丹柿图 于非闇 丹柿小院平面图 贾珺 老舍先生原名舒庆春，字舍予，满族正红旗，是土生土长的北京人。他创作的绝大多数文学作品，都以 北京这座古城为背景，那些人物生活在胡同里，住在传统的四合院或大杂院中。 1899年，老舍出生于北京新街口小羊圈胡同的一个大杂院，自幼家境贫寒。1922年后，他漂泊四方，居 京的时候不多，虽然在1933年购买了西直门内葡萄园胡同的一个小宅院，只是供母亲安度晚年，让哥哥 舒庆瑞与她同住，并没有给自己置办居所。 这个宅院很规整，中央摆放了一个大铜缸，正房前还种了两株柿子树，果实为橘红色，深受老舍喜爱。 老舍将此院命名为"丹柿小院"，并称夫人的画室为"双柿斋"。 段成式的《酉阳杂俎》说"柿有七绝"："一寿、二多阴、三无鸟巢、四无虫、五霜叶可玩、六嘉实、七 落叶肥大。"丹柿小院的这两株柿子树，是从西山林场移栽来的，刚入土的时候树干只有拇指般粗细， 十年过去，就有海碗那么粗了，每到秋天，树上结满柿子。名画家于非闇专门给这两株柿子树画了一幅 《丹柿图》，并题款："老舍家看菊花，见丹柿满树，亟图之。" 除了柿子，老舍还喜欢养花，家中有几十种盆栽花卉，石榴、蜡梅、昙花、月季……应有尽有。要说数 量最 ...

Core Insights - The article emphasizes the balance between tradition and innovation in Beijing's cultural scene, particularly in the performing arts, highlighting the importance of maintaining cultural identity while adapting to contemporary contexts [1][2]. Group 1: Cultural Innovation - Beijing hosts over 150 performances daily, attracting more than 12.8 million audience members last year, marking a historical high [1]. - The Beijing People's Art Theatre (Beijing Renyi) is focusing on innovative expressions of traditional Beijing culture, as seen in the adaptation of "Zhenghong Qixiang" where traditional settings were modernized [2]. - The integration of AI characters in contemporary plays like "Yiri Dingliu" reflects the evolving nature of Beijing's cultural expressions, appealing to younger audiences [3]. Group 2: Cultural Heritage and Education - The revival of classic works, such as "Camel Xiangzi," involved younger actors learning traditional performance styles, ensuring the transmission of cultural heritage [3]. - The need for a robust training system for new talent is emphasized, as the Beijing People's Art Theatre faces a generational transition with many veteran actors retiring [6]. - The importance of creating a conducive environment for artistic creation is highlighted, suggesting that policies should support long-term artistic development [6]. Group 3: Internationalization of Beijing Culture - The international success of Beijing's theatrical productions, such as "Zhang Juzheng" in Russia, demonstrates the global appeal of Chinese stories when presented with an emphasis on Eastern aesthetics [7][8]. - The article suggests that Beijing should not only export its own works but also invite international classics to perform, fostering a cultural exchange that enhances its status as a "performing arts capital" [8].

Core Viewpoint - The book "舍不掉的予：老舍与中国现代文化" by Kong Qingdong explores the multifaceted cultural world presented through Lao She's works, emphasizing his unique perspective on Beijing culture and its characteristics [5][10]. Group 1: Cultural Perspectives - Lao She is portrayed as a "multi-functional camera" reflecting various aspects of reality, with a strong emphasis on his identity as a "Beijinger" [5][6]. - The book examines Beijing culture through various lenses, including class, race, religion, region, and gender, highlighting the regional characteristics in Lao She's narratives [5][6]. Group 2: Noble Spirit in Common Life - Kong Qingdong identifies a "noble spirit" within Beijing culture, which contrasts with the common perception of it being purely "popular literature" [6][7]. - This "noble spirit" is evident in the lives of ordinary people who, despite material poverty, pursue cultural elegance and refinement [6][7]. Group 3: Inclusivity of Beijing Culture - The works of Lao She reflect the inclusivity of Beijing culture, which integrates diverse cultural elements from various origins, showcasing a rich tapestry of multiculturalism [7][9]. - The portrayal of the Manchu culture in Lao She's works illustrates the blending of different cultural identities within the broader context of Chinese nationalism [7][9]. Group 4: Aesthetic of Joy - The concept of "乐感文化" (joyful culture) is highlighted as a distinctive feature of Beijing culture, manifesting in Lao She's works as a unique aesthetic of life [8][9]. - Characters in Lao She's narratives often embody a carefree attitude towards life, reflecting a deeper appreciation for beauty and enjoyment despite their circumstances [8][9]. Group 5: Methodology in Cultural Research - Kong Qingdong emphasizes the importance of combining historical materials with contemporary life to deepen the understanding of regional culture [9][10]. - He proposes a "ten-sided ambush method" for cultural research, advocating for immersive experiences in the local culture to gain a comprehensive understanding [9][10].

Core Perspective - The book "舍不掉的予：老舍与中国现代文化" by Kong Qingdong explores the multifaceted cultural world presented by Lao She, emphasizing his unique perspective on Beijing culture and its characteristics [5][10]. Group 1: Cultural Characteristics - Lao She's works reflect a rich cultural tapestry of Beijing, showcasing both "common people's literature" and a distinct "nobility" that emerges from everyday life [6][7]. - The concept of "nobility" in Beijing literature is illustrated through characters who, despite their poverty, maintain a pursuit of elegance and cultural refinement [6][7]. - Beijing culture is characterized by its inclusivity and diversity, blending various cultural elements from both domestic and foreign influences [7][9]. Group 2: Aesthetic Elements - The notion of "乐感文化" (joyful culture) is a significant aspect of Beijing culture, as seen in Lao She's portrayal of characters who embody a positive outlook on life despite their circumstances [8]. - Lao She's characters often exhibit a unique lifestyle aesthetic, reflecting a leisurely and refined approach to life, which contrasts with the fast-paced modern world [8]. Group 3: Research Methodology - Kong Qingdong emphasizes the importance of combining historical context with contemporary experiences in studying regional culture, proposing a comprehensive approach to understanding Beijing culture [9]. - The methodology includes immersive experiences such as exploring the city, engaging with its people, and appreciating its culinary and social customs [9].