Take a super short prose by Yu Qiuyu about 1000 words .

on, both. Outside the gate of Mogao Grottoes, there is a river. There is a clearing across the river, and several monks are built high and low.

The tower is round, close to the gourd, and the outside is white. When I went, several of them had collapsed and had not yet been repaired. I saw that the center of the tower was a wooden pile, and the body of the tower was all loess, and it was built on the base of blue bricks.

The sun sets, the wind is cold, and the whole tower group is very desolate.

There is a tower that seems to be relatively complete, probably because it was built relatively recently, right? Fortunately, there is a monument in the body of the tower, and when I read it, I was suddenly shocked that its owner turned out to be that Wang Yuanzhen!

No matter how small you are, you can leave a long figure in the desert. No matter how small a person is, it can make history vomit a heavy sigh. Wang Yuanqi is both a small man and a small person.

I've seen his **, dressed in homespun cotton clothes, with dull eyes and cowering, a Chinese civilian who could be seen everywhere in that era. He was originally a farmer in Macheng, Hubei, served as a soldier in Gansu, and later became a Taoist priest in order to make a living. After several turns, it became the home of the Mogao Grottoes in Dunhuang.

Mogao Grottoes is dominated by Buddhist culture, how can a Taoist priest be in charge? China's folk beliefs are inherently mixed and mutually dissolving, Wang Yuanqi is almost illiterate, he is not specialized in Taoism, and he does not resist Buddhism, but he will preside over religious ceremonies, and will turn into fate to raise funds, and it is normal for him to manage this cold cave and deserted temple.

However, many seemingly normal phenomena in the world often mask a terrible black hole. The astonishing existence of the Mogao Grottoes has caused a huge gap in cultural level between Wang Yuanji, the guardian, and the object of protection. This gap is a black hole.

I have read some books written by Mr. Pan Jiezi and other experts in Dunhuang studies, which describe the daily life of Wang Daoshi. He often went out to make fortunes, and after getting some money, he found some very unskilled local craftsmen, first used a grass brush dipped in lime to whiten the exquisite ancient murals, and then picked up a hammer to destroy the statues, and piled up the spiritual officials with mud, because he was a Taoist priest. But he thought that this place was a Buddhist place after all, so he asked those craftsmen to whitewash the walls of the lower temple with lime, and painted the story of Xuanzang in the Tang Dynasty who went to the west to learn scriptures.

He looked around and felt that the caves were too breathless, so he asked the craftsmen to open them, and the large frescoes soon disappeared into walkways. After doing these things, he went to the edge again, ready to continue brushing, smashing, piling, and painting.

I like the corner of Dongting, Dujiangyan, Taoist Tower, Jiangnan Town.

Let's not talk about the classics, let's talk about personal preferences. Cultural Journey.

Civilized human beings are always keen on archaeology, that is, they want to pick out the history compressed in the soil, and to get a glimpse of the truth of their ancestors. Then, archaeology is to return to the hometown, that is, to visit the family. Visiting the hometown on the ground often has years of sighs and unspeakable losses, which makes countless wanderers want to retreat; There are not so many psychological obstacles when visiting the hometown underground, and the whole child is filled with the poetry of history and the joy of imagination.

"Where is the Township".

"Cultural Journey", published in mainland China in 1992, 1995, and "Mountain House Notes" published in Taiwan, 1995.

The Long River of Frost and Cold, 1999.

A Sigh for a Thousand Years, 2000.

Walkers Without Borders, 2001.

The First Hearing of the Morning Rain, June 2001.

Lend My Life, 2004.

Where the Flute Sounds, 2004.

In Search of China, 2008.

Rubbing the Earth, 2008.

Qiu Yu Qiuyu, 2009.

New work: "I Can't Wait" 2010.

Forty-Seven Lessons in Chinese Culture: From Peking University to National Taiwan University" was published in Taiwan in 2010 and caused a sensation in the Chinese-speaking world.

Dream Jiangnan, Dujiangyan, a pavilion on a stormy day,

There are a lot of them, such as "Sacrifice to the Nephew", "The Back of a Dynasty", "The Land of the Exiles", "The Fragile Capital", "Su Dongpo Breakthrough", "Millennium Courtyard", "Shame on Shanxi", "Distant Sound", "The Dark Corner of History", "Talking about the "Villain" Attached to the Outer Heart Mirror", most of these are in "Mountain House Notes", and there are others, I will help you find this.

Main works prose.

Cultural Journey", "Notes on Mountain Dwellings", "The Long River of Frost and Cold", "A Sigh for a Thousand Years".

Travelers Without Borders", "Looking for China", "What is Culture", "Rubbing the Earth".

Borrow My Life" and "I Can't Wait".

Yu Qiuyu, born on August 23, 1946 in Yuyao County, Zhejiang Province, is currently the Dean of the School of Humanities and Arts of Macau University of Science and Technology. He is a well-known Chinese cultural scholar, theorist, cultural historian and essayist.

In 1966, he graduated from the Department of Drama and Literature of Shanghai Theater Academy.

In 1980, he successively published Manuscripts of the History of Drama Theory, History of Chinese Drama Culture, and Aesthetic Psychology of Drama. In 1985, he became the youngest liberal arts professor in Chinese mainland. In 1986, he was awarded the Top Ten Academic Elites in Shanghai.

In 1987, he was awarded the honorary title of National Expert with Outstanding Contributions.