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寻觅中华(英文版)

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寻觅中华(英文版)

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作 者:余秋雨

出 版 社:新世界出版社

出版时间:2010-01-01第1版 2010-01-01第1次

I S B N:9787510407017

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      影响世界百年百位杰出华人——余秋雨,亲历考察,深度研究,解读中华文化之精髓。
          怀着对历史的敬畏,作者选取中国历史中某一朝代的文化个案进行细致入微的思考,敏锐的洞察、广博的知识和独到的解读,构成一篇篇令人赏心悦目的经典美文。他的目光直视中华民族的文化内核,用细腻的文字系统地表述了作者从灾难时期开始一步步寻觅出来的中华文化史。
      

    内容简介

      余秋雨,中国著名美学家、作家、艺术理论家、中国文化史学者。曾任上海戏剧学院院长,上海写作学会会长。1986年被授予“国家级突出贡献专家”荣誉称号。著有《历史的暗角》、《借我一生》、《文化苦旅》、《行者无疆》、《千年一叹》、《霜冷长河》、《山居笔记》、《笛声何处》、《寻觅中华》,曾获中国作家协会鲁迅文学奖、中国出版奖、上海优秀文学作品奖、台湾联合报读书人最佳书奖(连续两届)、金石堂最有影响力书奖、台湾中国时报白金作家奖、马来西亚最受欢迎的华语作家奖、香港电台最受欢迎书籍奖等。
          他是公认在全球各华人社区影响最大的极少数作家之一。海内外读者高度评价他集“深度研究、亲历考察、有效传播”于一身,以整整二十年的不懈努力,为守护和解读中华文化做出了杰出贡献。他还被联合国教科文组织等机构评为“中国十大艺术精英”、“中国文化传播坐标人物”、“2007十大学术精英”之首,又被世界华人经济测评体系授予“影响世界100年100位杰出华人奖”。在大陆和台湾出版中外艺术史论专著多部,曾赴海内外许多大学和文化机构讲学,入载了英国剑桥《国际著名学者录》、《世界名人录》、《杰出贡献者名录》以及美国传记协会的《五千世界名人录》等。

    作者简介

      《寻觅中华(英文版)》
      Preface
      Who was Huángdì?
      Chīyóu's Progeny
      Lǎo Zǐ and Confucius
      Brilliant Black
      The Táng Posts
      The Taoist's Tower
      Shānxī Guilt
      Shànghǎinese

    目录

    One thousand years after the fall of the Tang Dynasty, the Chinese civilization as a whole was nearly on the verge of distinction. However, just at this time, a mysterious cave full of sutras was discovered all of a sudden at Mògāo Caves in Dūnhuáng, Gānsù Province. This discovery brought back to people’s minds the reminiscence of the Tang Dynasty, a reminiscence that was not just sentimental, but also forceful.

    Outside the Mògāo Caves there’s a river. Across the river is an empty field with several stupas of various heights. They are round, gourd-shaped and painted white. When I went there, some had already collapsed and not yet been restored. I could only see that they had a wooden post at their center, a body made entirely of beige earth, and a base made of dark bricks. In the setting sun, the chilling winds of ages past blew, and the entire group of stupas appeared dreary and desolate.

    There was one stupa that appeared to be relatively complete, so perhaps it was constructed in a more recent era. Conveniently, the body had a stele—which upon reading a bit further revealed(much to my surprise) that its master was none other than that Wáng Yuánlù!

    Even such a short stature can leave a long, long shadow in the desert. Even such a minor figure can make history let out sigh after sigh. Wáng Yuánlù was short in stature and of minor importance in history. I’ve seen his picture with him wearing muslin clothes and a timid, catatonic look—this was the image of a common Chinese of that era. Originally he was a farmer from Máchéng, Húběi, who entered military service in Gānsù Province and ended up becoming a Taoist for living out his days. After a few twists and turns, he became the master of Mògāo Caves, managing the affairs there.

    The Mògāo Caves chiefly are relating to Buddhism, so how is it that a Taoist could be allowed to manage the affairs there? Chinese grass-roots religions have always been mixed and integrated together. That he was nearly illiterate, not exclusively devoted to Taoism or averse to Buddhism, yet could host religious ceremonies and seek alms—having a man like this watch over that stand of cold grottoes and desolate temples was still considered normal.

    However, much of what seems to be the normal ways of the world is actually concealing a very sinister cavern. The astonishing collections within the Mògāo Caves created a huge cultural declivity between Wáng Yuánlù and the object of his care. That declivity was a cavern.

    I have read a few books written by some experts in Dūnhuáng studies which describe the everyday life of Wáng the Taoist. He often went out seeking donations, and after getting some money he’d find some no-so-brilliant local craftsmen, first dip a grass brush in some lime and paint intricate, ancient frescoes white, brandish an iron hammer and smash sculptures to pieces, and pile up mud to make something like a statue of Língguān(because he was a Taoist). But he thought, too, that this is after all a Buddhist place, so he had those craftsmen paint the lower temple walls white with lime, then paint on top of that a mural about Xuán Zàng's western quest for sutras. After looking around, he’d feel the caves were too stuffy, so he’d have the craftsmen open them up, which would quickly destroy a vast section of frescoes, turning them into a mere hallway. After doing these things, he’d head out again to get donations, preparing to paint, smash, pile up, and draw all over again.

    These technically-toned writings are all very sober, but every time I read them, its as if the inner chambers of my mind have been painted with lime and all has become a sallow white. I’m practically motionless and speechless as the constantly swinging grass brushes and iron hammers float before my eyes.

    “Stop!” I cry from the bottom of my heart, but then Wáng the Taoist only turns his face, looking completely confused. I even want to beg him in a whisper, “Please wait a minute, wait a minute ...” But wait for what? Those chambers in my mind are as sallow as before.

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