Red paper umbrella book red paper umbrella

Have you ever seen a red paper umbrella? It has water-like bamboo bones and a water-like umbrella surface, with fragments of "Butterfly Loves Flowers" inscribed on it, embroidered with green Chinese paintings...

After Jia Pingwa's "Abandoned Capital" and Chen Zhongshi After "White Deer Plain", another blockbuster hit the literary world - a masterpiece by Shaanxi's powerful new writer Tan Yi!

The most favored and sought-after literary novel among netizens in the Chinese Internet Literature Forum in 2004, it also triggered the Tan Yi phenomenon and the "Red Paper Umbrella" phenomenon, bringing unprecedented excitement to the Internet.

The work of Mr. Tan Yi in ten years - "Red Paper Umbrella", the traditional literary sword test network arena, with millions of "paratroopers" as the network backing, shook Jia Pingwa Shangzhou's literary dominance, exploded The third artillery piece of the Shaanxi Army's Eastern Expedition was fired.

This is a novel with a strong legendary color, which expresses true feelings and true love in a fantasy way. The whole book is always immersed in a strong subjective emotion, and is narrated in a passionate and aesthetic way. During the reading process, readers can often realize that the author is often unable to control his writing state. Therefore, "Red Paper Umbrella" also It is very easy to impress readers with sad and poignant stories, gorgeous and passionate emotions, and delicate and profound words. When you read the complete book, you will find that all the characters and plots, all the hatred of life and death, all the love and hate of life and death, all the language and emotions are crystallized, and the only thing that can remain in your mind is the one that can resist the erosion of all time and space. Words with variations: love.

Tan Yi's novel "Red Paper Umbrella" is set in Shangzhou, which is located in the hybrid zone of Central Plains culture and Chu culture. It is integrated with folk witch and ghost culture and is filled with ancient and mysterious cultural charm. The novel spans from the late Qing Dynasty to the 21st century, involves five generations of the Shang family, and depicts the joys and sorrows of the past and future lives of nine women attached to red paper umbrellas, as well as the lingering love entanglements that are life-threatening. The large number of classical images in the novel also creates a flowing classical charm; using free compositional structure and modern expression techniques, through gorgeous and fragrant language, the blend of classical and modern is achieved, highlighting the unique artistic ductility and Artistic tension. ISBN: 9787501542451

Number of words: 532,000 words

Number of pages: 475pages

Print: First printing in January 2005

Edition: 1st edition, January 2005

Print run: 000001~100000 copies

Pricing: 48.00 yuan

Paper: Paperback 1. Permeated The background of mysterious cultural charm

In the novel "Red Paper Umbrella", the author Tan Yi carefully designed the plot, and at the same time, he permeated the ancient and mysterious atmosphere in the outline of the novel's background and the rendering of the cultural atmosphere. Cultural charm. The novel presents a panoramic view of culture through the display of many folk customs, scenery and worldly conditions such as Jiangnan Umbrella Shop Workshop, humid Rain Town, Shangzhou City with beautiful mountains and rivers, Heishizhai Bandit Cave in the mysterious forest, Shenzhai in the ancient town with small bridges and flowing water, etc. Shangzhou has a profound cultural background.

Shangzhou has been a mysterious place since ancient times, located at the intersection of Central Plains culture and Chu culture. The Chu region has had a strong tradition of witchcraft culture since the Warring States Period. "Hanshu Geography" records that "Chu people believe in witches and ghosts and attach great importance to obscene worship." During folk sacrifices, witches and ghosts were used to "compose songs and music to encourage and entertain the gods." ". This kind of god-sacrifice witchcraft song is combined with music and dance, with a warm and lively style and full of romantic sentiment. The long historical origin and profound cultural heritage have given birth to the passionate, strange and romantic Chu style and Chu charm. The unique charm of Chu people and Chu culture makes its folk customs appear diverse and colorful.

The transitional nature of Shangzhou’s geographical location makes the Chu style in Shangzhou culture stronger. "Chu Ci" is the aggregation and crystallization of Chu culture. When you open "Chu Ci", you will be greeted by a psychedelic and mysterious atmosphere; Chu art is mostly related to worshiping gods and is full of strange romantic colors. Therefore, Shangzhou's The local customs and customs are also deeply influenced by shaman culture. The mystery of the Qin and Han Dynasties is even more visible: Qin and Han people believed in the existence of the soul and wanted to live forever. Emperor Qin and Han Wu were typical examples, so alchemists who worshiped gods and practiced yellow and white magic to prepare elixirs came into being. At the same time, the descendants of mysterious foreign objects from outside the region greatly contributed to the spread of witchcraft. All of this was immersed in folk customs and passed down to this day, forming the mysterious cultural and psychological characteristics of the Three Qin Dynasty.

Tan Yi grew up in such a cultural atmosphere, and was naturally influenced by the mysterious characteristics of Sanqin culture and nourished by the rich local folk culture, so "Red Paper Umbrella" has a strong rural style Folk customs and concepts of Buddhism, Taoism, ghosts and gods. Tan Yi seems to have obtained the essence of mysticism in traditional Chinese culture. Through the infiltration of soul and emotion, it penetrates and blends in emotional memory, integrates it into the aesthetic experience of emotion and life, and injects it into "Red Paper Umbrella".

The novel draws on Shangzhou folk witch and ghost culture to describe ghosts and gods, fate, reincarnation, divination, Feng Shui, Buddhist Zen and sexual secrets, etc., and uses illusion and mysterious consciousness to create gorgeous red paper umbrellas, Strange jade butterflies, miraculous red gems and other mysterious things are not only written about spiritual objects and supernatural phenomena, but also about the entanglement between humans and ghosts for several generations. For example, Hu Yudie transforms into a ghost and floats in the peach blossom forest. The strange green light emitted by the dieffenbachia buried with the jade butterfly blinds the eyes of the bride Yu Qiang. Jiaorui's box full of precious outfits that have been dusty for many years are instantly transformed when she reunites with her old lover. For fans, a parrot named Green Lips helps the mute girl Qiu Xiao learn to speak... The novel crosses the boundary between life and death, and does not end with the physical death of the characters, but with the "ghosts" whose souls are immortal after the death of the human body. "As a continuation of the image, generations of people and ghosts have gathered, worried and collided with each other, showing extremely alienated pure love, homosexuality, abnormal love, and love between humans and ghosts, etc., making it possible to break through the worldly love between men and women, and erotic entanglements. The limitations of time and space extend to the world of ghosts and gods. The eerie atmosphere of death, the eternal tension between life and death, and the mysterious curse born of love and hate, all integrate the power of fate into the endless lingering love, and give it a new interpretation, allowing incompleteness to set off perfection, fragmentation to reflect harmony, and despair. Turn into hope to awaken people to pursue the highest and pure essence of humanity, personality, humanity and thought. The description of human-ghost love affairs and supernatural legends has greatly expanded the novel's expression space, and the fatalistic color contained in it renders the witch culture very vividly. This is actually the author's grasp of the spirit of Shangzhou folk culture. Mysticism undoubtedly adds a strange color to this novel, and its aesthetic connotation has a philosophical interest that transcends time and space.

In addition, the author has done in-depth and detailed research on Shangzhou customs, folk crafts, Chinese operas, costumes, embroidery and dyeing, and colorful folk customs, such as paper umbrellas. The production technology, cloth weaving and dyeing technology, the procedural skills of local opera and the needlework of embroidery and other ancient traditional folk cultures are all described in extremely detailed and detailed ways, which adds to the cultural heritage and intellectual connotation of the work. The author uses spiritual words and weird Shangzhou love stories to create a mysterious and romantic Shangzhou for us. The rich culture accumulated over thousands of years has flourished into a style and charm like the legacy of the Tang Dynasty in the novel, which makes "Red" "Paper Umbrella" delicately applies gorgeous cultural lipstick to the face of Shangzhou where ancient and modern times meet, making it the watchman of Shangzhou's ancient civilization. This kind of cultural charm seems to be just a smile when looking back at history in the work, but it is also enough to captivate people.

2. The theme of lingering love that endures death

The novel takes an old umbrella shop in ancient Shangzhou as the background to unfold the story. It uses red paper umbrellas as the carrier and uses transcending time and space boundaries and ordinary concepts of life and death. The romantic technique of boundaries runs through the life course of several generations, depicting the joys and sorrows and love entanglements of the past and future lives of nine women attached to red paper umbrellas. Among them are poignant love, inseparable family ties, and obsession. Unrepentant same-sex love, deviant love in the mortal world that violates morality and destroys the family, and lingering love between humans and ghosts that are even to death... The novel's time span starts from the late Qing Dynasty, through the Republic of China, the founding of New China, and until the 21st century, involving five generations of the Shang family. The author uses strong words to describe the love entanglement and helpless struggle of those passionate men and women and their children who can't help but resist the tide of time and destiny. Gu Yulong, Xiao Taohong, and Yuqiang interpret the legend of the ancient umbrella shop. The ancient Shangzhou umbrella shop was reduced to ashes in the lightning strike, and the owner of the umbrella shop who attracted bees and butterflies was burned to black charcoal in the peach blossom forest; Zi, Sang Mei and Umbrella Man once again relived the tragedy of history. Umbrella Man became a victim of the war. Although the umbrella shop was destroyed, love debts accumulated over the years; Shang Hen, Shang Tong and Zhong Qing could never get out of the shadow of their families. And troubled, unable to escape the mysterious shroud of the red paper umbrella. Under the cover of the graceful, charming but fateful and melancholy red paper umbrella, the characters seem to be hiding behind the gauze-like curtain of history, hiding and yet exposed.

The fate of the characters, from the warlord era of the Republic of China to modern life, testifies to the joys and sorrows of a love-struck man and woman in a land of love, as well as the reincarnation of life and death when they renew their love. The whole novel tells the rolling world of life in a poetic and tearful way. , taking readers into a wonderful world of love.

Tang Xianzu put forward the theory of "extreme love" in "The Peony Pavilion's Epigraph": "You don't know where it starts, and it goes deep. The living can die, and the dead can live. Living but not dead, death Those who cannot be resurrected are not the result of love." In order to express "deep love", he used the bizarre plot of life and death and resurrection in "The Peony Pavilion". Tan Yi and Tang Xianzu have similar values ​​and emotional orientations. Although "Red Paper Umbrella" also narrates the rise and fall of an umbrella shop and a development history of Shangzhou from the side, showing the social living conditions of people in different historical stages, the author only briefly outlines the complex society contained in it. The historical content and the background of the rise and fall of the family focus on "love". The book uses fiery and full of passionate words to tell one desolate love story after another. It not only contains deep family affection that is constantly being abandoned, but also inserts pure and sincere abnormal love and even homosexual love from time to time. There are also entangled and time-traveling stories. The love, resentment and affection between humans and ghosts.

There are no characters or plots throughout the book. It merely arranges the development of events in a simple temporal and spatial order, and builds the entire novel on the basis of lingering love. The various bizarre connections between the characters' destinies are constantly developing, changing, breaking and renewing, entwined in the immortal love of life and death. In order to express "deep love", the author even deliberately used the technique of misalignment of fate to cruelly separate two people who met in this life, causing the lovers who were most close to each other to abandon themselves. This deliberate lovesickness pattern appears endlessly in the book. As a result, the readers shed the coldest tears in the heartbeat and waiting, realized the beauty of tragedy in the incomplete love, and felt the shocking emotional power in the continuous emotional plunder. This is where "Red Paper Umbrella" can easily touch the numb hearts of today's readers in this mortal world.

3. Classical imagery and classical charm

A large number of classical images are used in "Red Paper Umbrella", such as gorgeous red paper umbrellas, weird jade butterflies, magical red necklaces, etc. In the plot of the novel, one disappears and another appears, and the prefixes and suffixes echo each other, creating a flowing classical charm for the entire work. The red paper umbrella is the most touching and impactful core image in the book. The red paper umbrella is a classic traditional image in Chinese culture, and many literati and artists are very fond of it. The red paper umbrella that appears throughout the novel is said to have been lost in Shangzhou. However, in Tan Yi's writing, the "red paper umbrella" was "made" vividly. It is not only a shelter from the wind and rain, but also a mysterious image attached to love and destiny: the bright red color symbolizes the beautiful beauty, the texture of the paper symbolizes the fragile love although it is beautiful, and the "umbrella" means " "Dispersed", foreshadowing the sad ending of each gathering and separation. The love between the hero and heroine under "Red Paper Umbrella" begins with the "umbrella" and falls in love with each other; the love finally "breaks up" and the fate ends. The umbrella opens and closes, people gather and disperse, and the joys and sorrows of the world are expressed on the umbrella. Although red is bright, it has a strong smell of blood, and the characters' tragic emotional fate is revealed in the thick mystery: the first appearance of the red paper umbrella made Shang Shiyue, the founder of the Shang Umbrella Store, fall in love with his beloved The woman left her soul and wandered around. After many hardships, although she won the beauty, she had to leave her hometown and start a new business in Shangzhou. From then on, the disaster brought by the red paper umbrella was constantly fulfilled by the arduous love journey of the merchant's descendants.

In addition to red paper umbrellas, the author also selected jade in traditional Chinese imagery - jade butterflies and jade red necklaces. A pair of jade butterflies are not only Hu Yudie's weapon to take revenge on Gu Yulong for his rebellion, but also a testimony of the love between Shang Zidan and Gu Yulong's wife Shang Yuqiang, and become a token of recognition between Shang Han and Shang Zidan as father and son; On a string of red necklaces passed down from generation to generation, each jade stone represents a woman's life; a pair of pipa buttons records the love and family affection of three generations, three pairs of men and women, and a pair of twin brothers. Each of these antique and charming spiritual objects has an elegant and exquisite texture, embodies several poignant love stories, and is deeply infiltrated by rich emotions. They absorb the soul of love and nourish extraordinary beauty. Reiki and mystical power. Not only do they play a role in fueling the flames at important junctures in the development of the plot, but they also present a mellow classical charm due to layers of emotional accumulation.

These ornaments with strong traditional colors are gems of different shapes and forms carefully inlaid by the author in this gorgeous novel. They glow with strange and mysterious classical colors in the whirlpool of emotions.

It is worth noting that the most striking feature of the author's choice of imagery is his preference for red, which highlights the author's red complex. The author's rich and colorful rendering of a series of images such as red paper umbrellas, red necklaces, and the love of red foxes makes the meaning of the entire work show a distinct traditional color. In the cultural understanding of the Chinese people, red represents joy and enthusiasm. It is open and full, and has always been admired by the Chinese people. The author's detailed descriptions of paper umbrella crafts, Hua Niang embroidery and costumes evoke the charm of the Red Mansion and are of great artistic value. Due to the borrowing of a large number of classical images and classical poems, the work is overflowing with rich poetic charm. The ancient charm brought by the classical images and classical poems also enables the work to achieve some subtle communication with traditional culture and Chinese history, and pure love is also obtained through this. With the cultural heritage, the works naturally carry more connotations.

All of these reflect the novel's origins in traditional culture and folk culture, making the entire work deepen and expand in the historical dimension, thus enriching the emotional world depicted by the author. Therefore, compared with similar works, "Red Paper Umbrella" has a rare cultural charm and is quite readable. This is probably an important factor in its ability to transcend the boundaries of traditional literature and online literature.

4. The creative style that blends classical and modern styles

First of all, it is the free compositional structure and modern expression techniques.

The composition and structure of "Red Paper Umbrella" has distinctive modern and free characteristics, and even has the structural techniques of the most popular magic novels in online literature. The novel's lingering love story and its endless stream of sad and beautiful artistic conceptions are all placed under the command of the author's free and easy thoughts, completely obeying the author's needs for theme expression, allowing the characters to live and die in their own thoughts. When we read "Red Paper Umbrella", we seem to see the characters in the book transformed into umbrella bones. They are all attached to the umbrella handle of fate, closing and closing with the changes of time and seasons. They are close to each other for a moment, After a while, they went to different places, people came and went with their cloaks hanging on the snow, and their umbrellas were frequently bathed in the wind and rain of the times. After the author opened the beautiful umbrella again and again, it turned into a sea of ​​love and hatred for all the characters who came in and out of the story. Whether the umbrella surface is torn after all? - There is no way to know, but the poem "Frost Dawn" on the umbrella beats the dawn and dusk under the intercourse of time for a long time. The strange and turbulent changes in the fate of the characters in the novel make the word "love" transcend life and death, travel through time and space, and interpret the lives of several generations in the life trajectory drawn by the "red paper umbrella". The locations where the story takes place change frequently and are even difficult to bridge and splice, but the author cleverly and naturally harmoniously constructs the remote Shangzhou and the prosperous Dalian, the exotic Japan and the interior of China. On the clues, the author vaguely outlines the background of the turmoil of the Republic of China, the Anti-Japanese War, the founding of New China, the "Cultural Revolution" and the reform and opening up. Without modern expression techniques, it is difficult to organize them together organically. The novel does not even have a complete and coherent plot. It arranges the development of events in a sequence that combines time and space. This arrangement advances the organic connection between the characters' fates at an unexpected speed. In novels, you can clearly see the events, characters and places, but you cannot predict the fate of the characters. There are changes, and even a little dislocation can cruelly separate two people who meet in this life. In addition, the author breaks the boundaries of time and space, travels through the realm of life and death, and has very wild imagination. This narrative method allows the author to maximize the expression space for his emotional understanding and experience, showing a distinctive modern style. This makes the tragic stories condensed under the red paper umbrella deeply immersed in the author's strong subjective color, presenting a strange and mysterious story structure.

Novel has a large capacity and reflects the depth and breadth of life far greater than other literary styles. Therefore, the author mostly uses an omniscient perspective and occasionally uses a third-person limited knowledge perspective to narrate. Although this makes the narrative grand and more historical, it also seriously weakens the novel's personality. "Red Paper Umbrella" does the opposite, abandoning history in favor of the individual, and abandoning the broad in favor of love.

As for the narrative perspective, "The Red Paper Umbrella" mostly adopts a limited knowledge perspective in which the narrator and the character are one, and selects the perspective of the individual protagonist who is deeply in love to promote the evolution of the plot based on subjective experience; only in The omniscient perspective is used to explain the plot development only when necessary, which makes the whole book enveloped in a strong narrative subjective color. Most of the fragments and desolate love stories in the novel are unfolded from a female perspective, using the different experiences and consciousness of several generations of women, and using the most gorgeous, romantic, tender, fragrant and painful lens language to structure the novel. . Therefore, this novel has a delicate quality, allowing readers to deeply grasp women's desire for emotion, true feelings of lust, expectations and disappointments for men... Therefore, in which men in the novel are willing to work for love? They all appear small and pale in front of the women who have died and stayed alone for love all their lives: the Gu Yulong who started in chaos and finally gave up, the general who retreated at the critical moment, and even Gu Ju, who once dared to take action, also collapsed in the face of decline. … Rather than saying that these male images are too weak, it is better to say that these are the true inner male images of women that are ignored by men in traditional consciousness.

So, the freedom of artistic conception in this novel is purely personal, and it expresses a unique philosophy. The freedom of Tan Yi's writing is typical of the essential characteristics of contemporary avant-garde art. This narrative method gives the author maximum space for expression of his emotional understanding and experience. However, although pure emotional expression can fully vent the author's emotions and stir up ripples in the reader's soul, it also hinders the in-depth presentation of the content to some extent.

Secondly, it is the gorgeous and classical language style. Although the story background of the novel spans several eras, the author does not dwell much on social history. The classical charm of the book does not come purely from the historical background, but more from its classically ambiguous language features and multiple quotations. of classical poetry. According to the author, the upper part of the novel is about the past life, and the lower part is about the present life. From a time perspective, the upper part belongs to the end of ancient times, and the lower part belongs to modern times. However, even in this modern world, the author still interprets the main plot with the sentence "There are four seasons of wind and rain and four seasons of autumn. Looking beyond the world of mortals, whoever is stained by frost will see the dawn." The author deliberately draws on the language style of classical novels, and uses romantic, aesthetic, and classical language when presenting and revealing ideological themes. Its characteristics are like gorgeous silk, with cold patterns, delicate texture, and cool colors. It has a fragrant and dazzling visual impact, as well as an independent classical and mysterious flavor. These languages ​​are gorgeous, beautiful, round, soft and fragrant. The author controls the language so easily, as smoothly as the morning breath. Good writing has a kind of control and conquering power. It can control readers' emotions and consciousness, influence or change readers' thoughts and concepts, and gather a group of loyal readers within a certain range. Tan Yi's language style is full of fascination and passion in addition to classical. It is lonely but not cold, worldly but not vulgar, fragrant but not coquettish, gorgeous but not extravagant, profound but not difficult, classical but not aloof, with a strong sense of style. Perspective impact. The extreme feelings and emotions contained in the author's words can easily move the audience. This is an important reason why Tan Yi's words have the control power of a tyrant. Therefore, some commentators say that Tan Yi's writing is the tapestry of Shangzhou, with brilliant love, passionate love, lingering love until death, and coquettish pain. It is the erotic ghost of Shangzhou. Many readers who posted online also praised the charm of its writing. Indeed, the language of "Red Paper Umbrella" is like a flower with words that can evoke the pain of past and future lives. It has the richest color in the world. The flower is charming and the butterfly loves the flower. It also seems to have a strong taste mixed with some arsenic and apex. Poppy's century-old wine makes people intoxicated quickly.

Readers who read this novel for the first time will be confused and think that the author should be an old man wearing a wide robe and long sleeves. He wrote it in an ancient study room with a pot of charcoal fire and a furnace of fragrance for ten years in a cold window. In order to understand this classical connotation and emotion, Tan Yi bought a red paper umbrella when he was creating, opened it and placed it on the computer to create a harmonious creative environment between classical and modern. "Asking what love is in this world can teach you how to make love between life and death." Whenever he goes to the cemetery at the foot of the mountain for a walk and thinking, this ancient poem can come to his mind. He often imagines the scene of the deceased from the most passionate love to the glorious death of love. He talks to it with his heart, and the characters' Life and death, love, hate, and resentment all flowed out at once. Once, he suddenly discovered from a tombstone with a classic and distinctive shape that the inscription was engraved with the poem "Who can see through the world of mortals and be stained by frost?" At that moment, Tan Yi, who was in the world of the characters in "The Red Paper Umbrella", burst into tears. He thought that the tomb owner was destined to him.

From this poem, he shaped the story of the past and future lives of "Zhong Wangchen" and "Qiu Xiao" in the novel.

The novel’s legendary color, tragic atmosphere, writing style of sacrificing love and downplaying politics, as well as Tan Yi’s various unique personalities, are like Zhang Ailing in some aspects, but his writing style is completely different different. Zhang Ailing's description is like watching the fight in the clouds, while Tan Yi's description is like burning himself, one is cold, the other is hot, but both point to the desolate background. Tan Yi uses a passionate, delicate and aesthetic approach to tell stories with strong subjective emotions, embellishing the love of Shangzhou's famous men and women, and embellishing and enriching the grand, thick, elegant and euphemistic personality style of Shangzhou literature. The novel "Red Paper Umbrella" also leads the overall situation with its outstanding lyrical posture, wandering between classical and modern, displaying its unique artistic ductility and artistic tension, striving to create a nationalized traditional beauty, so that contemporary people can familiarize themselves with the novel. In the unique aesthetic enjoyment, one can appreciate the refined and filtered essence of modern thought.

References:

[1] Zhang Jing, Gao Xuan. To commemorate the publication of "Red Paper Umbrella", the author issued personalized stamps [N]. Xi'an Evening News, 2005-08-21.

[2] Zhou Baozhu. The historical reappearance of folk culture—reading "Hubei Folklore"

[J]. Publishing Science, 2003, (3).

[3]Cao Maolan. The return of mysticism in novels of the new era [J]. Zhuzhou Normal University

Journal of Zhuzhou Normal University, 2003, (4).

[4] Tang Xianzu. The inscription of the Peony Pavilion. The complete works of Tang Xianzu [M]. Beijing: Beijing

Ancient Books Publishing House, 1999: 1153.

[5]Feng Guochao. Appreciation of Chinese Classical Masterpieces·Yuan Opera[M]. Beijing: Guangming Daily Press, 2003-2

Wandering between the Fields of Classic and M odern:

The Art Tension of''Red Paper Umbrella''

SUN Liu—xin

(College of Literature, Zhengzhou University, Zhengzhou 450075, China)

Abstract: Tan Yi's novel "Red Paper Umbrella" , taking Shang state as writing background which is the joint where the Central plains culture meets Chu'S culture and integrating with state folks of sorcery ghost culture, is filled with air of old and mysterious cultural lingering charm． The novel spans from late Qing dynasty to the contemporary era, involving five generations of the Shang’s, describing the joys and sorrows as well as their touching love afairs of nine women, who are adhered to the red paper umbrella． The classic images that emerge frequently in the novel construct flows of classic flavor． The free composition structure and modem technique of expression are used to show the novel’s special art ductility and art tension． Through gorgeous and romantic words, the classic and contemporary world integrate harmoniously in the novel．

Key words: "Red Paper Umbrella"; Shanghai literature; Tan Yi Tan Yi, formerly known as Dan Xiaoyi, was born in 1969 in Danfeng County, Shaanxi Province. His mother loved literature and opera and was Jia Pingwa’s primary school Chinese teacher. Influenced by his mother, Tan Yi loved literature and art since childhood and was obsessed with writing.

He once worked as the chief planner of an advertising company and the editor of "Girlfriend" and "Shenzhen Youth" magazines. Since 1995, he has published many literary works in "October" and other journals. In 2005, he published the novel "Red Paper Umbrella". There are also 20-episode TV series "Kansai Promise" and "Tears Turned into Gold" written by Tan Yi himself, as well as 40-episode TV series "Red Paper Umbrella" and "Dragon and Phoenix Horse".

Part 1 of Tan Yi's novel "Red Paper Umbrella" Past Life

Chapter 1 Red Love

Chapter 2 Green Clothes and Purple Clothes

Chapter 3: Annoyed by Flowers

Chapter 4: Looking for Love

Chapter 5: Red Suffering

Chapter 6: Cemetery Story

< p>Chapter Seven Green Lips

Chapter Eight Years Ago

Chapter Nine Phantom

Chapter Ten The Age of Drama

< p>Chapter 11 Water Moon Dream Flower

Chapter 12 This life is at a loss

Chapter 13 Don’t ask about the vicissitudes of life

The lower part of this life

Chapter 14: Separation is causing chaos

Chapter 15: Shang Hen’s novel: Seeing you after a lifetime

Chapter 16: Shang Hen’s novel : Mom’s house, the pain I see

Chapter 17 Shang Hen’s novel: Cherry Valley of his father and his lover

Chapter 18 Shang Hen’s novel: Heavy Return to Cherry Valley

Chapter 19 I Want to Become a Horse

Chapter 20 It’s Hard to Send a Book to the West

Chapter 21 Chapter 22: The Love of the Red Fox

Chapter 22: Tears and Double Fall

Chapter 23: Covenant of the Century

The novel "Red Paper Umbrella" is published Preface

Open a red paper umbrella and touch a heart