The Paper's reporter Wang Yi
On the afternoon of April 21, the Museum of Modern Chinese Literature issued an obituary, and Shu Yi, honorary member of the National Committee of the Chinese Writers Association, former director of the Museum of Modern Chinese Literature, librarian of the Central Research Museum of Literature and History, a famous social activist, and the son of Mr. Lao She, died at the age of 86 in Beijing at 14:16 due to ineffective medical treatment.
On January 19, 2015, "Lao She Qingdao Anthology" was first released at the Qingdao Camel Xiangzi Museum, and Mr. Shu Yi, son of Lao She, appeared at the launch ceremony. Visual infographic of the people
Undoubtedly, the Museum of Modern Chinese Literature, which houses many manuscripts of modern and contemporary literary masters, letters, daily objects used in his lifetime, and related audio and video materials, is a holy place for literary lovers all over the world to make pilgrimages. Looking back, the new Museum of Modern Chinese Literature, located in Qianyaoju, Chaoyang District, Beijing, was officially opened to the public after the "May Fourth Youth Day" in 2000. Anyuan East Road in front of the museum site was also renamed Literature Museum Road at the same time, and the city street was named after a cultural institution, which was rare before. The new museum was completed, and the first director was Shu Yi.
The picture shows the Museum of Modern Chinese Literature under the cover of magnolia flowers. People's Vision Infographic
More than ten years ago, the author had the privilege of listening to director Shu Yi introduce the new museum. He was born with a Chinese character face, thick eyebrows and big eyes, and his speech was very infectious. When it comes to two design highlights, I still remember it vividly: when guests knock on the door of the Museum of Literature, they can touch Ba Jin's hand model - the Museum of Modern Chinese Literature was first established by Ba Jin in the 1980s (in "Caprice", there is an article titled "Museum of Modern Literature"). Casting his hand in bronze as a seal is not only to commemorate the "conscience of Chinese literature" to run for this purpose, but also to hope that visitors will push the writer's handprint into the door - at the beginning of the entrance to the room, they will have close contact with the literary giants; another highlight is that the group portraits of the writers' sculptures on the lawn of the museum have cancelled the usual pedestal, which is to invite "Lu Guomao and Ba Lao Cao" to the altar and meet the readers and the public on weekdays...
In the new museum of modern Chinese literature, the doorknob is Mr. Ba Jin's hand model.
The civilian consciousness contained in the design of the new museum was indispensable in the domestic cultural and museum circles at that time. However, it can be said that the civilian consciousness is Shu Yi's father, and the hugs and feelings that the famous writer Lao She has infused in the pen all his life can be classified as one of the family styles of the Shu family standing in the world and treating people and things.
In 1935, Shu Yi was born in Qingdao, Shandong Province, when Lao She was teaching at the College of Literature of National Shandong University. In the early 1930s, Lao She also taught at Jinan Qilu University, leaving a famous article "Winter in Jinan", which was later selected as a middle school Language textbook, which was the first experience of many Chinese people in his life of pure and vulgar, pure and extremely pure language style.
However, "those who are in a state of distress are easy to fold, and those who are bright are easy to be defiled." "When the catastrophe came, the boiling crane burned the piano, Sven swept the floor, and Lao She lifted himself up to qingchi... In 1985, Shu Yi wrote an article in Harvest magazine titled "Daddy's Last Two Days." The article states, "In 1945, my father wrote about an old man named Qi Tianyou in the novel "Four Worlds Together", and his method of death was surprisingly exactly the same as that of his father's own death, as if he had designed a model for his own death twenty years ago. ”
Looking back at Shu Yi's growth process, he did not take the same literary path as his father--in fact, none of Lao She's three daughters and one son were born in liberal arts. In the 1950s, Shu Yi went to the Soviet Union to study, specializing in forestry chemistry, and later as a senior engineer of Beijing Guanghua Timber Factory, he was responsible for leading the scientific research room and the central laboratory, and won the title of "National Advanced Unit of Technological Innovation" issued by the All-China Federation of Trade Unions. What prompted Shu Yi to embark on the road of literature later was the death of his father. In 1978, the chaos was rectified and reformed and opened up. In the same year, Shu Yi also began to rely on the unique identity of "The Son of Lao She", did a lot of investigations, collected information on his father's life, and interviewed more than 100 insiders. In 1980, Shu Yi's "Lao She's Childhood" was serialized in the People's Daily, and each issue was illustrated by Ding Cong. Mr. Ding Cong can be called an illustration expert of Lao She, and his novel works such as "Four Generations Together", "The Legend of Niu Tianci", and "Camel Xiangzi" were all illustrated by him in the past years.
While engaging in historical material work, Shu Yi wrote a series of extremely valuable and insightful academic papers. His first treatise, "Lao She's Writings and the City of Beijing," was due to the fact that when he read his father's works, he found that 95% of the more than 240 place names mentioned in it were true, thus opening up the way for Lao She's work "Literary Geography"; before 1949, Lao She rarely mentioned that he was a Manchu, and never stated which character was Manchu in his creation. Through meticulous reading and careful analysis, Shu Yi tasted the strong Manchu temperament in Lao She's works, and wrote the article "Implicit Manchu Literature", which was published in the "Manchu Studies" that few people saw, opening up a new field for Lao She research.
Another aspect of Shu Yi's study of Lao She is to pay special attention to special phenomena in the literary world of Lao She, such as the phenomenon of patrol police. Shu Yi's research found that lao She's patrol police figures are all good people, although they are not cunning, they are all laborers, sympathetic to the lower classes, the most typical is the patrol police in "My Life", which is in great contrast with the patrol police personnel that society usually thinks. He was also interested in the unique "food culture" presented in Lao She's works, and over time, he also became an expert in "food culture" in Beijing.
In 1984, Shu Yi was transferred to the Chinese Writers Association and participated in the preparation of the Museum of Modern Chinese Literature, successively serving as deputy director and executive deputy director; in May 2000, the new museum of modern Chinese literature was completed, and he served as the director. Shu Yi has been running for the groundbreaking of the new museum for several years, from running projects, to architectural design, garden greening, writer sculpture, etc., have poured great efforts. In addition to the busy library, Shu Yi did not relax at all about the business accumulation and professional research in the museum, and was the first person in China to call for the establishment of "manuscript science", and there were many prose and biographical literature.
On June 30, 2013, Shu Yi took a photo on the Zhusheng Bridge in front of the Qinglong Cave in the ancient city of Qiandongnan Miao and Dong Autonomous Prefecture. People's Vision Infographic
Beijing is the source of Lao She's writing, he loves Beijing, and his works are full of strong "Beijing flavor". Shu Yi loved Beijing, and during his tenure at the Cultural and Historical Materials Committee of the Beijing Municipal Committee of the Chinese People's Political Consultative Conference, he shouted for the protection of Beijing's old cultural relics and ancient capital style. From 2002 to 2007, during his tenure as a member of the National Committee of the Chinese People's Political Consultative Conference, he devoted himself to the protection of the city's cultural relics and cultural heritage, writing three investigation records: "Beijing-Hangzhou Grand Canal, Broken Splendor", "Sui and Tang Grand Canal, Underground Splendor" and "Jiangnan Canal, Splendor of Water Town", and actively called for the protection of the Grand Canal.
There have been media reports that Lao She hid a lot of celebrity calligraphy and paintings before his death, and there are more than 80 paintings in Qi Baishi alone, and they are all fine. "At that time, no one bought paintings, the painter could not open the pot, and Lao She could not sell them with help, so he had to buy them himself." Shu Yi later consulted with shu ji, Shu Yu and Shu Li, and donated many calligraphy and painting works from his parents' old collection to the National Art Museum of China free of charge. He even joked that he had learned to paint after he was sixty years old, and mentioned this verse in "Shu Yi's Painting", "The first painter said: Your paintings do not conform to our rules, and there are many mistakes that should not be made. The second painter said: Your painting has no rules, only a boldness. The third painter said: Your portrait of a child is full of innocent childishness. The fourth painter said: Your painting has an unforgettable passion, and you can use it to discuss the true meaning of art. The fifth painter said: Your painting is a force of impact, not the same. ”
(Part of the text is quoted from "The Death of Lao She and Shu Yi's Life Choice", by Fu Guangming)
Editor-in-Charge: Liang Jia