through the ages Sao * * * a source. It's cold in the west.

-Vae wasteland "Du Gongbu's Tomb"

The admiration of Du Fu by scholars in past dynasties undoubtedly influenced the development of Huxiang culture subtly.

Third, Du Fu's "epic" left a fortune for Hunan's historical investigation.

Du Fu's poetic orientation is called "the history of poetry", and his creation in Hunan has played this function without exception.

For example, Du Fu left Changsha and went upstream to Hengzhou to find Wei Zhijin after writing "A Trip to Erh Lin Temple in the Foothills". Only when I arrived in Hengzhou did I know that Wei Zhijin had been transferred to Tanzhou Secretariat not long ago, but they just missed it on the way. Du Fu hurried back to Changsha, but Wei Zhijin died suddenly a few days ago, leaving Du Fu in a deep predicament. He had to live in a boat on the river for the time being, and sometimes he lived in an attic on the river. Life is uncertain, and he can only get a little help by giving poems. This kind of hard life of "starving every family, worrying about collecting cups everywhere, baking leftover cups cold, hiding sadness everywhere" made old Du Fu even more depressed. However, in such a predicament, Du Fu is not only sad for his own life experience, but also worried about the world and loved the whole world. He wrote about the sufferings of the people, saying that "all the people are lost, and the group is fierce and greedy for fat"; Write that Tubo invaded from abroad, and the town was arrogant and inward, "opening blood, mourning for today"; Writing about the cruelty of war, "Many people died in confusion and cried like tears"; Compared with those who died in the war, I still have a boat to live in and wash. "Although the boat is bitter and hot, it can be filled with dirt. Hurt the people on the other side of the road, deformed and dizzy. " These poems truly described the social features of that turbulent era and left a page of Changsha poetry history for Changsha. Du Fu stayed in Hunan for more than a year, leaving behind nearly a hundred poems. These poems were written in the last few years of Du Fu's life, which was also the most lonely moment in his life. Therefore, most of them are the portrayal of his bleak and wandering life, showing his loneliness in the rivers and lakes in his later years and his feelings of caring for the safety of the world and the suffering of the people. Some of these poems vividly describe the scenery and human feelings of Changsha at that time, which makes people feel cordial to read.

Fourthly, the feelings of worrying about the country and loving the people in Huxiang culture coincide with Du Fu culture and complement each other.

It is said that the most obvious feature of Hunan people is bullying the weak and fearing the hard. In fact, we can completely understand the characteristics of Hunan Derman in three layers, which has been proved by countless historical facts since the ages. These three levels are:

As the predecessor of Huxiang culture, the primitive layer of Chu culture characteristics is its "barbarism" with primitive wildness. The connotation of this "savage" feature includes the natural environment of "Yuan has life and Yuan has orchids"; Including "Brought Up by Li Xue" costumes; Including the folk custom of "believing in ghosts and worshiping temples", including the hard-working entrepreneurial spirit of "smashing roads and blue plumes" (Chu's).

The second level of "savage" cultural material is strong local consciousness and homesickness complex. This kind of emotion is particularly strong and prominent in Chu people, including Huxiang. Li Sao said: "I was promoted to emperor and suddenly came to my hometown. The servant is sadder than the horse, and he can't do it. " Xiang Yu and Liu Bang are both Chu people. After the victory, they all wanted to return to their hometown. All these show a strong local consciousness and homesickness and homesickness complex.

The third level of "barbarian" cultural characteristics is patriotism. The country and towns are an inseparable whole, but loving home, hometown and patriotism are not the same thing, they are different in scope and level. Only patriotism is the noblest and most extensive love, which belongs to the highest realm. We can also say that patriotism is the strongest and most persistent of Chu people. Beauty is persistence. This change and persistence can be seen from the proverb "Although Chu has three households, Qin will perish". Qu Yuan is the concentrated expression of this patriotic spirit. In his immortal work Li Sao, "one article has three respects".

Regardless of the significance of the first level, most of Du Fu's poems handed down in Huxiang reflect our strong homesickness and patriotic feelings. Let's not say that this is the result of the integration of the two cultures, at least the further integration of the two does not provide a breakthrough point, but it is worth mentioning that our Huxiang people's concern for the country and the people is more reflected in joining the WTO and being the first in the world. Du Fu, on the other hand, basically showed sympathy for others in his later years.

Reflections on Huxiang culture in this paragraph

First, the arrogance and prejudice of Huxiang culture-Du Fu was forced to find his own way out in his later years.

As we all know, any culture is the product of human adaptation to the environment. Huxiang culture is no exception. Professor Zhu believes that Huxiang culture has two origins: First, the Central Plains culture goes south. Under the background of the shift of cultural center of gravity to the south, Hunan has become a province with Confucian culture as its orthodoxy, and has been called "Xiaoxiang Bamboo Silk" and "Man Jing Zou Lu" by scholars. Followed by the local culture before the Tang and Song Dynasties, including Jingchu culture. These two origins affect two levels of Huxiang culture respectively. However, it is undeniable that the great intellectuals exiled to the Central Plains played a key role in the southward infiltration of Central Plains culture. However, the inevitable impetuous resentment of the exiles also deeply influenced and infected the Chu people, which was manifested in the lack of calmness and gentleness of the Central Plains culture and the urgency of giving to the world. Therefore, although the glory of Huxiang culture makes Hunan people take the world as their responsibility and dare to be the first in the world, it also produces a morbid personality of arrogance. Over time, it has evolved into the arrogance and prejudice of Huxiang people's behavior. In today's Hunan, we often flaunt that "prosperity in the future depends on talents in Chu", "no army without Hunan" and "going to river of no return is nothing more than the aftermath of Hunan water", and often call ourselves "Xiang Army", such as Xiang Army in literature, Xiang Army in publishing, Xiang Army on TV, Xiang Army in sports and so on. Let Hunan people more expose their arrogance and prejudice.

In fact, Hunan has long been a "wild land" in history. Sima Qian used "Man Jing" and "Chu people" when referring to Wu and Chu respectively. Because of its remoteness and backwardness, Hunan has always been the home of the frustrated. First, Qu Yuan and Jia Yi were exiled to Hunan. As a result, Qu Yuan threw a stone into the water, and Jia Yi died prematurely as an exile. Later, Du Fu, an old and frail poet, drifted to Hunan. A year later, he suddenly realized that "it is a shame to send shoes on the side, but it is not my soil that is tired of going upstairs." The old man also wanted to find a way out, but he was "fascinated by his way home and cried all over Xiangjiang River" and finally died on Dongting Lake.

Around 805 AD, Du Fu was still drifting on Dongting Lake, and a group of people drifted to Hunan one after another. They are Song, Meng Haoran, Zhang Jiuling, Liu Yuxi, Han Yu and Liu Zongyuan. After the Southern Song Dynasty, the national political, economic and cultural center moved to the south, and Hunan remained outside the center. "Suzhou and Shanghai are ripe, and the world is full", "Tide stones are more than Jiangxi" and "No town and no emblem" are all irrelevant Hunan. At the same time, Hunan has no location advantage. At that time, there were two main roads between north and south, one passing through Jiangsu and Zhejiang, and the other entering Guangdong through Anhui and Jiangxi, all bypassing Hunan, which itself was located in the inland of Central China, and there was no direct access to the sea, which further restricted Hunan's economic development. In the Qing Dynasty, "it was not until it became rich in wealth that it became an enemy of the Soviet Union and Yi Song County". Although its position changed slightly in the planned economy era, today, its position is not far from that of the Manchu era. The so-called "success depends on success, talent depends on success" is also not in line with historical reality. There are 5783 people recorded in the Twenty-four History, and only 57 people in Hunan. After entering modern times, Hunan produced several heavyweight political elites, which made Hunan famous. But when it comes to culture, there are not even that many cultural celebrities in Jiangsu and Zhejiang provinces. All kinds of phenomena are worthy of reflection by every conceited Huxiang person.

Second, the attitude towards culture-"practical" means "quick success and instant benefit"

This paper discusses the motivation of Changsha municipal government-a group of Huxiang people to build Du Fu Jiangge. Is it to inherit and carry forward a culture, to commemorate a great poet, or simply to increase a tourist attraction in Changsha? The author did a little search for "Du Fu Jiangge" on the Internet, and many links popped up, but the words I saw the most were "tourist attractions" and "ticket income", so I was confused. "On Practice" emphasizes that culture should serve reality, but can serving reality lose the meaning of culture? In addition, some people put forward the view that even ordinary members of the "famous historical and cultural city" under construction, especially the decision-makers in the construction of this famous city, only know Du Fu's name, or only know that Du Fu has been to Changsha, wrote Changsha poems and lived by the Xiangjiang River in Changsha, which is probably not enough. It is necessary to re-locate the relationship between urban construction and historical orientation in connection with the cultural, economic and social development of Changsha today, and re-examine Du Fu's poems and their weight. In a sense, both citizens and policy makers can learn from Du Fu's experience in Changsha's urban construction and integrate historical circulation with contemporary urban construction and development, which can not be ignored in "running a city", so as to find the best combination point and realize the "win-win" of culture, civilization, articles and economic growth, which will actually be like a "long flame" and last forever. Whether economic development and cultural upgrading should be discussed together and whether they can win together is also a question worthy of our consideration.