Who knows the food in the bowl

Author: Liu Shilin
Publisher:
Publish Date: 2003-08-01
Features: Confucius said: "How rich and profound are the classics of Chinese culture!" The content of Chinese culture is vast and can be endlessly explored. However, in this marginal topic, what is the meaning behind it, and what is the author's intention? This is what the organizers must first clarify to the readers. The term "marginal" has two meanings: one refers to the marginalization of materials, and the other refers to viewing old things with new eyes. The former emphasizes the rediscovery and reorganization of Chinese literature, while the latter aims to reinterpret and explain the spirit of Chinese culture. The ideal state, of course, is a combination of both—new discoveries in literary resources and new insights into cultural spirit—to provide a text and discourse that offers a distinctive perspective for interpreting the true essence of Chinese culture and exploring the "new destiny of the old land."
As the poem goes: "The gourd vine grows long and lush." The history of Chinese civilization is also boundless, like the Milky Way. The ancients once lamented: "How to begin reading the 24 Histories!" Modern Western philosophers say: "Language is the world." Thus, the key question is how to interpret Chinese culture, or what can be said about it—this depends entirely on the author's discourse itself. In this era where "the world is in chaos," the marginal topic advocates a Chinese discourse approach that emphasizes "reason in action." Its subject is people and events, conveying rational thinking and modern awareness about Chinese culture through storytelling. This discourse ideal is divided into two aspects: one is "new knowledge" based on academic research, which emphasizes providing new knowledge, experiences, and understandings of classical Chinese culture; the other is "beautiful writing" based on aesthetic appreciation, striving to unify thought, scholarship, and interest in a way that is pleasing to Chinese readers.
As the saying goes: "Though I may not reach the goal, it is still my aspiration." The Book of Changes states: "Is there a sense of worry?" The ancients once sighed: "Life and death are great, yet one cannot change them." How much more so for us, living in this globalized era of "autumn winds and rainy days that bring sorrow," tangled in new and old grievances between tradition and modernity? How can we fail to grasp the meaning behind the ancients' words: "Zhou may be an old state, but its destiny is ever new"?
Yet gentlemen harmonize while differing, scholars specialize in their fields, and each article has its own style. Thus, the sense of worry in the marginal topic also has its own unique perspective that cannot be shared with ordinary people.
Today, people speak of Chinese gardens and Kunqu opera: Chinese gardens prioritize "elegance," with terms like "elegant," "elegant charm," "elegant refinement," "elegant simplicity," and "elegant vigor" all emphasizing this quality. The highest form of Kunqu opera must possess a scholarly air, with a cultural essence that is reflected in the works. In other words, both must embody culture and express it in their creations.
Chinese gardens have high and low points, hidden and revealed spaces, dynamic and static views, rhythms, and are suitable for appreciation. When people wander among them, they experience a leisurely mood—like a poem or a painting, not a hurried visit where one comes and goes in a flash. Instead, they are places where one can sit, walk, observe, and reflect.
Kunqu opera is the same. Its singing lingers long after the music fades, leaving a lingering taste. It is not the chaotic "clatter-clatter" of modern music but has a gentle and flowing rhythm. Many young people today dislike watching Kunqu opera, for reasons that are multifaceted. In my view, it is partly because their cultural level is too low to appreciate it, and partly because the leisurely and lyrical melodies do not suit their impatient, chaotic emotions. Naturally, the high art is enjoyed by few. This is not because Kunqu opera is not beautiful—it is like some children not liking olives because they do not know its taste. It is our responsibility to educate them, not to lower our standards to accommodate them. More aesthetic education is needed.
The marginal topic of cultural China is also duty-bound to showcase this kind of artistic conception and spiritual essence of Chinese culture.
When a crane cries in the shade, its chicks join in. When a crane cries in the marshes, its voice is heard in the heavens. It is both the editor's deep hope for this series and an aspiration to inspire readers to strive for a cultural ideal together.
Table of Contents:
Introduction
Toiling in the Fields Under the Midday Sun
Which is More Important: Ritual or Food?
Let Those Who Wear Swords Also Wear Ox Horns
Misfortune Comes from the Mouth
That Gentleman, He Does Not Live on Inheritance
Men Farm, Women Weave
Agriculture and Learning Are the Foundation
A Quiet Table
Fishermen and Woodcutters Sing at Dusk
Conclusion
Appendix: The Imagery of "Adding Food" in Ancient Poetry
Afterword