First, we, we stand side by side under the Tianhe River.
The world has fallen asleep.
Double stars in the sky
Reflected in our hearts.
We held hands and looked at the sky without saying a word.
Mysterious tremor.
Deep in our hearts.
Chapter 2 Relieve the last coolness in my heart
When is it free?
The moon of the Milky Way shines on my upstairs.
The flute is far away.
The coolness of the moon
Inner calm
Into the coolness of the universe.
The bright moon on the east coast tonight
Reflected in the heart.
I stood quietly by the sea.
Listen to the clear sounds of the stars and the sky.
A lonely flower sleeps beside me,
I tasted the fragrance in her dream.
Ah, dreams! Dream!
Dream of the bright moon!
She's looking for the girl of her dreams,
I'm thinking about my hometown under the moon!
Four poems about the tree of life
Carve a flower
Xie fu in my arms:
I gently pressed it on my heart.
She felt the music in her heart.
Into a little poem.
Sunglow
Wash my early soul.
The moon on the horizon
Still like my dream last night.
Background Mr. Zong Baihua (1897? 1986), a native of Changshu, Jiangsu Province, was born in a foreign family in Xiaonanmen, Anqing City, Anhui Province. When Anqing was 8 years old, she went to Nanjing to attend primary school with her father, so she often called herself? Half an Anhui person? . He has been studying all his life.
Yan Yi, who is proficient in Chinese and Western aesthetics and various artistic theories, is an aesthetician who has won the soul of China's classical aesthetics. In the 1920s and 1940s, Mr. Zong taught at Nanjing Central University, also known as Mr. Deng Yizhe of Peking University? South Zongbei Deng? Together with Zhu Guangqian, who returned to China in 1933 and taught in the Department of Western Languages in Peking University, he became three famous aestheticians at that time. Fortunately, Teacher Deng is from Huaining, Anhui, and Teacher Zhu is from Tongcheng, Anhui, so two and a half of these three scholars are from Anhui. Three aestheticians, Deng, Zhu and Zong, have made great contributions in the history of modern aesthetics. They have made important explorations and accumulations on the basis of the integration of classicism and modernity, China and the West, and aesthetic theory and artistic practice. This is Mr. Zong Baihua and? History of Chinese aesthetics? Reflections on the research and writing of ….
The complex of writing history lies in that most scholars devote their lives to specialized knowledge, and the accumulation of knowledge and the love of love often give birth to it. History? Ambition, that is, the idea of writing a special history of this subject, can it be called a scholar? Write a historical complex? . This is not surprising. Among the China scholars in the 20th century, many have written special subject histories, such as Liang Qichao's Academic History of China in the Past 300 Years, Hu Shi's Outline of China's Philosophical History, Feng Youlan's Philosophical History of China, Zheng Zhenduo's Illustration of China's Literary History, Guo Shaoyu's History of China's Literary Criticism and Liu Yi's Chinese Culture.
Other scholars, such as Wen Yiduo and Lu Xun, once wanted to write a book that has been circulated for thousands of years. History of China's Great Literature? My long-cherished wish. However, due to many changes and external interference, their wishes failed to be finally realized and became a kind of? Last wish? . It will be a lasting regret for scholars themselves and China's academic history to describe the disillusionment of historical aspirations. Scholars are keen on writing history, and their original intention is nothing more than to show their academic insight and strength through the writing of special history of this discipline, and to reflect the overall grasp of the research field through writing history, thus occupying the commanding heights in the research of this discipline.
The historical trend of lifelong regret has also aroused our curiosity in modern academic history, and explored Zong Baihua and? History of Chinese aesthetics? Write a regret of missing. Mr. Zong once wanted to write one in the aesthetic craze of the 1960s? History of Chinese aesthetics? However, due to the different opinions of the team members who wrote the History of Chinese Aesthetics at that time, Zong Baihua failed to complete his fruitful academic career according to his own wishes. Writing history? Desire finally turned into a bubble of dreams. At that time, the aesthetic history plan of abortion lasted for decades. Although a large number of works on the history of Chinese aesthetics have appeared today, their academic value remains to be tested. As far as the types we can see today are concerned, most of them are not satisfactory. After all, an aesthetician like Zong Baihua who has academic background and is proficient in all kinds of Chinese and western arts has not yet appeared. Mr Zong is certainly not an insurmountable academic peak, but as far as China is concerned, the basic conditions for producing such a master as Zong Baihua are not yet available. So, Mr. Zong's unfinished work? History of Chinese aesthetics? , will be a permanent lack of academia, which is thought-provoking.
Disciple Memories According to the memoirs of Mr. Zong's disciple Lin Tonghua, we can see that the subjective and objective conditions for Zong Baihua to compile the History of Chinese Aesthetics in the 1960s were quite mature. Subjective conditions can be clearly recognized: Mr. Zong has laid a deep foundation of classical literature since he was a child, and then studied in Germany, deeply nourished by the spirit of German classical philosophy and modern artistic thoughts; He himself is interested in all kinds of arts, especially China's appreciation of calligraphy, painting, poetry and garden architecture, which is beyond doubt. Mr. Zong is also a poet. His poetic language and intuitive wisdom left a deep impression on us in the poems "Walking Clouds and Flowing Water" and "Aesthetic Walking". All these show that Mr. Mingzong is capable? History of Chinese aesthetics? The preparation work.
Objectively speaking, at that time, many scholars in domestic philosophy and aesthetics, especially master scholars, were still alive, such as Zhu Guangqian, Deng Yizhe, Feng Youlan and Tang Yongtong, and they could exchange needed goods academically. From 65438 to 0952, the national colleges and universities carried out large-scale adjustment. The disadvantages brought by this integration are quite serious. For example, Tsinghua University's philosophy and literary tradition were cut off, and Tsinghua's humanistic background was taken away and turned into a university of science and engineering. It is difficult to continue Tsinghua's humanistic tradition after 1990s. However, the integration of colleges and departments in colleges and universities is a blessing for the philosophy department of Peking University. At that time, the philosophy departments of all universities in China were merged into Peking University, and the philosophy department of Peking University became the only philosophy department in China. After this adjustment, Mr Zong Baihua was transferred from Nanjing University to Peking University, and Professor Deng Yizhe from Tsinghua University was also transferred to Peking University. Together with Mr. Zhu Guangqian from the Department of Western Languages of Peking University, Peking University's academic strength in aesthetics has reached its peak. Therefore, the objective conditions for Zong Baihua to write the history of Chinese aesthetics are unique.
In addition, Mr. Zong advocates that aesthetic research should be linked with other people's art, and pay attention to the progress of ancient history research. Unearthed cultural relics and new archaeological discoveries are of great help to understand and deeply understand ancient aesthetic consciousness (and there are many new archaeological discoveries in the 1960s). He once said? The study of aesthetic history is inseparable from historical materials, especially archaeological discoveries? . It is conceivable that if Mr. Zong could do it at that time? Studying history? In the 1980s, with the new progress of archaeology in China, some new materials were added to make this one? History of Chinese aesthetics? Glory to future generations. Unfortunately, none of this has come true. This kind of loss belongs not only to Mr Zong Baihua personally, but also to the whole aesthetic circle and even the whole academic circle in China.
So, what is the real reason why Zong Baihua failed to write history?
According to Professor Ye Lang from the Department of Philosophy of Peking University, 1962, the State Council appointed Zhou Yang to preside over the compilation of college liberal arts textbooks. At that time, three aesthetic textbooks were included in the compilation plan, one of which was An Introduction to Aesthetics edited by Wang Chaowen. The other is the History of Western Aesthetics written by Mr. Zhu Guangqian alone. There is also a History of Chinese Aesthetics edited by Zong Baihua. The History of Western Aesthetics was successfully published in the 1960s, and The Introduction to Aesthetics was officially published in 198 1, but the History of Chinese Aesthetics died. Finally, Min He was responsible for compiling two volumes of Selected Materials of Chinese Aesthetic History. This is the basic situation at that time.
Academic Disagreements In the 1960s, Mr. Zong began to edit The History of Chinese Aesthetics, and talked with Mr. Tang Yongtong about the special methods and opinions of studying China's aesthetics. Both Mr. Tang and Mr. Zong emphasized that China's aesthetics should collect information from a broader background and proceed from the aesthetic thoughts summarized in artistic practice. Mr. Tang even thought that the graceful and restrained records in the Tripitaka might be useful for aesthetic research. Mr. Zong agrees with Mr. Tang's point of view, emphasizing some literati notes and artists' experiences. Although they are few words, they can occasionally find profound aesthetic opinions. Later, the compilation of the History of Chinese Aesthetics failed to come out as smoothly as Mr. Zhu's History of Western Aesthetics, because the participants had different opinions and did not try according to Mr. Zong's profound views on artistic practice and Mr. Tang's research methods on Buddhist aesthetic thought. It is a very arduous task to sort out a large number of notes on the history of Chinese aesthetics left by Mr. Zong. (Appendix to Volume IV of Complete Works of Zong Baihua, Anhui Education Press 1994)