Since the four masterpieces, few great works have appeared in China. Not only now, people in the past have also been looking forward to the coming out of great works.
Chairman Mao is one of those people who are looking forward to it.
When Chairman Mao was young, he had a high pursuit and attainments in literature. He believed that "literature is the foundation of a hundred studies", he wrote when he was studying in Hunan High School In a well-known composition " Shang Yang's Immigrating Wood Lixin Theory", the Chinese teacher wrote many comments and gave the students "passing the concept". One comment said: "The experience is a masterpiece, and it is perfected. Writing is a great tool by itself, and with the added work, I don’t know what it is.” It can be seen that the teacher is looking forward to this student and has the potential to create great works.
According to the diary of Chairman Mao’s good friend Zhang Kundi, in September 1917, when they were playing together, Chairman Mao said in a big way:
There are great philosophical revolutionaries and great ethical revolutionaries in the country, such as Russian Tolstoy and others, to wash the old thoughts of the people and develop their new thoughts."
In Chairman Mao's mind, what China needs is A great writer like Tolstoy is a great work that can bring thought to China. He once admired Kang Liang and Chen Duxiu at one time. He believed that they "have great courage, which is not comparable to today's popular science." He especially respected Lu Xun and regarded Lu Xun as a great standard-bearer of the new cultural revolution.
If China wants to produce big works, it must first destroy the power and cage of the ideas that constrain the big works. It requires a "big fight", "from thinking, literature, politics, religion, and art", all must "change the old view." . Chairman Mao once screamed for this, founded publications, wrote articles, weaving and weaving society, and rushed to call signs.
July 21, 1919Chairman Mao advocates the spirit of "research" and "criticism" in the constitution drawn up for the Hunan Health Association, advocates the liberation of "individuality", opposes the dignity of teachers, and demands to break the power of the ideological circle. He said:
"Old What my husband dislikes most is arrogance. Don’t you know that the true theories and great careers of ancient and modern times are all invented and created by arrogant people named as arrogant. We live in this complicated society, a world of treacherousness, Without the spirit of criticism, it is easy to be slaves to others....Like we oppose Confucius, there are many other reasons. This alone dominates China, so that we cannot be free in the ideological world, and we are depressed to be slaves to two thousand years of idols. It is also indispensable."
What Chairman Mao is trying to change is the general environment and "objective social reasons". For the artist himself, what is needed to become a great artist and produce great works What about the elements? Chairman Mao has his own insights.
On April 28, 1938, Chairman Mao delivered a speech at the newly established Lu Xun Academy of Art, hoping that " and Luyi" would create "rich ideals" A group of literary and art workers with experience and good artistic skills", he believes that these three conditions are essential elements for becoming a great artist. He said:
"China has not produced great works in recent years. Naturally, there are objective social reasons, but from the perspective of writers, it is also because there are too few who can fully meet these three conditions."
, He said:
"You should not be artistic workers who can only simply describe social life, but should have lofty ideals for fighting for the new China. Working for a new democratic republic, we must not only work for a democratic republic, but also have the ideals of socialism and even communism. Without this great ideal, one cannot become a great artist."
Regarding rich life experience, he Said "Without a wealth of practical life experience, it is impossible to produce art works with substantial content.To create great works, one must first enrich one's own experience from actual struggle. "He used Lu Xun's translation of the Soviet writer Fadeev's " Destruction" in "The Art of Adjusting Horses" and "A Dream of Red Mansions" describing , Liu Xianglian, and after Xuepan. "Leading a horse to recognize the stirrup" as an example to illustrate that "a great writer does not sit in a room and write by imagination. Things written like that are not acceptable." "He asked Lu Yi's young art workers, "The world now belongs to you, and it is your activity field." If your art works must have substantial content, you must draw nourishment in real life. He called on the young people to dismount to look at flowers and go to the masses. He said:
"Although artists must have great ideals, but small things like saddles must also be studied practically. In the past, a person who studied "A Dream of Red Mansions" said that he had actually inspected Grand View Garden . Now your "Grand View Garden" is the whole of China, and all of you young art workers are Jia Baoyu or Lin Daiyu in the Grand View Garden. You must live in this Grand View Garden and take a look at it. In your work, the ‘Outline’ is the whole of China, and the ‘Xiaogang’ is Mount Wutai.
The "Wangtai Mountain" mentioned by Chairman Mao here refers to the Wutai Mountain area, which belongs to the Jinchaji Anti-Japanese Base Area. Chairman Mao's intention is to let young artists go deep into the base area and write in-depth reflections of the anti-Japanese military and civilian battles. The works of life come.
Regarding artistic skills, Chairman Mao believes that “without good skills, one cannot effectively express rich content. "Therefore, he hopes that the young people "must work hard to learn and master artistic skills.""He especially emphasized the importance of language, especially popular language. "I think Mr. Lu Xun has studied popular language. "To gain popular language, Chairman Mao believes that the best way is to "go to the masses." Only by going to the masses can you learn the real language and really improve your artistic skills. He said:
"Summer evening The farmers took the shade, sat on the benches, holding large banana fans in their hands, and told stories. They also understood Mr. Hu Shizhi’s Eight-Father Doctrine. They didn’t need any allusions, but the stories they told were so rich in content and beautiful in words. . These farmers are not only good essayists, but also poets. There are many good poems in folk songs. When we used to work at the school, we asked our classmates to collect songs from all over the country during the holidays, and there were many good things in them. There is a great inconsistency here, that is, people with rich life experience and beautiful words cannot write. On the contrary, many people who can write only sit in urban pavilions, lack
, and lack rich life experience. Be familiar with the vivid language of the masses. We all know Gorky . His life experience is extremely rich. He is familiar with the life and language of the lower classes in Russia, as well as the actual situation of other classes in Russia, so he can write so many great works. "
Mr. Hu Shizhi’s "Eight No Doctrines" mentioned by Chairman Mao here is Hu Shi in " literary reform " and "constructed literary revolution theory" some of the propositions of literary reform, summarized There are eight points: one is not to write "nothing to say" words; the second is not to make "no disease moaning" words; third is to not use allusions; fourth is to not use platitudes; ; Sixth is not to make ungrammatical characters; seven is not to imitate antiques; eight is not to avoid slang words.
May 28, 1942, Chairman Mao in the Central Study Group meeting On the arrangement and arrangement of the integration of literary and art workers with workers, peasants and soldiers, he pointed out that the foundation of literary and art artists is workers, peasants and soldiers. Only on this basis can "their works bloom."Chairman Mao also pointed out that literature and art are from the low-level to the high-level, "from the budding state to the high-level, to the most exquisite of Tolstoy, Gorky, and Lu Xun. "Therefore, he put forward the general policy of literary and art work:
"Our general policy is to strive for the integration of writers and artists with the majority of workers and peasants, so that they fancy low-level things and fancy ordinary literary and art workers.
Chairman Mao further explained this policy. He said that literary and artistic experts should absorb nourishment from the people and ordinary literary and art workers, otherwise they would "hang in the air", which is very dangerous. He said:
"Senior literary and art workers can only find a way out if they have contact with ordinary literary and art workers and the people. Only when they have the masses, can they have milk to eat. This is given to him by the common people, otherwise it is empty. "
At the same time, literary and art workers have to accept certain leadership to have the correct direction of creation. He said:
"If there is no commander-in-chief, its direction will be wrong. Lu Xun and Gorky are equivalent to the commander-in-chief, and their works and what they say are used as direction guides. If the ordinary literary and art worker does not have high-level guidance, his direction may be wrong, and he will stay in the low-level stage for a long time and cannot improve.
Chairman Mao proposed three reasons why China failed to produce great works. They are also the three directions of China’s efforts to produce great works. Although the content of each era is different, The characteristics of the times are different, but the paths pointed to by these three directions are absolutely correct guidelines. Deviations from these three directions will deviate from the direction in which the great works are produced, and become farther and farther away from the production of great works in China.
Chairman Mao puts lofty ideals first, and it makes sense. This is a general direction. Only with lofty ideals can the grand narrative be integrated with the laws of historical development and closely related to the correct direction of historical development. In connection, the large structure of the work can stand up. Artists who do not have lofty ideals often deviate from the general direction of historical development. What you see in the work is often only self-sorrowful, gloomy and dim,And you can't see the distant avenues and open fields, you can't see the gushing sun and the flowers blooming on the hillside. Those so-called " scar literature", the so-called "exposure literature", and the so-called "super-class humanity" literature are the literature without lofty ideals. Its literary vitality is short-lived, and its limbs are The weak, placed in the long river of history, cannot withstand the erosion of history, and being buried in the silt is their common destiny.
It is reasonable for Chairman Mao to put rich life experience second. Workers, peasants and soldiers, and the masses of the people are the foundation of society and the biggest carrier of culture. They represent the greatest "human nature" of society. If you don't write about them, who would you write about? The masses of the people are the source of literary and artistic works. The masses of people contain inexhaustible creative materials. They are the "parents of food and clothing" of the art workers. Great works will inevitably be produced in the treasure house of the masses of the people. Therefore, Chairman Mao said:
"Artists should learn from the workers, peasants and soldiers, and be friends with the workers, peasants and soldiers, like brothers and sisters."
And those who have no feelings with the people, do not like workers and peasants, and even feel right in their hearts. The masses of the people still have some resentment artists. Can he be like brothers and sisters with workers, peasants and soldiers? Obviously not, so the things he writes do not have any real feelings in it, and are not close to the public. Such works, because it is impossible to draw a steady stream of water from the public, are often dry and dry. Fabricated, groaning without illness, far from the real life of the people, it is boring to watch. Such works, because they are not rooted in the real people, even if they flourish for a while, they can’t escape a flash in the pan and lively for a while. The flowers fell helplessly.
If you do not have lofty ideals and rich life experience, and you are keen to engage in literary and artistic skills and engage in "art for art", you will become a tree without a root, a water without a source, and it is not far away.
From October 1975 to January 1976, Chairman Mao delivered several important speeches, one of which said:
"I suggest reading some philosophy in one or two years.Read about Lu Xun.
Chairman Mao has always been obsessed with Lu Xun, and he has never forgotten that China produces great works.
If China wants to produce great artists and produce great works of Chairman Mao, it has to be pointed out. Work hard in three directions, without one. If you always revolve around yourself, around the Vanity Fair, around yourself, think carefully, around in a small circle, without lofty ideals, and unwilling to talk to the people If you make friends like your own brothers and get the material, you will definitely not be able to transfer any big works.
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