Chapter 36 monument of the soul

The music of a chorus of stones rises. The golden sky, all the way to all the constellations is illuminated by it. The music of the stone grows towards the sky, the sky seems to be lower and lower to the sea surface, and the waves jump and run, joining this majestic and majestic melody. The music of the stones is a great monument, through the long night it reaches skyward, and the newborn sun gives it all its colors, and it is garlanded with garlands. Lin Huiyin woke up from his dream and turned on the light suddenly. Liang Sicheng was also awakened, and came to look for the medicine bottle in a panic.

Lin Huiyin said: "I'm not taking medicine, bring me a piece of paper. I had an idea in my dream just now, and I have to draw it down immediately." Since accepting the task of designing the Monument to the People's Heroes, Lin Huiyin has woken up from dreams like this many times. In the autumn of 1949, Chairman Mao Zedong filled in the first soil for the foundation of the monument. In 1952, Liang Sicheng and sculptor Liu Kaiqu presided over the design of the monument; Lin Huiyin, who participated in the design work, was appointed as a member of the Construction Committee of the People's Heroes Monument. At this time, she was too sick to get out of bed.In the living room-study she has two drafting desks, separated from her sick room by a door.

Liang Sicheng travels between the city and Tsinghua University every day.Before entering the city in the morning, he and Lin Huiyin worked out a work plan for the day, which was written by his assistant and brought to bed at any time under the guidance of Lin Huiyin for revision.Her assistant is Guan Zhaoye, a recent graduate of the Department of Architecture, a very clever young man in his early twenties. Lin Huiyin was mainly responsible for the design of the decorative reliefs of Xumizuo, a monument. From the general plan to the decorative patterns, she carefully deliberated and studied one by one.Every time a drawing is drawn, it must be enlarged step by step, from the small scale to the full picture, and the human figure is drawn on each picture to ensure the correct scale.

In terms of design style, Lin Huiyin advocated using the style of the Tang Dynasty as the blueprint, selected a lot of materials, analyzed them one by one with his assistants, explained them in detail, and mastered the basic characteristics. Lin Huiyin said: "The prosperous Tang culture is a cadenza in Chinese history, showing the style and social form of the times. The clothes are like clothes, the wind is like a horse, and the king of clouds comes and goes. The tiger drums and the luan returns to the car, Immortals are listed as hemp. What a style! Any art should be consistent with the social age in terms of momentum and demeanor. The sculptures of Qin and Han Dynasties are mainly masculine beauty, reflecting the positive and enterprising life force, while the sculptures of Tang Dynasty are Rigidity and softness are combined, and at the same time, it absorbs the exquisite, delicate, and gorgeous natural aura of the culture of the Southern Dynasties. The sculptures of the Qin and Han Dynasties pay attention to the huge volume and ample momentum in terms of space modeling, and the beauty of the big and the full is the beauty, while the sculptures of the Tang Dynasty are There is dexterity in the vigorous, charming in the rough, delicate in the bold, and light in the dignified. The sculptures of Qin and Han Dynasties show the expansion and conquest of the material world, and the sculptures of the Tang Dynasty also emphasize the unity of this expansion and conquest with the depiction of the inner world. The sculptures of the Tang Dynasty represent completeness and harmony. Efforts have been made in Bide and Changshen, and the structural system of ancient Chinese culture and art has been basically completed. These are what we want to learn from. The art of the Tang Dynasty has the same characteristics as European literature and art. Reviving similar humanistic features can better express the people's praise and memory of heroes."

After Lin Huiyin finished speaking, he picked up a pattern designed by Guan Zhaoye, and said half-jokingly: "This one seems to be of Qianlong's interest, and it is not worthy of representing our hero." After comparison, they finally selected a style based on Tang style. In two months, Lin Huiyin and Guan Zhaoye drew hundreds of patterns, and finally selected the wreath design with olive branches as the main body. They struggled for some time with the choice of flower varieties to decorate the garlands.Initially, the hero flower was chosen. After consulting with flower experts, it was learned that kapok is not native to China, and then this idea was abandoned.

Among thousands of flowers, they finally chose peony, lotus and chrysanthemum, which symbolize nobility, purity and tenacity. The Xumizuo is designed with one master, two slaves and three garlands on the front, and one garland on the side.The reliefs on the base echo each other, using traditional Chinese commemorative symbols, like a set of ascending scales, pushing the heroic movement to a climax. After completing the cloisonne rescue work in 1953, Lin Huiyin's body collapsed again, and her life energy seemed to be completely exhausted.Every cold winter, her condition became more and more serious, and the medicine was no longer effective, so she could only maintain the temperature in the room.Even a cold was fatal to Lin Huiyin.Every autumn, Liang Sicheng used kraft paper to paste all the walls and ceiling of Lin Huiyin's room, and several stoves were lit early.

In October of this year, the Architectural Society of China was established, Liang Sicheng was elected as the vice chairman, and Lin Huiyin was elected as the director.The two of them also served as members of the Architectural Research Committee. In June 1954, Lin Huiyin was elected as a representative of the Beijing Municipal People's Congress. On August 10, "Beijing Daily" introduced her resume.In the autumn of this year, Lin Huiyin's body could not withstand the cold in the suburbs, so Liang Sicheng rented a house in the city for the convenience of treatment.Since it was not ready yet, they moved to Chen Zhanxiang's house.Soon, Lin Hui was admitted to Tongren Hospital because of his condition worsening.

Just after the Spring Festival in 1955, the Ministry of Construction held a meeting on design and construction work. The leaders of various ministries and bureaus and the person in charge of the propaganda department of the Beijing Municipal Party Committee attended the meeting.At the meeting, intense discussions and criticisms were conducted based on the waste in capital construction disclosed by various newspapers in recent years, and the "retroism" and "formalism" biases in design work.At this meeting, more than a hundred critical articles were also organized, all of which have been printed as proofs.

From then on, the criticism of "retro-architectural thought of bourgeois aestheticism represented by Liang Si" began nationwide. More than ten years later, when Liang Sicheng reviewed this criticism, he talked about his confusion and thinking. At the end of the 1940s, when I visited the United States, new architectural theories developed internationally, and I felt deeply that my country was backward in architectural theory.After returning to China, I implemented these theories into my teaching.But in the early 1950s, during the patriotic ideological education movement, the admiration for beauty was criticized, and these new architectural theories and my revised teaching plan were all charged to the account of the US imperialists and rejected.

When I first saw the teaching plan and syllabus of the Department of Architecture of Moscow State University, I was very surprised, because it still followed the traditional education system of the Academy of Fine Arts in Paris.But at that time, it was the climax of learning from the Soviet Union, thinking that the experience of the Soviet Union was advanced, so we copied it. At that time, I was also deeply puzzled, how could Stalin's national form and socialist content architecture be exactly the same as what I learned at Penn University in the 1920s?My own explanation is: the difference between Soviet architecture and European and American eclectic architecture is mainly in "content".But what is the difference between "socialist content" and "capitalist content" in architecture? The reason why I can't tell is because I don't know what socialism is. Will understand what is the content of socialism.

I studied Chairman Mao's "On New Democracy", and I was very inspired by the formulation that the culture of New Democracy should be "the form of the nation and the content of New Democracy".I think the architecture of our new China should also have "national form, socialist content".I think that the form of the ancient buildings I studied in the past is the "national form". As for the "content of socialism", I neither understand what socialism is, nor can I tell which part of the building is the "content" .This has always been a question on my mind. There is another important reason why I believe in the Soviet Union's "national form" theory from the bottom of my heart, which is the beauty of Moscow.The whole considered in a unified way, with beautiful buildings in national style, protects the complete ancient buildings.Comparing it with the chaos of British and American cities, I deeply realized the superiority of socialism.So I also worked hard to learn from the Soviet Union and advocated the "national form" - "big roof". I admit that in my education, the thoughts of "formalism" and "aestheticism" have been deeply influenced.But in the 1930s and 1940s, I opposed the widespread construction of "big roofs". Why did I actively advocate "big roofs" in the 1950s?I think there are two reasons: Objectively, it was influenced by the national policy of "learning from the Soviet Union" and "leaning to one side". ...The subjective reason is that I have been engaged in the research of ancient architecture for many years, and I have a deep preference for ancient architectural forms. I think that people oppose big roofs because they lack cultural and historical accomplishments and have "worshiping foreign" ideas. Although this critique ended hastily after only a dozen articles were published, one after another critique meeting and discussion meeting made it difficult for him to support.Even the article "Pingjiao Architectural Miscellaneous Records" co-written by him and Lin Huiyin in the 1930s has become a typical example of retroism, and it has been criticized again and again.And all of this cannot be concealed from Lin Huiyin who is in the final wrestle with the god of death. Every time Liang Sicheng returned to Lin Huiyin's hospital bed from the criticism venue, they just watched silently, relatively speechless. Lin Huiyin felt that her life was like a sundial in the afternoon, and the tired shadow had gradually faded away and blurred. But everything that passed away became clear.It has been a long time since she dared not look in the mirror again, for she was afraid of seeing her bony face and the stumbling journey of her life on that bright glass.It was undoubtedly the cruelest scene in my life. The nurse came in for an injection. Lin Huiyin has fallen in love with this round-faced girl since she was hospitalized.When Lin Huiyin was suffering the most from the disease, this little nurse accompanied her every day.Lin Huiyin's daily life, she thought very carefully and took care of everything.After each injection, she always sang a song to Lin Huiyin.Sometimes I asked: "Aunt Lin, what song should I sing to you today?" Every time she listened to her singing happily, sometimes she hummed softly with her. After the little nurse gave the injection, Lin Huiyin said: "Auntie will sing a song for you today, just sing "Happy Birthday to You"." Only then did the little nurse realize that today is her birthday. The doctors and nurses at Tongren Hospital all know that there is a special patient living here.She is a representative of the Municipal People's Congress, a member of the Chinese People's Political Consultative Conference, and a famous architect and poet.She has advanced lung disease and will spend her final days here.However, she is also a very strong person, and she cooperates very well with every doctor's treatment, no matter how painful it is. She is an admirer of Byron, and there is always a copy of "Byron's Selected Poems" by her bedside. When she is lonely, doctors and nurses can often hear her recite those verses: There is no joy in the world that compares with its past, Oh, the meditative morning light fades with the withering of affection; It's not just the pink on the boy's cheeks that fades quickly, Before the youth has passed, the flowers of the heart have withered. When pleasure hits the rocks, some souls float over the wound, Then washed up on the sands of sin, the ocean of lust; Their voyage lost its pointer, or was only a vain effort, Their wrecked boat could no longer sail to the shore of hope. Then as death comes, and the soul is covered with fatal coldness, It is indifferent to the sorrows of others, and dare not dream of its own, A thick layer of ice freezes on the well of our tears, Although the eyes are still shining, oh, it is already a frosty cold light. Though eloquent lips sparkle with wit and laughter boil, This midnight spring night can no longer hope for the tranquility of the past, Like ivy covering a ruined tower, It looks green and fresh on the outside, but dark and dilapidated on the inside. Oh, if all my old feelings, or old ones, If only I could still weep over many scenes that never return; The springs in the desert are sweet though bitter, Oh, on the wilderness of life, let me shed those tears. When she didn't have the strength to turn the pages, she put her hand on the book, as if she wanted to draw all her strength from the book. Liang Sicheng was also admitted to Tongren Hospital due to tuberculosis, and the ward was next door to Lin Huiyin.However, a wall is like a mountain, which seems to separate them forever. When Liang Sicheng was not in the hospital, he could visit the hospital every three or two days, but now he lives next door to her, but he can't even get close to her.They just pass a note to each other through the nurse who delivers the medicine every day. For a period of time, the baby and the younger brother also asked for leave and took turns to accompany the bed in the ward. Lin Huiyin's critical illness notice has been issued.In the past few days, she has been suffering from high fever and has entered a dying state, and her lungs have begun to be infected in a large area.The leaders of the hospital immediately set up a rescue team, organized the hospital's most exquisite forces, and tried every means to treat him.The lung infection spread like a fire, and her life was finally swallowed by the raging flames At 6:20 am on April 1, Lin Huiyin finally bid farewell to this world and completed the mileage of her 51-year-old life. On April 2, "Beijing Daily" published an obituary. The funeral committee consisted of 13 people including Zhang Xiruo, Zhou Peiyuan, Qian Duansheng, Qian Weichang, and Jin Yuelin. Among the many wreaths and elegiac couplets, there is an elegiac couplet jointly written by her close friend Jin Yuelin and another professor of philosophy, which is very eye-catching: "A poetic Qianxun Waterfall, the eternal April day in the world." Lin Huiyin's memorial service was held in Jinyu The Hutong Xianliang Temple was held. On behalf of the family members, the baby thanked the doctors and nurses of Tongren Hospital for their efforts in saving the mother's life. There was a sigh of relief in the venue. After the memorial service, Lin Huiyin's body was buried in the Babaoshan Revolutionary Cemetery.The tomb was built by the People's Heroes Monument Construction Committee. At the same time, Lin Huiyin's decorations designed for the monument were moved to her tombstone. On the top of the monument is engraved: "The Tomb of Architect Lin Huiyin." In the northwest corner of the Babaoshan Revolutionary Cemetery, the green shade and luxuriant grass cover the short tombstones. Now there is no inscription on the stele, no name, only a garland in relief, olive branches encircling holy peonies, lotuses, and daisies.That is the stele designed by Lin Huiyin for the Xumizuo of the Monument to the People's Heroes during his lifetime, and it is unpretentiously inlaid here. A stele without words. However, it is a stone with body temperature! The blood of this stone never cools, it gurgles in the veins of the earth, warming a hope. A stele without words. However, it is a stone that can sing! The singer died before the hero, and it sang of immortality and eternity to the soil under its feet, the green grass beside it, and the white flowers before its head. A stele without words. However, it is a spiritual stone! It wrote thousands of words to the whole world.That never-withering olive wreath quietly and faithfully guards an integrity. It stands above life, above eternity, above years, and at the same time it is close to the soil.It guards a— People who have lived!Someone who ignites her soul in life. The sun writes its rays in large letters on the square. The inauguration ceremony of the Monument to the People's Heroes is held here.The national anthem was played, the red scarves raised their arms high, and the soldiers of the three armies raised their arms high, saluting solemnly to history! A song of stone, rising to the sky of gold.The road to all constellations is all illuminated by it! On the monument, the eternal garlands show off the fresh green of a season! At this time, who put a bouquet of fragrant cloves under her peaceful tombstone?