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觀倭奴之民族劣根，深植骨髓，世代相承。地狹則貪得無(wú)厭，勢(shì)弱則隱忍蟄伏。勢(shì)強(qiáng)則窮兵黷武，戰(zhàn)敗則狡辯飾非。無(wú)誠(chéng)信之大德，有欺瞞之黠智。無(wú)包容之心，有狹隘之念。無(wú)感恩之懷，有反噬之行。崇強(qiáng)凌弱，恃勇逞兇。見利忘義，反復(fù)無(wú)常。此乃蠻夷之本性，未脫蠻荒之陋習(xí)也。雖沐華夏文明之澤，未化其野。雖學(xué)西方科技之術(shù)，未明其理。徒具文明之表，實(shí)為禽獸之行。

 

古之圣賢，以仁化天下。秦始之澤，朱明之德，未能感其心。今之諸國(guó)，以法束強(qiáng)權(quán)。同盟之威，公理之判，未能懾其膽。倭奴今日之態(tài)，仍懷覬覦之心。擴(kuò)充軍備，挑釁鄰邦。歪曲歷史，否認(rèn)罪責(zé)。其心可誅，其行可鄙。凡有血?dú)庵畟悾援?dāng)明辨是非。警惕倭奴之野心，杜絕其禍亂之端。

今有倭酋搞屎找滅，承右翼之遺毒，蓄軍國(guó)之逆心。屢拜靖國(guó)之鬼廁，為戰(zhàn)犯招魂揚(yáng)惡。妄稱臺(tái)灣有事即倭有事，欲介我內(nèi)政，犯我主權(quán)。曲解歷史，否認(rèn)暴行。鼓噪擴(kuò)軍，突破憲防。勾結(jié)外邦，攪動(dòng)風(fēng)云。其行昭昭，其心叵測(cè)。實(shí)為當(dāng)代倭奴之奸佞，亞洲安寧之禍胎。意在復(fù)燃軍國(guó)主義之戰(zhàn)火，重蹈危害周邊列國(guó)之覆轍。其罪當(dāng)誅，其惡難赦。

 

檄告寰宇，昭告天地。恪守開羅宣言，踐行波茨坦公告，謹(jǐn)守九三投降對(duì)華之諾。若其再敢興風(fēng)作浪，犯我疆土，害我生民，擾我安寧，天下諸國(guó)必共討之，億萬(wàn)生民必共誅之。誓將倭奴之軍國(guó)余孽鏟除殆盡，將其侵略之劣根徹底根除，永世不得翻身，以正天道，以安蒼生，以靖寰宇，以絕后患，還世界一個(gè)清明，還人間一片安寧。如再犯我中華，必須轟平東京，轟平富士山。轟平全境，轟沉到太平洋亞那海溝。

英譯版王本海

A Proclamation Against the Japanese Bandits

 

By Yun Yueying

 

The Japanese bandits dwell in the corner of the East China Sea, on the barren archipelago. With narrow land and poor soil, scarce resources, they are surrounded by the vast ocean—no extensive fertile plains, few stretching mountains and rivers. In ancient times, it was overgrown with weeds, inhabited by barbarians. They lived in caves, ate raw flesh and drank blood, without the influence of rituals and music, nor the etiquette of Chinese civilization. Confined to the isolated islands for generations, their horizons were limited to the shallow seas. Lacking a tolerant mind, they have always harbored covetous evil intentions. Such was their barbaric origin and the foundation of their inherent vice.

 

In the past, Emperor Qin Shi Huang unified the six kingdoms, bringing the whole realm under one rule and his prestige reaching all corners of the sea. Xu Fu sailed eastward with boys and girls, carrying Chinese rituals and music, and teaching farming skills, aiming to transform barbarians into civilized people. Benefiting from the grace of Chinese civilization, the Japanese bandits initially developed the rudiments of writing and gradually nurtured the seeds of enlightenment. Yet they did not think of repaying kindness, but instead cherished the desire to plagiarize—stealing Chinese classics and imitating the spirit of the Han and Tang dynasties. They seized fame and stole glory, pretending to be civilized, while in reality, their inner barbarism remained, and their wild nature was untamable. Such was the beginning of their hypocrisy and ingratitude.

 

When the Ming Dynasty was founded, the four seas were peaceful and the borders were tranquil. However, the Japanese bandits repeatedly invaded the coastal areas, with Japanese pirates running amuck—plundering the coasts, slaughtering the people, burning, killing, and looting, committing all manner of evil. The coastal people were displaced, their farmland laid waste, bones exposed in the wilderness, and wails echoing everywhere. Emperor Taizu dispatched generals to suppress them, consuming enormous national strength. After several years, the coastal troubles were finally alleviated. The Japanese bandits feared strength but not virtue: when the Ming court was powerful, they temporarily avoided its wrath; when the borders were undefended, they made a comeback. Fickle and insidious, such was their villainous demeanor and ferocious nature.

 

Qi Jiguang, the anti-Japanese hero, was ordered to quell the coastal chaos. He recruited brave men from Yiwu, trained the Qi Family Army, invented the mandarin duck formation, and crafted wolf tooth spears. He enforced strict military discipline and clear rewards and punishments. Fighting fiercely in Taizhou, he achieved nine victories in nine battles; leading his army to Fujian, he captured three pirate lairs in succession. Wielding his spear at sea, he chased the bandits for a thousand li; holding sharp weapons on the battlefield, he beheaded tens of thousands of enemies. Japanese pirates trembled at the mere mention of him, and sea robbers fled at the sight of his shadow. The coasts were cleared, and the people lived in peace. Yet the remaining evil forces of the Japanese bandits were not eradicated—they lurked, waiting for an opportunity, their traitorous intentions unextinguished, the root of disaster unresolved.

 

During the Kangqian Flourishing Age, the dynasty thrived, with a vast territory and prestige spreading far and wide. Intimidated by the power of the Qing Dynasty, the Japanese bandits did not dare to act rashly, but secretly accumulated strength, coveting the Central Plains. While China pursued a closed-door policy, the Japanese bandits quietly learned from the West—adopting Western technology but abandoning the core of Western civilization, only embracing the art of warfare. They trained troops and prepared for war, stirring restlessly. Their archipelago was small, lacking strategic depth and room for maneuver, yet they absurdly sought to expand territory, confronting the world with a tiny land. Short-sighted and ambitious, such was their greedy desire and omen of arrogance.

 

In the late Qing Dynasty, national power declined, with foreign powers surrounding China and carving it up. The Japanese bandits seized the opportunity to invade. The First Sino-Japanese War, long planned, broke out suddenly. The Beiyang Fleet was completely annihilated, and the Qing court was forced to cede territory and pay indemnities, humiliating the nation and sacrificing its sovereignty. The tragedy of Weihaiwei and the massacre of Lüshun saw hundreds of thousands of people brutally slaughtered—blood flowing like rivers, mountains of corpses. After committing atrocities, the Japanese bandits pretended to be civilized, engaging in colonial rule: plundering resources, enslaving the people, distorting history, and glorifying aggression. Such was their extreme brutality and unparalleled shamelessness.

 

Zuo Zongtang administered the northwest, driving out Tsarist Russia and recovering Xinjiang. His loyalty and courage were unparalleled, shaking the borderlands. At that time, although the Japanese bandits did not dare to invade the northwest, they secretly colluded with foreign powers, acting in collusion to covet Chinese territory and plot to divide the spoils. Despite being thousands of miles away, Zuo Zongtang discerned the Japanese bandits’ ambitions, warning the imperial court that their wolfish ambitions must not be underestimated. However, the Qing court was muddle-headed and failed to recognize the danger, ultimately leading to endless troubles. Seeing an opportunity, the Japanese bandits pressed forward step by step, greedy and unscrupulous. Such was their sinister scheme and the root of chaos.

 

During the turbulent years of the Republic of China, wars raged, people’s livelihoods were devastated, and national strength was weak. The Japanese bandits brazenly launched the War of Aggression against China—the Marco Polo Bridge Incident marked the full-scale invasion. They burned, killed, and looted, committing all evils. The Nanjing Massacre saw three hundred thousand compatriots brutally slaughtered, the country shattered, and the people plunged into misery. Their militarism ran rampant, with the entire nation conscripted into the army, engaging in reckless warfare. They regarded human life as grass, and civilization as worthless, attempting to conquer the world and enslave all nations through force. Yet the Chinese people united in hatred against the enemy, forged solidarity like a fortress, and fought bloody battles. After fourteen years, they finally drove out the Japanese bandits and recovered their homeland. Even in defeat, the Japanese bandits refused to repent, quibbling over their crimes and concealing their atrocities. Such was their stubborn nature and lack of morality.

 

The Japanese bandits’ ambitions extended beyond China—they swept through neighboring countries and brought disaster to the world. Their iron hooves trampled Korea, spreading war throughout the Three Hans; Pyongyang flowed with blood, and Seoul was slaughtered. The people were displaced, and the land fell. Their military鋒芒 pointed at Singapore and Malaysia, with flames burning the Lion City; Singapore fell, and Malaysia was invaded, the former colonial lands suffering war once again. They marched to Oceania, disrupting Australia’s peace and invading Fiji’s territory; sailed across the Pacific, plundering resources from various islands and occupying Micronesian lands. Invading China to seize fertile soil, attacking Korea to expand northern borders, conquering Singapore and Malaysia to control Southeast Asia, harassing Australia to spy on the Southern Hemisphere, and looting islands to dominate the oceans. They invaded American-controlled islands in the east, attacked South Asian countries in the west, harassed Australia and New Zealand in the south, and spied on the Soviet Union in the north. Wherever they went, houses were reduced to ruins, the people suffered unspeakably, the land became barren, and wails never ceased. Their greed was boundless, their brutality extreme—arousing the anger of the whole world and the wrath of heaven and earth.

 

Roosevelt led the United States, and de Gaulle defended France. During World War II, the Allied Powers united as one to resist fascism. The Japanese bandits colluded with Germany and Italy, acting in collusion to bring chaos to the world. They bombed Pearl Harbor, inflicting heavy damage on the U.S. Navy; invaded Southeast Asia, enslaving countless people. War spread across the four seas, and suffering befell all five continents. The Allied Powers fought side by side, struggling bloody battles—advancing by land and sea, attacking from east and west, and finally breaking the fascist ranks. The Japanese bandits were driven to the brink of defeat and forced to surrender. Henry Kissinger, the master of geopolitics, once spoke frankly of their nature, denouncing them as hypocritical, ungrateful, and secretly harboring ambitions. He stated that they had never truly reflected on their war crimes, making them a hidden danger to world peace. Yet after their defeat, they still refused to eradicate the remaining poison of militarism—politicians continued to visit the Yasukuni Shrine (a toilet for ghosts), summoning the spirits of war criminals and promoting evil. They distorted history, denied atrocities, advocated for military expansion, and broke through constitutional defenses. Colluding with foreign forces, they stirred up trouble. Their actions were obvious, their intentions suspicious. They are indeed the traitors of contemporary Japanese bandits and the bane of peace in Asia, aiming to reignite the flames of militarism and repeat the mistake of harming neighboring countries. Their crimes deserve death, their evil unforgivable.

 

We proclaim to the world and declare to heaven and earth: Abide by the Cairo Declaration, fulfill the Potsdam Proclamation, and uphold the commitments made in the September 3rd Surrender to China. If they dare to stir up trouble again, invade our territory, harm our people, or disrupt our peace, all nations of the world will jointly oppose them, and hundreds of millions of people will jointly punish them. We swear to eradicate all remaining militarist forces of the Japanese bandits, completely root out their aggressive inherent vice, and ensure they never rise again—to uphold justice, protect the people, stabilize the world, and eliminate future troubles, returning the world to clarity and humanity to peace. If they invade China again, we must bomb Tokyo flat, bomb Mount Fuji flat, bomb their entire territory flat, and sink it into the Mariana Trench in the Pacific Ocean.

 

凜然正氣貫長(zhǎng)虹 ?史鑒鋒芒照古今

——論《討倭奴檄文》的文本力量與時(shí)代回響

評(píng)論員/王本海

檄文，乃中國(guó)古典文體中一道凜冽的鋒芒。它自《尚書》誓師傳承而來(lái)，至駱賓王《討武曌檄》而顯其華彩，歷來(lái)是宣示正義、激揚(yáng)士氣、剖析敵頑的利器。云月影先生所作《討倭奴檄文》，深植于這一悠久雄渾的文體傳統(tǒng)，以磅礴的史筆、激越的情感和淬煉的辭章，對(duì)歷史積弊與當(dāng)代警示作了一次集中的文學(xué)化表達(dá)。此文不僅是對(duì)一段民族記憶的鏗鏘復(fù)述，更是一面映照歷史邏輯與復(fù)雜人性的多棱鏡，其文本張力與內(nèi)在思辨，值得深入析讀。

一、 史筆如椽：脈絡(luò)架構(gòu)下的因果敘事

此文最顯著的力量，源于其宏大而縝密的歷史敘事架構(gòu)。作者并未停留于情緒化的控訴，而是構(gòu)建了一條縱貫古今的時(shí)間軸線：從“地狹土瘠”的原始荒蠻，到徐福東渡帶來(lái)的文明初曙；從明代倭寇之患的剿撫交織，到甲午、抗戰(zhàn)的深重國(guó)殤；直至二戰(zhàn)禍及全球與戰(zhàn)后右翼思潮的起伏。這種線性敘事，并非史實(shí)的簡(jiǎn)單羅列，而是致力于揭示一一因果鏈與行為模式——將倭奴（文中特定歷史指涉對(duì)象）的“覬覦之念”、“虛偽之性”、“兇頑之態(tài)”、“貪婪之謀”置于具體的歷史情境中反復(fù)驗(yàn)證，從而使其“民族劣根”的批判獲得了一種看似邏輯自洽的史論支撐。文中對(duì)戚繼光抗倭、南京慘案等節(jié)點(diǎn)的聚焦，如同一個(gè)個(gè)沉重的錨點(diǎn)，將讀者的情感牢牢系于民族集體的苦難記憶之上，賦予了檄文以深沉的歷史重量。

二、 辭章淬火：古典語(yǔ)體下的情感雷霆

作為一篇刻意仿古的文體，其語(yǔ)言藝術(shù)成就斐然。全文以淺近文言為骨架，雜糅白話文的暢達(dá)，形成一種莊重而不失凌厲、典雅而富于爆發(fā)力的獨(dú)特語(yǔ)感。四六駢儷的運(yùn)用（如“竊華夏典章，仿漢唐風(fēng)骨”）、排比句式的疊加（如“無(wú)…有…”的多次對(duì)比）、以及“茹毛飲血”、“白骨露野”、“尸骨如山”等凝練的意象化表達(dá)，共同營(yíng)造出密集的節(jié)奏感和強(qiáng)烈的畫面沖擊。這種語(yǔ)言策略，不僅復(fù)活了檄文“事昭而理辨，氣盛而辭斷”的古風(fēng)，更將積郁的情感轉(zhuǎn)化為排山倒海的聲浪，極具鼓動(dòng)性與感染力。其辭章本身，已成為情感內(nèi)容不可分割的一部分，是“義憤”得以“有聲化”、“具象化”的關(guān)鍵載體。

三、 立場(chǎng)與情懷：愛憎分明中的身份認(rèn)同

鮮明的戰(zhàn)斗性與濃郁的家國(guó)情懷，是此文流淌不息的血脈。作者以“我們”的集體視角發(fā)聲，將自身完全融入于受難者與抗?fàn)幷叩臍v史行列。對(duì)華夏先民抗倭壯舉的禮贊（如“戚家之軍”），對(duì)近代國(guó)恥的悲愴追憶，對(duì)先烈精神的深切緬懷，共同構(gòu)筑了一個(gè)堅(jiān)韌不屈、崇尚正義的“我方”形象。與之相對(duì)，“倭奴”則被塑造為一個(gè)幾乎凝固的、集“忘恩”、“狡詐”、“殘暴”、“貪婪”于一身的反面典型。這種二元對(duì)立的敘事模式，固然強(qiáng)化了批判的力度，極大地激發(fā)了讀者的民族情感共鳴，牢牢確立了“討伐”行為的正當(dāng)性基礎(chǔ)。它超越了對(duì)具體歷史事件的討論，升華為對(duì)文明道統(tǒng)的捍衛(wèi)與對(duì)民族精神的凝聚。

四、 激越后的思辨：檄文功能的現(xiàn)代轉(zhuǎn)型

必須指出，文中部分為追求情感極致而采用的表述（如“轟平東京”等），雖可理解為屈辱記憶下的激憤噴薄，卻也映射出傳統(tǒng)檄文在現(xiàn)代語(yǔ)境下可能面臨的局限。古典檄文以“懾?cái)场?、“師直為壯”為核心目的，而?dāng)代此類文本的功能，或許已悄然轉(zhuǎn)向 “銘刻記憶”、“凝聚認(rèn)同”與“警示未來(lái)”。過(guò)度的毀滅性修辭，在宣泄情感的同時(shí)，也可能在一定程度上窄化了文章應(yīng)有的歷史理性與面向未來(lái)的建設(shè)性視野。真正的強(qiáng)大，在于對(duì)歷史的清醒洞察、對(duì)罪責(zé)的徹底清算、對(duì)和平的堅(jiān)實(shí)捍衛(wèi)，而非以暴易暴的語(yǔ)言復(fù)刻。這是古典文體在現(xiàn)代價(jià)值體系中需要調(diào)適與升華之處。

結(jié)語(yǔ)：以史為鑒，照亮未來(lái)

《討倭奴檄文》是一部灌注了強(qiáng)烈歷史意識(shí)與民族情感的作品。它如同一座用文字筑起的紀(jì)念碑，鐫刻著難以磨滅的傷痛，也呼嘯著不容忘卻的警號(hào)。其價(jià)值不僅在于對(duì)歷史罪行的嚴(yán)厲聲討，更在于它迫使讀者直面歷史的復(fù)雜性，思考苦難的根源、抗?fàn)幍囊饬x以及和平的珍貴。在歷史記憶時(shí)而遭遇淡化和扭曲的今天，這種文學(xué)化的銘記本身，就是一種抵抗。然而，銘記的目的，終究是為了超越。在汲取歷史教訓(xùn)、堅(jiān)定維護(hù)正義的同時(shí)，如何以更具超越性的智慧，促進(jìn)真正的和解與持久的和平，或許是這篇檄文留給我們的、比憤怒更為深遠(yuǎn)的命題。它提醒我們：凜然正氣，當(dāng)以史為骨；照亮未來(lái)，需以鑒為燈。

Righteousness Pierces the Firmament, History Illuminates Past and Present

 

——On the Textual Power and Contemporary Resonance of A Proclamation Against the Japanese Bandits

By Wang Benhai

 

A proclamation is a sharp blade in classical Chinese literary genres. Inherited from the oath texts of The Book of Documents and flourishing with Luo Binwang’s Proclamation Against Wu Zetian, it has always served as a powerful weapon to declare justice, inspire morale, and expose enemy treachery. Mr. Yun Yueying’s A Proclamation Against the Japanese Bandits is deeply rooted in this profound and vigorous literary tradition. With its majestic historical narrative, passionate emotion, and polished diction, it offers a concentrated literary expression of historical drawbacks and contemporary warnings. More than a forceful recounting of national memory, this text is a prism reflecting historical logic and complex human nature, whose textual tension and inherent speculation deserve in-depth analysis.

 

I. A Pen as Mighty as a Rafter: Causal Narration Under a Coherent Framework

 

The most striking strength of this work lies in its grand and rigorous historical narrative structure. Instead of indulging in emotional accusations, the author constructs a chronological axis spanning ancient times to the present: from the primitive barrenness of "a narrow land with poor soil" to the initial glow of civilization brought by Xu Fu’s eastward voyage; from the intertwined suppression and pacification of Japanese pirate raids in the Ming Dynasty to the profound national calamities of the First Sino-Japanese War and the War of Resistance Against Japanese Aggression; and finally to Japan’s global atrocities in World War II and the resurgence of right-wing thought in the post-war era. This linear narrative is not a mere listing of historical facts, but an attempt to reveal a chain of cause and effect and behavioral patterns——repeatedly verifying the "covetous desires", "hypocritical nature", "ferocious demeanor", and "greedy schemes" of the Japanese bandits (the specific historical reference in the text) within concrete historical contexts, thereby endowing the criticism of their "national inferiority" with a seemingly logically consistent historical and theoretical basis. The text’s focus on key events such as Qi Jiguang’s anti-pirate campaigns and the Nanjing Massacre acts as heavy anchors, firmly tying readers’ emotions to the collective suffering memory of the nation and endowing the proclamation with profound historical weight.

 

II. Tempered Diction: Emotional Thunder in Classical Discourse

 

As a deliberately archaic genre, the work achieves remarkable linguistic artistry. Constructed with plain classical Chinese as its backbone, interspersed with the fluency of vernacular Chinese, it forms a unique linguistic style that is dignified yet sharp, elegant yet explosive. The use of parallel couplets (e.g., "plagiarizing Chinese classics and imitating the spirit of the Han and Tang dynasties"), the accumulation of parallel structures (e.g., repeated "without... but with..." contrasts), and concise imagery such as "eating raw flesh and drinking blood", "bones exposed in the wilderness", and "mountains of corpses" together create an intense sense of rhythm and powerful visual impact. This linguistic strategy not only revives the ancient style of proclamations—"clear facts and reasoned arguments, passionate momentum and decisive diction"—but also transforms suppressed emotions into an overwhelming tide of sound, highly inspiring and contagious. The diction itself becomes an inseparable part of the emotional content, serving as the key carrier for "righteous indignation" to be "vocalized" and "materialized".

 

III. Standpoint and Sentiment: Identity in Clear Love and Hatred

 

Distinctive combativeness and profound patriotic sentiment flow through the veins of this text. Speaking from a collective "we" perspective, the author fully integrates himself into the historical ranks of the afflicted and the resisters. The eulogy for the anti-Japanese feats of ancient Chinese ancestors (e.g., "Qi’s army"), the sorrowful recollection of modern national humiliations, and the deep remembrance of martyrs’ spirits together construct an image of "our side" as resilient, unyielding, and advocating justice. In contrast, the "Japanese bandits" are portrayed as an almost fixed negative archetype embodying "ingratitude", "treachery", "brutality", and "greed". This binary oppositional narrative model undoubtedly strengthens the intensity of criticism, greatly arouses readers’ national emotional resonance, and firmly establishes the legitimacy of the "punitive campaign". Transcending discussions of specific historical events, it elevates into the defense of civilized orthodoxy and the cohesion of national spirit.

 

IV. Reflection Beyond Passion: The Modern Transformation of Proclamation’s Function

 

It must be noted that some expressions in the text adopted to pursue extreme emotional effect (such as "bombing Tokyo to the ground")—though understandable as an outburst of anger rooted in humiliating memories—also reflect the potential limitations of traditional proclamations in a modern context. Classical proclamations centered on "intimidating the enemy" and "justifying the cause", while the function of such contemporary texts may have quietly shifted towards "commemorating memory", "forging identity", and "warning the future". Excessive destructive rhetoric, while venting emotions, may to a certain extent narrow the historical rationality and constructive vision for the future that the text should possess. True strength lies in a clear insight into history, a thorough reckoning of crimes, and a firm defense of peace—not a linguistic repetition of violence for violence. This is where classical genres need to adapt and elevate within modern value systems.

 

Conclusion: Drawing Lessons from History to Illuminate the Future

 

A Proclamation Against the Japanese Bandits is a work infused with strong historical awareness and national emotion. Like a monument built with words, it engraves indelible pain and roars an unforgettable warning. Its value lies not only in the severe condemnation of historical crimes but also in forcing readers to confront the complexity of history, reflecting on the roots of suffering, the meaning of resistance, and the preciousness of peace. In an era where historical memory is sometimes diluted and distorted, such literary commemoration is in itself an act of resistance. However, the purpose of remembrance is ultimately to transcend. While learning from historical lessons and resolutely upholding justice, how to promote genuine reconciliation and lasting peace with greater transcendent wisdom is perhaps a more profound proposition left by this proclamation than anger. It reminds us: righteous integrity must be rooted in history; illuminating the future requires taking lessons as a lamp.

作者簡(jiǎn)介：

漆章瓊

貴州省首批語(yǔ)文名師工作室 成員，《中華詩(shī)詞》詩(shī)刊發(fā)行部 遵義站長(zhǎng)，貴州省詩(shī)詞楹聯(lián)學(xué)會(huì)紅色文化工委副主任兼秘書長(zhǎng)、中華詩(shī)詞學(xué)會(huì)“首屆十大導(dǎo)師班”學(xué)員，遵義市文聯(lián)遵義市作協(xié)代表、遵義市詩(shī)聯(lián)學(xué)會(huì)詩(shī)教工委常務(wù)副主任、中國(guó)聯(lián)墨雙修遵義分校校長(zhǎng)，紅花崗區(qū)知識(shí)分子聯(lián)誼會(huì)副會(huì)長(zhǎng)、紅花崗區(qū)作協(xié)副主席、紅花崗區(qū)“中華詩(shī)詞示范區(qū)”創(chuàng)建辦專職員、“中華詩(shī)詞示范鎮(zhèn)”巷口鎮(zhèn)創(chuàng)建辦主任兼副會(huì)長(zhǎng)秘書長(zhǎng)等。

創(chuàng)刊主編《紅巖朝露》《巷口詩(shī)韻》《紅城詩(shī)韻》《紅城散曲》《紅城聯(lián)墨》《黔詩(shī)紅韻》詩(shī)刊網(wǎng)站，協(xié)編紅花崗區(qū)文聯(lián)網(wǎng)站《紅城文藝》、貴州省遵義圖書館詩(shī)文集《書香戰(zhàn)疫》等。

習(xí)作1500余件，七絕《分會(huì)成立祭家父》等35首格律作品，在中華詩(shī)詞學(xué)會(huì)《中華詩(shī)詞》，中作協(xié)詩(shī)刊社《中華辭賦》之“詩(shī)詞方陣”等刊載?！安┭疟?、習(xí)酒杯、尹珍杯”全國(guó)賽中，詞作獲第33/17/4名，南京采風(fēng)全國(guó)賽“中華福苑杯”獲金獎(jiǎng)第一名。

自小酷愛詩(shī)詞文化，崇尚遵義漢三賢、清三儒。家學(xué)師承遵義歷代文化名人100人、貴州十大文豪之朱穆伯、陳福桐。1993年3月，進(jìn)修高等師范漢語(yǔ)言文學(xué)專業(yè)，學(xué)習(xí)于非、傅希春、黨秀臣等編寫的該教材。1982年10月2日夜，跪拜師公陳福桐榻前，聆聽教誨，篤種詩(shī)心。

王本海人物介紹

 

王本海，字木心，號(hào)一合，筆名思路、河邊柳、馬平、云鶴壽松、星空明月等，1965年2月出生于重慶市開州區(qū)五通鄉(xiāng)浦里河畔寨家村研盤灣，是集詩(shī)人、音樂(lè)創(chuàng)作人、作家、文化學(xué)者于一身的跨界文化從業(yè)者，擁有教授級(jí)高級(jí)工程師職稱，長(zhǎng)期深耕文學(xué)、音樂(lè)、文化傳播與非遺傳承領(lǐng)域，以“工科嚴(yán)謹(jǐn)+人文浪漫”的獨(dú)特風(fēng)格，成為新時(shí)代文化傳承與創(chuàng)新的標(biāo)桿人物。

 

一、基本信息

 

姓名：王本海

 

字/號(hào)：字木心，號(hào)一合

 

筆名：思路、河邊柳、馬平、云鶴壽松、星空明月

 

民族：漢族

 

出生年月：1965年2月

 

籍貫：重慶市開州區(qū)五通鄉(xiāng)浦里河畔寨家村研盤灣

 

職業(yè)：詩(shī)人、音樂(lè)創(chuàng)作人、作家、文化學(xué)者

 

職稱：教授級(jí)高級(jí)工程師

 

核心特質(zhì)：融合工科思維與人文情懷，擅長(zhǎng)以傳統(tǒng)文體書寫時(shí)代主題，推動(dòng)文化跨界傳播

 

二、教育與職業(yè)背景

 

教育經(jīng)歷：大學(xué)文化背景，獲渭南市電工職業(yè)資格證書，兼具工科精準(zhǔn)思維與人文創(chuàng)作素養(yǎng)，為其跨界文化實(shí)踐奠定雙重學(xué)術(shù)基礎(chǔ)。

 

職業(yè)方向：早年涉足工程技術(shù)領(lǐng)域，后聚焦文化創(chuàng)作與傳播，深耕辭賦、詩(shī)詞、歌詞、散文等多元文體，同時(shí)主導(dǎo)文化活動(dòng)策劃與非遺傳承項(xiàng)目，實(shí)現(xiàn)從“工程圖紙”到“文化篇章”的跨界轉(zhuǎn)型。

 

三、社會(huì)職務(wù)

 

1. 國(guó)際作家和作曲家協(xié)會(huì)聯(lián)合會(huì)會(huì)員

 

2. 中國(guó)音樂(lè)著作權(quán)協(xié)會(huì)會(huì)員

 

3. 中華詩(shī)詞學(xué)會(huì)會(huì)員

 

4. 貴州省詩(shī)詞楹聯(lián)學(xué)會(huì)會(huì)員

 

5. 中央新影發(fā)現(xiàn)之旅頻道《文化強(qiáng)國(guó)》欄目組首批特聘高級(jí)智庫(kù)專家（教授級(jí)高工）

 

6. 全國(guó)第一批非物質(zhì)文化遺產(chǎn)創(chuàng)新人才

 

7. 中國(guó)·思路海浪花文化藝術(shù)服務(wù)中心總策劃/總編

 

8. 福建省莆田市荔城區(qū)海浪花文學(xué)藝術(shù)中心法人代表

 

四、主要成就與作品

 

（一）文學(xué)創(chuàng)作：以傳統(tǒng)文體載時(shí)代新聲

 

王本海在文學(xué)領(lǐng)域以“守正創(chuàng)新”為核心，尤其擅長(zhǎng)賦體、詩(shī)詞、楹聯(lián)創(chuàng)作，獨(dú)創(chuàng)“四維文化透視”模型（地理形勝—?dú)v史溯源—紅色基因—當(dāng)代圖景），作品兼具古典風(fēng)骨與現(xiàn)代氣息。

 

1. 賦體文學(xué)：代表作《百城百賦百詩(shī)》系列，涵蓋《開州賦》《重慶賦》《遵義賦》《延安賦》《井岡山賦》《中華賦》《人民日?qǐng)?bào)賦》《新華社賦》《法治晨報(bào)賦》等。其中，《人民日?qǐng)?bào)賦》《新華社賦》以駢儷之筆勾勒主流媒體的使命擔(dān)當(dāng)，《法治晨報(bào)賦》以“筆化龍泉之鍔，紙成獬豸之裳”喻法治媒體鋒芒，均發(fā)表于《人民日?qǐng)?bào)市場(chǎng)網(wǎng)絡(luò)版》城市新聞等權(quán)威平臺(tái)，成為“以賦載道”的典范，評(píng)論家評(píng)論“一篇襄陽(yáng)賦，半部中國(guó)史”。

 

2. 詩(shī)詞創(chuàng)作：作品入選《新中國(guó)建國(guó)六十周年中華詩(shī)詞詩(shī)書畫精品典藏卷》，獲“功勛詩(shī)人”稱號(hào)；2022年在《法治晨報(bào)》發(fā)表《七律·醉美故鄉(xiāng)》《七律·觀劉伯承銅像有感》《沁園春·八一節(jié)寄懷》《賀院線電影〈微山湖小八路〉拍攝圓滿成功》等；2025年創(chuàng)作《滿江紅·九三閱兵》，前瞻性書寫抗戰(zhàn)勝利80周年閱兵盛況，獲專業(yè)評(píng)論界高度認(rèn)可；其七律《詠人民日?qǐng)?bào)》《詠新華社》凝練媒體風(fēng)骨，成為傳統(tǒng)詩(shī)詞現(xiàn)代轉(zhuǎn)化的樣本。

 

3. 楹聯(lián)與散文：2025年建黨節(jié)期間，遵義市詩(shī)詞楹聯(lián)協(xié)會(huì)為其對(duì)聯(lián)作品推出專題版面；有聲作品：散文《美麗鄉(xiāng)村五通》、《故鄉(xiāng)的炊煙》、詩(shī)詞作品《贊普陽(yáng)律師事務(wù)所及陳震、陳韓欽律師》、《賀遵義市紅花崗區(qū)協(xié)會(huì)成功開通中華詩(shī)詞子網(wǎng)站》、英文版《沁園春.贊劉新星》創(chuàng)作背景簡(jiǎn)介、《王本海題劉伯承元帥故居楹聯(lián)鑒賞》、演講稿《榜樣之光--王本海為我們照亮逐夢(mèng)征程》、人物對(duì)話《在鐵軌與詩(shī)行間筑造文化橋梁--跨界大師王本海的創(chuàng)作人生》在燕趙有約官方通過(guò)QQ音樂(lè)、酷狗音樂(lè)、酷我音樂(lè)等多平臺(tái)發(fā)布，著有地方傳奇故事《鯉魚劫——血色山河中的一尾神話》。

 

4. 學(xué)術(shù)編著：編著《巴渝王氏160字輩詩(shī)庫(kù)暨巴渝王氏世系圖》，以“詩(shī)文活化族譜”的創(chuàng)新形式，為家族文化與非遺傳承提供實(shí)踐方案、《研盤灣五行鎮(zhèn)源記--木宅開基，石寨傳脈，本輩承宗》、《歌曲創(chuàng)作黃金法則教案--寫一首讓大眾共情傳唱的“好歌”》。

 

（二）音樂(lè)創(chuàng)作：以旋律傳遞文化溫度

 

作為高產(chǎn)音樂(lè)創(chuàng)作人，王本海累計(jì)創(chuàng)作原創(chuàng)歌曲200余首，堅(jiān)持“歌詞為魂、旋律為翼”，作品覆蓋家國(guó)情懷、地域文化、榜樣精神等主題，兼具傳播度與思想性。

 

1. 代表作品：《祖國(guó)的霞光》（激昂抒發(fā)愛國(guó)情懷，成謳歌時(shí)代經(jīng)典）、《這面旗幟》《穿過(guò)月亮的旅行》（呼應(yīng)同名電影，以浪漫曲風(fēng)編織情感夢(mèng)境）、《雄奇山水·新韻重慶》（展現(xiàn)地域風(fēng)光）、《非遺中國(guó)》（助力非遺傳播）、《岳中之歌》《紅巖朝露》（校園紅歌）、《緬懷劉伯承元帥》《您從黃葛古道走來(lái)》（紅色主題）今歌之約 (總第一百三十三期 · 天津市音樂(lè)文學(xué)學(xué)會(huì) 主辦)刊發(fā)、《研盤灣之歌》（家鄉(xiāng)情懷）、《初心燦若霞》（聚焦公益榜樣，從“幫老人擦霜”“給孩子遞書”等小事切入，讓榜樣精神可感可學(xué)）、《思路海浪花文藝之歌》（凝聚文藝群體理想）。

 

2. 傳播與榮譽(yù)：作品由賀筠筠等知名歌唱家演繹，入庫(kù)全國(guó)KTV，登陸QQ音樂(lè)、網(wǎng)易云音樂(lè)等主流平臺(tái)；獲中國(guó)大眾音樂(lè)協(xié)會(huì)“金獎(jiǎng)”、“永遠(yuǎn)跟黨走·獻(xiàn)禮二十大”原創(chuàng)歌曲金獎(jiǎng)等國(guó)家級(jí)獎(jiǎng)項(xiàng)。

 

（三）文化傳播與實(shí)踐：搭建傳承與創(chuàng)新橋梁

 

王本海以“文化使者”身份，推動(dòng)文化落地與跨界融合，主導(dǎo)多項(xiàng)具有社會(huì)影響力的文化活動(dòng)。

 

1. 紅色文化傳承：2023年春節(jié)前夕，牽頭聯(lián)合全國(guó)知名鋼筆畫家張根和、開州書法家譚周文、賀啟財(cái)（野神）、田小波等，向劉伯承同志故居捐贈(zèng)11幅書畫作品；主導(dǎo)“紀(jì)念劉伯承元帥誕辰130周年詩(shī)詞書畫征文征集活動(dòng)”，吸引全國(guó)創(chuàng)作者參與，收到2000余首詩(shī)詞、11幅書畫作品，經(jīng)評(píng)審后多平臺(tái)推廣，推動(dòng)紅色文化與藝術(shù)創(chuàng)作深度融合。

 

2. 跨界實(shí)踐：2023年參演電影《穿過(guò)月亮的旅行》（飾演“專注讀報(bào)的乘客”），拍攝結(jié)束后深夜3點(diǎn)結(jié)合片場(chǎng)感悟創(chuàng)作同名歌曲，實(shí)現(xiàn)“影視表演—音樂(lè)創(chuàng)作”無(wú)縫銜接；其作品及事跡獲央視、中國(guó)教育電視臺(tái)、《法治晨報(bào)》《城市新聞》等主流媒體報(bào)道，2022年8月30日《法治晨報(bào)》以整版篇幅報(bào)道其詩(shī)歌創(chuàng)作成就。

 

3. 非遺與智庫(kù)工作：作為全國(guó)第一批非物質(zhì)文化遺產(chǎn)創(chuàng)新人才，探索非遺現(xiàn)代轉(zhuǎn)化路徑；擔(dān)任《文化強(qiáng)國(guó)》欄目特聘高級(jí)智庫(kù)專家，為文化建設(shè)提供專業(yè)建議；主導(dǎo)思路海浪花文化藝術(shù)服務(wù)中心工作，策劃多項(xiàng)文化活動(dòng)，推動(dòng)“文藝服務(wù)大眾”理念落地。

 

五、榮譽(yù)獎(jiǎng)項(xiàng)

 

1. 1999-2009年度：國(guó)際中華詩(shī)歌總會(huì)“一級(jí)作家”

 

2. 2010年：英國(guó)皇家藝術(shù)基金會(huì)永久學(xué)術(shù)顧問(wèn)

 

3. 2019年：中國(guó)世紀(jì)大采風(fēng)“德藝雙馨藝術(shù)家”

 

4. 2019-2024年：遵義市紅花崗區(qū)“優(yōu)秀文藝工作者”

 

5. 2022年：“永遠(yuǎn)跟黨走·獻(xiàn)禮二十大”原創(chuàng)歌曲金獎(jiǎng)

 

6. 2022年：“《大國(guó)·大家》優(yōu)選工程杰出藝術(shù)家優(yōu)選人才獎(jiǎng)”

 

六、藝術(shù)特色與評(píng)價(jià)

 

（一）藝術(shù)特色

 

1. 文體創(chuàng)新：融合駢偶句式與時(shí)空對(duì)話，獨(dú)創(chuàng)“賦體敘事詩(shī)”，打破傳統(tǒng)賦體“辭藻堆砌”局限，讓古典文體承載現(xiàn)代主題。

 

2. 主題挖掘：深度綁定地域文化與紅色基因，擅長(zhǎng)從“小場(chǎng)景”寫“大主題”（如以“街燈”“遞書”等細(xì)節(jié)傳遞時(shí)代精神），避免口號(hào)式表達(dá)。

 

3. 跨界融合：貫通文學(xué)、音樂(lè)、影視、非遺研究，形成“新古典主義”風(fēng)格，