Lu Xun's former residence is a small quadrangle with blue tiles and gray walls. 1May 1924 to1August 1926, Lu Xun once lived here, which was Lu Xun's fourth and last residence in Beijing. According to Ms. Liu Guihua, the administrator of the former residence, this former residence was bought by Luxun Hua 800 yuan and rebuilt by him personally.
1925 There are two lilac trees planted by Mr. Lu Xun, which are flourishing and lush. Looking at these two lilacs, I suddenly remembered the unique beginning of Lu Xun's essay "Autumn Night": "In my backyard, I can see two trees outside the wall. One is a jujube tree, and the other is a jujube tree ... "I saw two jujube trees in the passage of the front yard and backyard on the west side of my former residence, but it is said that they were not those two trees in those years. The original one died long ago, and these two trees were made up later. However, these two sentences of Mr. Lu Xun were later cited as classics by many people and are still enduring today.
There are three main rooms in the north room next to the jujube tree, and in the middle of the north room is the living room and living room of Lu Xun's family. On the east is the living room of Lu Xun's mother Lu Rui, and on the west is the bedroom of Lu Xun's nominal wife Zhu An. The furnishings in the room are very simple. Regarding Zhu An, Mr. Lu Xun once said, "This is a gift from my mother, and I can only offer her a good sacrifice. Love is something I don't know. " 1926 After Lu Xun left Beijing for the south, Zhu An stayed with Lu Xun's mother. 1943 After Lumu died, this kind and tragic woman guarded her former residence alone until 1947 died. After Zhu An's death, the yard was neglected. In order to prevent Lu Xun's manuscripts and books from being destroyed, Lu Xun's former residence was sealed up by the court in the name of "taking over", so that it could be well preserved.
There is a small courtyard behind the north house, and a small room in the north of the main house is Lu Xun's bedroom and studio. Beijing folks call this kind of building protruding from the back of the house "tiger tail". To the north of Huwei are two large glass windows, under which is a simple wooden bed, and under the east wall is an old-fashioned three-drawer table. Sitting at the table, you can overlook the garden behind you from the window. The kerosene lamp, brush, inkstone and stationery on the table are all the same, which not only reminds the viewer of the scene of their owner writing under the lamp.
Who would have thought that it was in this small room with less than 10 square meter that Lu Xun created and published more than 230 prose poems, novels and essays in just two years and three months. Most of the works in the famous Hua Gai Ji, the sequel of Hua Gai Ji, Weeds, Wandering, Morning Flowers and Grave were completed here. It can be said that Lu Xun's more than two years here was the most intense stage of his creation during his 14 years in Beijing.
In the former residence of Lu Xun, I met three tourists from France. I tried to ask them what they thought of Lu Xun in English. They say that Lu Xun is a very famous writer. In France, many of Lu Xun's works were translated into French and published. One of them saw Lu Xun's Tiger Tail and said with emotion, "It's very simple and really great."
On the east and west sides in front of the North House, there are two small houses, the bedroom for female workers in the east and the kitchen in the west, which are now used as showrooms and management rooms respectively. The south room is Lu Xun's reception room and library, and a charcoal portrait of Lu Xun on the east wall is eye-catching. This is the work of Tao, a fellow painter of Lu Xun, and is deeply loved by Lu Xun.
The back room of the south room is a small room, mainly for receiving visiting friends. Here, Lu Xun received many young people who came here. Speaking of late at night, Lu Xun often took a kerosene lamp to the door and watched them go far before coming back. Xu Guangping lived here when he was persecuted by the school.
Exhibition hall-Lu Xun's life exhibition
Expansion of the East Exhibition Hall of Lu Xun's Former Residence 1994. It is a gray quadrangle-style antique building, which is in harmony with the style of the former residence. Among them, the basic exhibition is "Lu Xun's Life Exhibition", which won the national "1997 Top Ten Exhibitions" award.
The exhibition divides Lu Xun's life into several stages according to his place of residence, and each stage is a relatively independent exhibition area. At the beginning of each exhibition area, a huge photo is accompanied by a passage by Lu Xun, which reflects the changing course of his thoughts and feelings.
The three-dimensional miniature of Shaoxing city in Shaoxing exhibition area of hometown, the photos of Henderson pawnshop and the loan contract of Lu Xun's father can not help but remind people of the scene in Lu Xun's article: when he was a teenager, he pawned clothes on the counter higher than himself. This exhibition area shows Lu Xun's family's "misfortune of getting into trouble from Xiaokang family".
The Japanese exhibition area mainly shows Lu Xun's thoughts on life and national character during this period. It was in Japan that Lu Xun gave up medicine and became a writer, and set up the ambition of "I recommend Xuanyuan with blood" to save the country through literature and art. In Japan, he was saddened that a China who was numb in the slide became a "spectator of drama". He wrote in the preface of the later Scream: "An ignorant and weak citizen, no matter how healthy and strong, can only be meaningless propaganda materials and spectators, and there is no need to think that he died unfortunately." So our first task is to change their spirit. "
From the cultural relics displayed in the exhibition hall, we can find a little-known Lu Xun. He was the first person who translated Verne's science fiction by China. When studying in Japan, Lu Xun tried to combine the latest achievements of humanities and natural sciences. He thought that the best way to combine at that time was science fiction, and he thought that China's literary revival should start from science fiction.
Here, I am even more surprised to find that Lu Xun still has a high artistic talent. The national emblem and anthem designed by Lu Xun in the Ministry of Education, as well as some paintings created by him, are displayed in the window. Lu Xun has a soft spot for printmaking. In the cabinet of the exhibition hall, you can see the tools used by Lu Xun to carve prints. Lu Xun also attached great importance to art education. When he was in 19 13, the Ministry of Education, he wrote an article "Views on Art to Be Broadcast", and thought that art education was extremely important and should be popularized vigorously. He also advocated and called for the establishment of art galleries, museums and concert halls.
I stopped in front of a huge bamboo basket displayed in the window, which is very common in rural China. What does Lu Xun want with such a huge bamboo basket? It turns out that this bamboo basket has an unusual origin. It is not used to pack things at home, but Lu Xun's "partner" in trouble. It is usually placed under Lu Xun's bed. When Lu Xun was wanted and persecuted by the reactionary government, it was this big bamboo basket which contained pens, ink, paper and some necessities.
The exhibition also shows many cultural relics collected by Lu Xun, such as bronze crossbows in Han Dynasty, female figurines in Sui and Tang Dynasties and ancient coins, which are unprecedented. Some historical facts hidden before, such as Hu Shi's early contacts with Lu Xun, Zhou Zuoren's and Zhu An's position in Lu Xun's life, are also faithfully displayed in the exhibition. Warm family life photos and the display of reading glasses, ear gouges and other daily necessities make people feel Lu Xun's emotional world as an ordinary person and restore a real Lu Xun to the audience.
"Lu Xun's Life Exhibition" is very different from the general exhibition of the Hall of Fame in China: the commentary in the exhibition uses Lu Xun's self-report and the comments of some important historical figures, so that visitors can think and evaluate themselves, instead of directly telling the audience with textbook conclusions. The exhibition uses some modern display means such as sound, light and electricity, and its style is fresh and smooth, plain and simple, which better shows Lu Xun's characteristics and elegant demeanor.
Lu Xun belongs to China and the world. Today, Lu Xun's works have been translated into more than 70 languages and circulated in more than 50 countries. Lu Xun Museum in Beijing has increasingly become a "holy land" visited by many international friends. During the reporter's stay for several hours, he met three groups of foreign tourists. According to Ms. Liu Guihua, some foreigners visit here almost every day.
In recent years, the museum has also made a lot of efforts in academic exchanges, and almost all topics related to Lu Xun are involved. The museum does not enshrine Lu Xun in an ivory tower, but connects Lu Xun with the present life, so that Lu Xun's thoughts collide with reality and play its present significance.