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In 2022, an unexpected storm swept through China's education sector. The illustrations in the Renjiao version of the mathematics textbook have sparked nationwide skepticism and outrage.
In these seemingly ordinary textbook illustrations, there are unsettling details: the characters are distorted and hateful; Vulgar content abounds, and even elements suspected of glorifying the Japanese army invading China have appeared.
What is even more shocking is that these textbooks have been quietly used for almost a decade.
Lu Jingren's resume is nothing short of perfect: he has been a key figure in the Chinese publishing industry, a leader in design education, a trendsetter in the cultural and creative industries, and a perennial active participant in international exchange activities.
His talent and achievements have earned him numerous accolades, making him a benchmark in the design world in China and even in Asia.
However, as the investigation deepened, people began to notice a striking feature of Lu Jingren's work: the use of a large number of Japanese elements. This tendency has continued throughout his career, and while it has caused discomfort for some, most have chosen to remain silent given his status and influence.
When the "poisonous textbook" incident broke out, people began to re-examine Lu Jingren's works and behaviors. Once seen as a symbol of innovation and internationalization, he is now questioned about whether there is an inappropriate cultural preference.
As the investigation progresses, Lü Jingren's family background gradually emerges, adding a new dimension to the puzzle. People are beginning to look back at his upbringing, trying to understand what kind of background shaped his values and aesthetic orientation.
This turmoil not only shook Lu Jingren's position in the design world, but also triggered people's deep thinking about cultural identity and educational responsibility. A figure who was once regarded as a role model in the industry is now standing on the cusp of public opinion.
This dramatic change is not only a personal test for Lu Jingren, but also a warning to the entire design and education community.
To unravel the mystery of Lu Jingren, we must go back to his family history. The story of the Lu family is a complex narrative of power, wealth, and identity, and a microcosm of modern Chinese history.
In 1947, Lu Jingren was born in a wealthy family in Shanghai. It was a turbulent time, and China was in the midst of internal and external troubles. However, in such an environment, the Lu family lives a different and superior life.
Lü Jingren grew up worry-free and enjoyed a life of fine clothes and food, which was in sharp contrast to the difficult situation of most Chinese at that time.
The Lü family were originally merchants engaged in the silk trade, but their wealth accumulation had an unknown side. During the Japanese occupation of Shanghai, when other merchants fled or were attacked, the Lu family was not only safe and sound, but their business was thriving.
They became Japanese agents in the commercial sphere of Shanghai, enjoying the special "dividends" brought by the war.
This special status was fully reflected in the wedding of Lu Jingren's father. At the wedding, the Japanese government congratulated in a high-profile manner, and many Japanese businessmen and military officers came to congratulate them.
This scene vividly shows the close relationship between the Lu family and Japan, and also lays the groundwork for the fate of the Lu family in the future.
However, as the shadow of Japan's defeat loomed, the shrewd Lu family began to plan a way back for themselves. They used their accumulated wealth to donate aggressively, successfully packaging themselves as "national entrepreneurs".
This not only saved them from the post-war liquidation, but also allowed them to perpetuate their family's influence and wealth.
Lu Jingren, who grew up in such a family atmosphere, naturally accepted the family's values and philosophy. Many of his relatives chose to settle abroad after graduating from university, with Japan becoming the first choice.
The Lu family, to a certain extent, has become a "pro-Japanese family" left behind.
This family history has undoubtedly had a profound impact on Lu Jingren's values and life choices. It explains why he became so passionate about Japanese culture, and it sets the stage for his later actions.
However, this history also became a heavy burden for him to face doubts and criticisms in the future.
The story of the Lu family is not only the intimate history of a family, but also reflects the complex face of Chinese society in that special period. It reminds us that the shadow of history can last for generations, influencing the thoughts and behaviors of future generations.
For Lu Jingren, this family past is both the cornerstone of his success and the source of his eventual controversy.
With the imprint of the family, Lu Jingren's life trajectory seems to have been predestined. After graduating from the Fine Arts Department of Harbin Normal University, he decided to study in Japan, a choice that stemmed from both his family's influence and his admiration for Japanese design.
In Japan, Lu Jingren had the privilege of studying under the famous designer Kohei Sugiura, and this experience had a profound impact on his career.
During his time in Japan, Lu Jingren not only learned advanced design skills, but also was deeply attracted by Japanese culture and aesthetics. Under the careful guidance of his mentor, his talent was fully developed.
Like a rising star, Lu Jingren quickly made a name for himself in the international design world and frequently won various international awards.
However, along with the sense of accomplishment came the further expansion of his inner psychology of "admiring the foreign and flattering the outside". He became convinced of the supremacy of Japanese design and aesthetics, and this mindset continued to manifest itself in his later work.
After returning to China, Lu Jingren's career development was smooth sailing. His popularity in China has grown day by day, and he has even been invited to be a professor at Tsinghua University and successfully joined the China Youth Publishing House.
However, there is always a great deal of Japanese elements incorporated into his work, a tendency that, while causing some discomfort, is rarely openly questioned given his status.
In 1998, Lu Jingren made a surprising decision: he resigned from his position at the Youth Publishing House. In an interview with the media, he bluntly said that China's concept of publishing is too outdated, far less advanced than Japan's, which seriously constrained his creative inspiration.
This statement caused quite a bit of controversy at the time, but was quickly diluted by the torrent of time.
Subsequently, Lu Jingren and his protégé Wu Yong co-founded a studio focused on the writing and design of teaching materials. In this team led by him, everyone has a similar philosophy: to celebrate foreign cultures, especially Japanese and Western design ideas.
It was under this guiding ideology that the illustrations of the textbooks, which later caused great controversy, gradually took shape.
To a certain extent, Lu Jingren's career trajectory reflects the challenges and contradictions faced by the Chinese design community in the process of internationalization. His success is a testament to the importance of an international perspective, but it also exposes the crisis of cultural identity that can arise in the pursuit of internationalization.
This contradiction finally reached its climax in the "poisonous textbook" incident, which became an opportunity for the entire industry to reflect.
In May 2022, a storm in the education world suddenly erupted. The topic of "People's Education Edition of Mathematics Textbook" was like a bomb, detonating on social media.
Netizens were shocked to discover that these seemingly ordinary illustrations of the textbook actually concealed disturbing details: distorted characters, inappropriate behavioral implications, and even elements suspected of glorifying the Japanese invasion of China.
As the discussion deepened, people's anger and confusion grew. These textbooks have been in use for nearly 10 years, but no problems have been found. Under the pressure of public opinion, the relevant departments quickly launched an investigation process.
At the same time, netizens also started a spontaneous "human flesh search" in an attempt to find out who was behind the scenes.
The focus of the investigation soon gathered on the "Beijing Wuyong Design Studio". As more information came to light, people were surprised to find that the studio had close ties with the well-known designer Lu Jingren.
What's even more shocking is that not only Lu Jingren himself was involved, but his son Lu Min and his protégé Wu Yong were also involved. This discovery makes the whole affair even more complicated and shocking.
After months of investigation, in August 2022, the results of the investigation were finally announced. The measures were remarkable: those responsible for the publishing house were given severe administrative sanctions, and Lu Jingren and his team were permanently banned from working on the design of national textbooks and other related work.
Although some netizens believe that such a punishment is not enough, it has undoubtedly cast a shadow over Lu Jingren's brilliant career.
This turmoil is not only a punishment for individuals, but also a profound reflection on the entire educational publishing system. It exposes the loopholes in the long-standing textbook review mechanism and the cultural identity bias of some designers.
This incident became an important turning point in China's education and publishing circles, prompting the relevant authorities to re-examine and improve the whole process of compiling, designing and reviewing textbooks.
The "poisoned textbook" incident was like a wake-up call, which deeply shook China's education and publishing circles. After the turmoil subsided, the relevant departments quickly launched a comprehensive rectification of teaching materials in an effort to restore public confidence.
In the new edition of the textbook, the controversial content has been completely cleaned up. Instead, there are illustrations full of positive energy and Chinese characteristics. The characters in the textbook have also been redesigned to be closer to the spiritual outlook of Chinese youth in the new era.
This change is not only a response to public concerns, but also reflects the determination of the education sector to cultivate socialist builders and successors with all-round development of morality, intelligence, physical fitness, aesthetics, and labor.
However, the impact of this incident goes far beyond that. It has triggered a deep reflection on the textbook editing and review system, and prompted the relevant departments to strengthen the monitoring of the quality of textbooks.
A new vetting mechanism was established to ensure that every textbook can withstand the scrutiny of the public.
At the same time, this event also reminds us that while pursuing innovation and internationalization, we must not forget to inherit and promote national culture.
Although the "poisoned textbook" incident has come to an end, the lessons it leaves behind will have a long-term impact on China's education. We hope that after this turmoil, future teaching materials can truly become spiritual food to nourish the next generation, and lay a solid foundation for cultivating the future pillars of the motherland.
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