These two concepts were originally geological, and specifically meant: "In the rock formation, crystals of a certain mineral have been embedded. When cracks and fissures appear, water flows in, and the crystals are gradually washed away, so in a period of time After time, only the empty shell left by the crystals remained. Then there was a volcanic eruption, the mountain layer exploded, the lava flowed in, and then it froze and crystallized in its own way. But these lava did not follow its own special form, and freely crystallize here, they have to fill those spaces with the local topography. Therefore, there are distorted forms, the inner structure of the crystal and the outer form conflict with each other, it is obviously a certain kind of rock, but It shows the appearance of another kind of rock. Mineralogists call this phenomenon "pseudomorphosis" or "pseudomorphosis."
Mr. Liu pointed out that in fact, culture also has the distinction of prototype and pseudomorphism. Specifically, Among the four famous novels, "A Dream of Red Mansions" and "Journey to the West" belong to the original culture; while "Three Kingdoms" and "Water Margin" belong to the pseudo-culture. Why? Mr. Liu believes that The Classic of Mountains and Seas is the prototype of the entire Chinese culture, the most authentic and natural history of the Chinese nation, and the real prototype culture of China. When looking at Chinese culture, one has to look at it with the ruler of the Classic of Mountains and Seas. Using this book to measure the four famous novels, you can see the continuation of the story of Nuwa in "The Red Chamber", the tragic and solemn Baoyu blocking the filthy world with his own innocence, the compassion of Tang Seng and Wukong's innocence in "Journey to the West", and how they benefit the entire human race. It can be seen that in "Three Kingdoms" and "Water Margin", the rude and stubborn beings intrigue and deceive only know how to fight for power and gain, but lose the sincerity of Kuafu and Jingwei that they know they can't do it. In short, the first two books are inherited from the way of the ancestors, and the last two books have been contaminated by the culture of other countries and become "pseudo".
After reading this article, I thought to myself, X, this is the most insane article I've seen recently.
Of course, the bullshit of this article is very obvious. It is actually another repeater of those who keep advocating how kind and honest Chinese civilization is. Damn, poisoned milk powder and waste oil must be taught by Americans. This is at the same evolutionary stage as those two-dimensional animals who think that Bill Gates came to Asia to do charity actually want to commit genocide. There is no convincing outside. Not to mention that there are few Chinese classical works that are more deeply influenced by Indian civilization than "Journey to the West", if China can and can only maintain the world in "The Classic of Mountains and Seas" (of course, in fact, one day in China) It has never been that world), rather, Mr. Liu should not have been born at all, but should always bravely antagonize the filth of her external world in his mother's amniotic fluid. Why the eyes of these writers can only see the beauty of river crabs, don't you realize that, in fact, Tao is drowning in shit, in collapse, shake, stupidity, failure, cruelty, there is the most beautiful poetry?
After watching Stephen Chow's "Journey to the West", I can see the problem more clearly. The reason why this movie clung to my heart is precisely because it is not just content to repeat the theme of "Journey to the West" that secularizes the classics, but more attentively to a primitive, wild, bloody, The contrived, even ugly world is presented to us. If we can really read "Journey to the West" with a heart of awe in the face of the classics, we should wonder why in CCTV's "Journey to the West" TV series, Wukong, who has never bowed his head in the dictionary, is not. After coming out from the foot of Wuzhi Mountain, he will bow down under Tang Seng's jeans like a docile cat, and like a pony, he will do nothing to protect a scum with a combat power of only 5? Isn't this kind of Wukong no different from those civil servants who gave their souls to the establishment? And Zhu Bajie is nothing but a gangster who can only carry his daughter-in-law, and his IQ is almost incomparable to that of Major General Mao. If it is said that such a monster is actually Marshal Tianpeng, and even eats people for a living, is it too persuasive? These monsters and immortals have such inconsistent personalities. I am afraid it is from the pollution of the core rationale of feudal society. Just like the 108 stars of Xiaoju Liangshan, they were all murderers and arsonists, but after being recruited by Zhao officials, they all became arbitrary Cannon fodder at will by the emperor or even the ministers. Here, Tang Taizong and Zhao Guanjia, just like God in Christianity, are the highest authority that can never be challenged and can never be wrong. Therefore, outstanding heroes only oppose corrupt officials, not the emperor, and the king of demon kings only opposes "God". In opposition to "human masters", the "truth" of literature and the "truth" of social reality are entangled together; the heroes also lose their most lovable authenticity.
As long as it is a book, it is bound to be like the world in the eyes of the Buddha, experiencing formation, living, decay, and emptiness, even if it is a classic. For a classic to survive, it must, as Benjamin put it, seek its "afterlife." The reason why the four famous works are classics is precisely because they are not the power of Wu Chengen and Shi Nai'an, let alone from the apocalypse. They are the condensation of countless people who have been displaced at the bottom of society and can't even keep their names. Next is the broken book, the book of madness, the nightmare of entertainers and wanderers. Today, if we can't read a little more from the classics, if we don't have the courage to put together those magnificent mosaics, and if we don't have the guts to write down what Wu Chengen would have written if he lived today, it's as good as Admit that our own IQ is zero.
Thanks to Zhou Xingchi, it was his genius who restored Sun Wukong to the fur-faced Lei Gongzui, who would fight against the sky whenever he had the chance, and Zhu Ganghya to the treacherous, abrupt, and invincible monster. Cannibalism is uncomfortable, allowing Xuanzang's Buddha nature to shine more light from his human nature. They are no longer those dogs who show their power to the shrimp, soldiers and crabs, but bow their heads to the highest authority, but become flesh-and-blood men who are constantly struggling, fighting, and dripping blood. What makes people have a clear conscience is not the submission to a force greater and greater than oneself, nor the so-called innocence and kindness of primitive people, but the eternal faith in oneself and in justice, which is the fucking "prototype". "Culture" is the immortal inheritance that can not only protect Xuanzang's study of scriptures in the west, but also protect the Chinese civilization rising to the top of the world today.
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