Writing a composition by looking at pictures of refugees

1. 300-word reflection after viewing pictures of refugees

Sometimes, I have this idea: We can help the refugees change their current lifestyle through the Internet, but They don't know what we are doing online, which shows a certain injustice. Human dignity often exists in inadvertent subtleties, and the harm to one's dignity is often found in inadvertent words, a raised eyebrow, a last word, or a tut. These have happened to some extent on the Internet, and there have even been disputes. The flash of swords and shadows, but do the refugees know?

One day, I asked Uncle Ge and Lao Wang’s wife Chai Xiulan to read the words and pictures describing their current situation in the notebook. From beginning to end, they remained silent, which disappointed me (see the picture on the right).

Another time, when I returned to Beijing from a business trip in Shanghai, I went to Dongjiaomin Lane on the east side of Tiananmen Square. In a small restaurant, I invited Lao Wang, Chai Xiulan, Uncle Ge, and Lao Zhang (Zhang Zhiqing/late) , and there is an old Liu from Shandong (the sixth in the family, so he is called Lao An) eating. That time, I brought the latest video that reflected their living conditions. During the dinner, I saw several refugees watching the movie with dull expressions, and my heart dropped again! Of course, I don’t make videos to please the refugees, so what if I can please them? But I want them to know that I am not the only one who cares about them. This wish is real. The result that time was even worse. Lao An strongly demanded that he be given 180 yuan to buy a cart to haul things during the day and use it as a bed at night. For this request, he almost had a fight with Lao Wang. "Do you think this money is yours?" Lao Wang condemned. install. We finally gave Lao An 180 yuan and ended the quarrel... A month later, we met Lao An in the West Square in front of the Great Hall of the People. He was prostrate on the ground in the square, his face was swollen, his eyes were It's a narrow slit and its head is huge. Even the police were too helpless to ask questions. Lao An was addicted to gambling... My feeling at that time was that our rescue was like a world apart from the lives of the refugees, even though they were closely related.

I was working in an office building, and a very young female colleague asked me to take her to the front door to have a look. We went there, it was dusk, and we looked at those people whose faces had been deformed by life and whose expressions were trivial. In the crowd, my little colleague was so frightened that he hid behind me. Later, we broke up when we got off the subway from the front door, and she was unable to speak.

For quite some time, the refugee tribe in Qianmen was only three hundred meters away from the Qianmen Police Station. Special vehicles that were not even equipped by the police in China were driving in and out in front of the refugees... One day, I was sitting and chatting with the refugees in the tribe. Lao Zhang pointed out to me which vehicle was used by which policewoman and where they usually parked it. Like a boy counting toys on the counter. Suddenly, Lao Zhang pointed at a female police officer who returned to the station in a special electric police car in the square and said: This woman is recognized as a shrew in the square, and she is very cruel to us...

On the east side under the front door, there is an old Beijing-Fenghuang railway station left before liberation. On the south side of the old train station is a flower wall. I said that there is the ruins of the Qianmen refugee tribe, which is hard to believe. This matter has to be said this way. In the past, *** wanted to engage in commercial development and reached an agreement with businessmen in the name of renovating dilapidated buildings. Later, the largest man-made attraction in China was built - Qianmen Street without Beijingers. During the days of demolition, Qianmen East Street was first opened. On the day when the ribbon was cut for the completion of the street, some businessmen built this flower wall because they saw that the second phase of the east side of the street was still a large area of ??ruins after demolition. When the mayor comes to cut the ribbon, it may not be nice to see a bare flower wall. Wouldn't it be beautiful if the people behind the flower wall also "come out of the wall"? So a temporary shelf of prefabricated boards appeared on the other side of the flower wall, just for the flowers that were too short to poke their heads in so that the mayor could have a look... The mayor was probably very satisfied, and then the mayor left. , the flowers were moved away, and the prefabricated board shelves left behind were just right for people to live in. Who is that person? Refugees!

I have left many photos that reflect the two worlds on both sides of this flower wall. That’s why I named my blog post on December 31, 2007, “Year-End Special Post: The Warmth and Warmness of the World.”

2. A short essay on the understanding of Jiang Zhaohe’s "Refugee Picture"

In the history of modern Chinese painting, "Refugee Picture" can be called a landmark masterpiece. It marks the development of Chinese figure painting in facing life directly and A great success in expressing reality, it is also Jiang Zhaohe's most representative work.

The creation of this painting was extremely troubled and legendary. In 1941, under the eyes of the Japanese troops in the occupied area of ????Beiping, Jiang Zhaohe began to create the huge "Refugee Picture" with extraordinary courage.

In order to prevent interference, he painted part of the painting and hid part of it, making it difficult for people to see the whole picture. On October 29, 1943, the painting was renamed "Group Portrait" and was exhibited for free in the Imperial Ancestral Temple. However, a few hours later, the Japanese military police ordered the exhibition to be banned.

In 1944, this painting was exhibited in Shanghai and was confiscated. In 1953, half a rotten volume of "Refugee Pictures" was discovered in Shanghai. The whereabouts of the second half of the volume are unknown since then. This is the remaining first half.

In 1998, Jiang Zhaohe’s wife Xiao Qiong donated this fragment to the country. Through an in-depth depiction of more than 100 refugees, the whole painting points out the background of the times and the origin of the war with the central plot of escaping from bombing, and points directly to the heinous crimes committed by the Japanese invaders against the Chinese nation. It has a profound sense of tragedy and a broad sense of justice. Humanitarian spirit and epic power.

The value of "Refugee Picture" lies not only in its spiritual strength, but also in its unprecedented artistic breakthrough. He combined the line drawing of Chinese painting with the light and dark shaping techniques of Western painting, bringing the realistic techniques of Chinese figure painting to an unprecedented height, and became another outstanding modern Chinese figure painter after Xu Beihong.

Jiang Zhaohe (1904-1986) was born in Luzhou, Sichuan. Influenced by his father since childhood, he taught himself poetry, calligraphy and painting.

Living in Shanghai at the age of 16, he made a living by painting charcoal portraits and commercial art. In 1928, he entered Nanjing Central University to teach pattern classes, and later served as a drawing professor at Shanghai Art College.

In 1936, he went to Peking and taught at the National Peking Art College. During this period, he switched from Western painting to ink figure painting, and entered the heyday of his artistic creation.

Since 1950, he has been a professor at the Central Academy of Fine Arts and established a teaching system for basic courses on Chinese ink and wash figure painting. Other representative works include "Portrait of Ah Q", "A Basket of Spring Beauty Sold All Over the World", etc. 3. A short essay on the understanding of Jiang Zhaohe's "Refugee Picture"

Jiang Zhaohe (1904-1986) was born in Luzhou, Sichuan. Influenced by his father since childhood, he taught himself poetry, calligraphy and painting.

"Refugee Picture" is a huge scroll created in Beijing from 1942 to 1943.

At that time, the Japanese invaders had trampled half of our country's rivers and mountains, and the dire straits of the Chinese people inspired the artist to conceive the creation of "Refugee Picture". -In 1942, Jiang Zhaohe went to Shanghai, Nanjing and other places to collect materials, and drew many sketches and sketches of characters. However, when creating the whole picture, he still invited many models, including the artist's friends such as the Chinese painter Qiu Shiming, Woodcarver Wang Qingfang and others.

From right to left, the scroll begins with an old man holding a stick. Next to him is an old man lying on the ground, who is already dying. Two women and a donkey leader surround him. way. Further down, there is a young farmer holding a hoe and his hungry family, a mother holding her dead little daughter, an old man covering his ears during the air raid, and women and children hugging each other and looking at the sky.

There are ruined walls, corpses lying on the ground, and beggars on the road. Further down, there are beggars, people fleeing, injured workers, city women waiting for the return of their relatives, abandoned babies, crazy women, a father who wants to hang himself and his daughter begging him, intellectuals meditating in pain... "Picture of Refugees" is entirely painted with brushes and ink, and its detailed and profound image description is rarely seen in the history of modern painting.

Due to the blind pursuit of freehand brushwork and formulaic expression in traditional figure paintings, there have been few works that profoundly depict reality in the past hundred years. Jiang Zhaohe introduced Western painting sketching techniques into Chinese painting. Every character he draws must have a basis for life and a corresponding model as a reference.

He appropriately draws on light and shadow methods to depict the faces of characters, but also uses line drawing as the main modeling method - this is a great achievement in the field of figure painting since the promotion of realism painting in modern times. Jiang Zhaohe is an artist who focuses on reality. He said that he “walked in the vast desert, watched the camels running slowly, and listened to the music of the symphony of life...” and said that his art is not “a glass of life’s wine.” ", but "a bowl of bitter tea", dedicated to the people "who are flooded with refugees, homeless, old, weak, helpless, poor and sick".

"Refugee Picture" reflects the factory's proposition. Art Appreciation: By depicting the painful situation of more than 100 homeless people struggling on the verge of death while avoiding Japanese bombing, the work shows the human tragedy of starvation and devastation caused by the invaders.

The picture does not directly show the image of the invaders who burned, killed, and looted. Instead, it reveals the ruin of the country and home caused by the invaders to the Chinese nation through the portraits of people with sad faces, exhausted, and lying on the ground. The devastating trauma of death. The "Refugee Picture" now in the National Art Museum of China is only the first half of the original work. There are more than 50 people in the picture, nearly half of whom are children, and the rest are mostly old people and women.

It is through the innocence of these young children and the helpless images of the elderly and women that the author adds a sense of tragedy and a sense of the heaviness of human nature in the process of being ravaged. At that time, Under the social environment, it expresses the righteous voice of a conscientious artist who sympathizes with the public and opposes aggression. Jiang Zhaohe once said: "Because of the torrent of this era, the pain that rushed into people's hearts made me feel the sadness of life, and also made me excited about the greatness of this era. Everything made me unable to ignore the greatness of this era." We must not abandon the trauma that the times have brought to the public."

In terms of artistic expression, "Refugee Picture" adopts a combination of Chinese and Western techniques. The line drawing of Chinese painting is combined with the light, dark and color factors of Western painting, making the work both It has the charm of brush and ink pursued by the aesthetics of Chinese painting, but also has the spirit of realism.

This is also the path of realism pursued by the painter in his artistic orientation, which reveals the tragic fate of the working people and their inner pain through realism. 5. Let’s talk about the picture of the refugees in Western Shandong in general. Tell me about the main content. It needs a few good sentences and explanations. In detail

In 1935, Xiao Qian, who was a reporter for Ta Kung Pao, visited the disaster-stricken area in Western Shandong. He wrote "Picture of Refugees", a famous piece in the history of modern Chinese literature, which described the tragic scene of Shandong victims fleeing to make a living. After the spring of 1935, Shandong was hit by a severe drought. About two-thirds of the counties were affected, including northern Shandong and Shandong provinces. The disaster was most severe in southwestern Shandong. In mid-July, rainfall increased sharply in the upper reaches of the Yellow River. The 3-kilometer embankment from Dongzhuang to Linpu in Juancheng was completely overflowing with water. Six entrances were covered with floods. The floods spread all over western Shandong. The disaster situation It was extremely serious. The "Shandong Yellow River Flood Relief Report" compiled in 1935 recorded a scene witnessed by Zhen Weichen, a member of the Flood Relief Committee at that time: "Twelve men and women were drowned to death and flowed down the river. It was horrific. The people had to climb up. The tree was built into a high platform, with old women standing on it. The strong men stood in the water, and the cries for help were heard from time to time. They were all in every village. How many boats could accommodate them? ... The houses all collapsed and the water washed over them. Most of it was removed, only one or two chickens and dogs were left, and there was a wooden circle. Seven men and women carried the circle and were drowned. There were scattered corpses floating in the river frequently approaching the boat, and the boat was sailing on the top of a big tree." It was under such a great disaster. , Xiao Qian, then a reporter for "Ta Kung Pao", began his first independent travel interview. With the pen in his hand, he left us with the tragic scenes of many Shandong refugees fighting with death and escaping from their homes more than 70 years ago. "Refugee Picture" uses close-ups In this way, the scene of the exile of the Shandong disaster victims is presented to us like a lake. Especially the "Sketch of Jining Station" is very tragic and unforgettable. At that time, Xiao Gan and the painter Zhao Wangyun were both selected by "Ta Kung Pao" He was sent to the flood site to conduct on-the-spot interviews, writing and drawing. When the article and sketches were published in Ta Kung Pao, the response was strong and donations for disaster relief surged. 6. Pictures of the Refugees in Luxi *** depicts several pictures, reflecting the author's feelings

It describes the tragic scene in Shandong in the autumn of 1935 when yellow water flowed across the country and the entire territory became Zeguo. At that time, the refugees who could not see the horizon were like uprooted algae, drifting blankly in the disaster.

1 An old man as thin as a withered stick and countless refugees.

2 A shriveled mother and a baby with a big head and thin face.

3 children were together with their families at the train station.

4. The old lady’s black buns.

5 The old man who reads the scriptures.

The flood took away their homes and their right to survive. This is a vivid textbook on the history of disasters in old China. It is also Xiao Qian's first interview on life as a travel reporter. It expresses the author's flesh-and-blood relationship with the disaster-ridden motherland and people.

We have just done the exercises, but there are only so many, be sure to adopt O (∩_∩) O haha~ 7. What genre does the refugee picture belong to?

You ask The painting is the "Refugee Picture" by "Jiang Zhaohe". It belongs to the theme of "anti-Japanese". In 1937, the Marco Polo Bridge Incident broke out. The impoverished painter lived in Peiping and relied on portraits to support his life and creation. The invaders' tyrannical behavior aroused the artist's innermost feelings. Feeling strong grief and indignation, after a long period of deliberation, he started writing in 1942, and it took one year to complete "Pictures of Refugees". Jiang Zhaohe's "Pictures of Refugees" were painted in enemy-occupied areas during the Anti-Japanese War when the national disaster was unprecedentedly severe. "Pictures of Refugees" " is Jiang Zhaohe's personal masterpiece and a representative work of figure painting of an era. This painting records the severe disasters that the Japanese invaders brought to the Chinese nation and is full of blood and tears. It is 2 meters high and 12 meters long. It can be said to be 20 years old. The largest character picture in the first half of the century that truly reflects the national tragedy. Hope it will be adopted. 8. Write a diary of 200 words about "Along the River During the Qingming Festival"

1: A diary of "Along the River During the Qingming Festival" during a trip to Hengdian. On the second day, we came to the "Along the River During the Qingming Festival" in Hengdian.

Along the River During the Qingming Festival is a painting by Zhang Zeduan. There are more than 500 people on it, so the length and width are also amazing, and he is taller than Liu Xiang! Once inside, there are many small shops and souvenirs: nunchakus, Longquan swords, wooden swords, bows and arrows, Xiao Li flying knives, darts, and model cannons. . It’s really a dazzling array of things, with everything you need, and they’re of high quality and cheap.

Not only can you see the Qingming Festival Along the River there, but you can also take photos with it! So my father took a photo of me, my brother, and the Riverside Scene during the Qingming Festival.

After playing, our trip to Hengdian is over. This time I had fun and gained knowledge. 9. The creative background of the Refugee Pictures

In 1937, the Marco Polo Bridge Incident broke out, and the impoverished painter lived in Peiping, relying on paintings to support his life and creation.

The tyrannical behavior of the invaders aroused the intense grief and indignation deep in the artist's heart. After a long period of deliberation, he began to write "Refugee Picture" in 1942, which took one year to complete. At that time, the Japanese invaders had trampled half of China's rivers and mountains, and the dire straits of the Chinese people inspired the artist to conceive the creation of "Refugee Picture".

—In 1942, Jiang Zhaohe went to Shanghai, Nanjing and other places to collect materials and drew many sketches and sketches of characters. However, when creating the full picture, he still hired many models, including friends of the painter. Such as Chinese painter Qiu Shiming, woodcarver Wang Qingfang, etc. From right to left, the scroll begins with an old man holding a stick. Next to him is an old man lying on the ground, who is already dying. Two women and a donkey leader surround him, and there is nothing they can do.

Further down, there are the young farmer holding a hoe and his hungry family, the mother holding her dead little daughter, the old man covering his ears during the air raid, and the people holding each other and looking at the sky. women, children. The walls are in ruins, corpses are lying on the ground, and beggars are everywhere on the road.

Further down, there are beggars, people fleeing, injured workers, city women waiting for the return of their relatives, abandoned babies, crazy women, a father who wants to hang himself and a daughter begging him, in pain The contemplative intellectual. When Mr. Jiang talked about this creation, he said that he was living alone in Beijing at that time, and the conditions were relatively difficult. It was not easy to raise the cost of painting. In order to hide it from the eyes of the enemy, he had to paint small pieces and scattered them. Over the years, it finally became a huge piece that was six feet high and more than eight feet long.

Less than a day after the exhibition, the work was banned and even confiscated in disguise. The second half of the original painting has been lost, and only the black and white photo remains.

Many of the characters in the painting are close to life-size, and the artist has successfully represented a scene of homeless and homeless people, which makes people deeply affected and shocked after watching it. In terms of technique, Mr. Jiang absorbed some techniques from Western painting to make the characters more lifelike and realistic, but without being forced or rigid, instead blending Chinese and Western styles.

Has its own characteristics. . 10. The creative background of the Refugee Pictures

In 1937, the Marco Polo Bridge Incident broke out, and the impoverished painter lived in Peiping, relying on portraits to support his life and creation. The tyrannical behavior of the invaders aroused a strong sense of grief and indignation in the artist's heart. After a long period of deliberation, he began to write "Refugee Picture" in 1942, which took one year to complete.

At that time, the Japanese invaders had trampled half of China's rivers and mountains, and the dire straits of the Chinese people inspired the artist to conceive the creation of "Refugee Picture". -In 1942, Jiang Zhaohe went to Shanghai, Nanjing and other places to collect materials, and drew many sketches and sketches of characters. However, when creating the whole picture, he still invited many models, including the artist's friends such as the Chinese painter Qiu Shiming, Woodcarver Wang Qingfang and others. From right to left, the scroll begins with an old man holding a stick. Next to him is an old man lying on the ground, who is already dying. Two women and a donkey leader surround him, and there is nothing they can do. Further down, there is a young farmer holding a hoe and his hungry family, a mother holding her dead little daughter, an old man covering his ears during the air raid, and women and children hugging each other and looking at the sky. The walls are in ruins, corpses are lying on the ground, and beggars are everywhere on the road.

When Mr. Jiang talked about the creation of this painting, he said that he was living in Beijing at that time, alone, and the conditions were relatively difficult. It was not easy to raise the cost of painting. In order to hide it from the eyes of the enemy, he had to make small and small paintings. The paintings were scattered for more than a year, and finally they were combined into a huge painting that was six feet high and more than eight feet long. Less than a day after the exhibition, the work was banned and even confiscated in disguise.

The second half of the original painting has been lost, and only the black and white photo remains. Many of the characters in the painting are close to life-size, and the painter has successfully represented a scene of homeless and displaced refugees, which makes people deeply affected and shocked after watching it. In terms of technique, Mr. Jiang absorbed some techniques from Western painting to make the characters more lifelike and realistic, but without being forced or rigid, instead blending Chinese and Western styles. Has its own characteristics.