神女峰系列作品（中英文對照版）
一、神女峰賦
中文原文
王本海?著
夫巫山神女峰者，立巫峽之央，瞰瞿塘之隘，擎巴渝之天，枕大江之瀾。億萬年地質熔鑄其骨，八千里風云涵養(yǎng)其魂，歷秦漢而崢嶸，經(jīng)唐宋而璀璨，昔為神話之標，今作領航之端。
溯往跡，文脈綿延貫古今。大禹疏江，神女授策；屈子問天，孤忠托巒。太白舟輕，裁月而詩懸碧落；放翁劍吼，憂時則淚灑江關。是知靈峰所峙，非獨煙云供養(yǎng)，實乃浩氣長鐫。
觀今朝，宏圖大展耀山川。三峽壩橫，平湖鏡展，萬噸樓船破霧，雙城高鐵追風，科技彰焉；梯田疊繡，古鎮(zhèn)流丹，擺手笙歌愉歲，織機彩錦連云，民生樂焉；長江帶涌，巴渝志合，兒女揮汗成雨，匠心琢夢生輝，家國昌焉。至若晴光潑翠，千峰競爽；霧縠垂紗，一柱獨寰。
探其魂，寓意深邃照膽肝。神在薪傳，秉禹斧之毅，承屈子之貞，融萬民之愿；韻在聚勢，似百川歸海，若群岳連垣；光在引航，如北辰指路，似烽燧燃天。
望來日，征程萬里再揚帆。巍巍兮號角裂云，召初心而共赴；灼灼兮明燈耀宇，引巨艦以同盤。愿攜靈秀，聚力克難，潮頭立楫，云外辟藩。強國途中，堅韌書寫傳奇；復興路上，同心鑄就偉觀。
賦成綴頌曰：
峰立蒼茫江淬丹，千秋肝膽照危瀾。
云扶禹斧開星斗，霧卷河圖導楫鞍。
已化傳聞成砥柱，終攜眾壑共雕欄。
巍峨不守孤高境，萬嶺同舟渡海湍。
English Translation
By Wang Benhai
The Goddess Peak of Wushan stands at the heart of Wuxia Gorge, overlooking the narrow Qutang Gorge, holding up the sky of Bayu, and resting on the waves of the great river. For hundreds of millions of years, geology has forged its bones, and wind and clouds across eight thousand miles have nurtured its soul. It has stood towering through the Qin and Han dynasties, and shone brightly through the Tang and Song dynasties. Once a symbol of mythology, it now serves as a beacon leading the way.
Tracing its past, the cultural vein stretches through ancient and modern times. Yu the Great dredged the rivers, and the Goddess offered strategies; Qu Yuan questioned heaven, entrusting his loyal heart to the mountains. Li Bai sailed lightly, cutting the moon and hanging his poems in the blue sky; Lu You roared with his sword, shedding tears for the times at the river pass. Thus we know that the spiritual peak does not stand merely nourished by smoke and clouds, but is truly inscribed with noble spirit.
Witnessing today, a grand blueprint unfolds, illuminating mountains and rivers. The Three Gorges Dam stretches across, a peaceful lake shimmers like a mirror, ten-thousand-ton ships break through the mist, and intercity high-speed railways chase the wind—science and technology flourish. Terraced fields are stacked like embroidery, ancient towns glow with red hues, Baishou dances and flute songs delight the years, looms weave colorful brocades reaching the clouds—people live in joy. The Yangtze River Economic Belt surges, Bayu unites with aspirations, sons and daughters sweat like rain, and craftsmanship shines in realizing dreams— the nation prospers. As for the clear light splashing green, thousands of peaks compete in clarity; mist like silk hangs as a veil, a single pillar standing alone under heaven.
Exploring its soul, its profound meaning illuminates the heart. Its spirit lies in inheritance—upholding the perseverance of Yu's axe, carrying forward Qu Yuan's integrity, and integrating the wishes of all people. Its charm lies in gathering momentum, like hundreds of rivers converging into the sea, or groups of mountains connecting in a line. Its light lies in guiding the way, like the North Star pointing the path, or beacon fires blazing through the sky.
Looking to the future, we set sail again on a journey of ten thousand miles. Majestically, the horn splits the clouds, summoning us to march forward with our original aspirations; brightly, the beacon illuminates the universe, guiding the great ships to sail together. May we embrace beauty, unite to overcome difficulties, stand at the tide with oars in hand, and open up new horizons beyond the clouds. On the road to national strength, we write legends with perseverance; on the path of rejuvenation, we create magnificent views with unity.
Upon completing the fu, an ode is appended:
The peak stands in the vastness, tempered by the river's red glow,
Its loyal heart shines through dangerous waves for a thousand years.
Clouds support Yu's axe to open the stars,
Mist rolls the River Map to guide the oars.
Once a legend, it has become a pillar of strength,
Finally uniting all valleys to build railings together.
Majestic, it does not cling to isolation,
Ten thousand mountains sail together through the turbulent sea.
二、神女峰組詩三首
中文原文
口王本海
（一）
神女峰巔挺傲恒，千秋肅立韻長凝。
煙霞怒卷仙姿壯，云水狂騰圣影凌。
志駕蒼冥開浩宇，心昭碧漢破層冰。
山川變易情猶在，永耀江天引遠征。
（二）
太古鴻蒙幻此嵩，瑤姬逸影傲蒼穹。
千秋霧鎖仙姿絕，萬載濤驚圣意雄。
往昔賢英思仰止，今時俊彥慕高崇。
他年縱有非凡客，難比靈奇造化功。
（三）
霧鎖巫峰映碧川，仙姿綽約立云巔。
霞披玉體金光照，靄繞羅衣翠色連。
鳳目含情凝遠岫，朱唇綻笑落祥煙。
千年靜守山河事，指引凡人悟妙玄。
English Translation
By Wang Benhai
(1)
At the top of Goddess Peak stands proud and eternal,
Standing solemnly for a thousand years, its charm lingering.
Smoke and clouds roar, its fairy posture majestic,
Clouds and waters surge, its sacred shadow soaring.
Aspiring to ride the sky and open the vast universe,
Heart shining in the blue firmament, breaking through layers of ice.
Mountains and rivers change, but affection remains,
Forever shining over the river and sky, guiding the distant expedition.
(2)
From primeval chaos emerged this lofty mountain,
The elegant shadow of Goddess Yao Ji towers over the sky.
For a thousand years, mist shrouds its peerless fairy posture,
For ten thousand years, waves awe at its sacred courage.
Ancient worthies yearned to emulate it,
Today's outstanding talents admire its height.
Even if extraordinary guests come in the future,
They cannot compare to the wonderful work of creation.
(3)
Mist shrouds Wushan Peak, reflecting the green river,
Its graceful fairy figure stands on the cloud-capped top.
Rosy clouds drape its jade-like body, golden light shining,
Mist curls around its silk robe, green hues connecting.
Phoenix eyes gaze tenderly at distant peaks,
Red lips smile, letting down auspicious smoke.
Quietly guarding the land for a thousand years,
Guiding mortals to comprehend profound mysteries.
三、臨江仙?神女峰
中文原文
口王本海
太古鴻蒙凝峻極，瑤姬駐影凌空。
千秋霧鎖韻猶雄。
碧瀾承浩氣，霞彩映仙容。
今作燈塔明遠志，引航鳴棹乘風。
同心聚力貫長虹。
江山留勝跡，奮楫建新功。
English Translation
By Wang Benhai
Linjiang Xian ? Goddess Peak
From primeval chaos it condenses, lofty and steep,
The shadow of Goddess Yao Ji lingers in the sky.
For a thousand years, mist shrouds it, yet its charm remains majestic.
Blue waves inherit the noble spirit,
Rosy clouds reflect its fairy face.
Today it becomes a beacon, illuminating lofty aspirations,
Guiding the way, oars singing, riding the wind.
Uniting hearts and strengths, piercing the rainbow.
Rivers and mountains retain historic sites,
Striving with oars to achieve new merits.
四、水調歌頭?神女峰
中文原文
口王本海
危峰擎宇宙，浩氣貫坤乾。
千尋云壁凝黛，江涌接天寬。
閱盡滄桑今古，笑看潮生潮落，燈塔照塵寰。
不戀朝云態(tài)，志在濟時艱。
牽歐亞，連南北，架渝川。
絲途帆影逐浪，萬國共來還。
且以雄峰為契，再續(xù)文明新卷，風雨等閑看。
日月同輝映，寰宇慶長安。
English Translation
By Wang Benhai
Shuidiao Getou ? Goddess Peak
The towering peak holds up the universe,
Noble spirit permeates heaven and earth.
Thousand-fathom cloud-clad cliffs glow dark green,
River surges, connecting to the broad sky.
Having witnessed vicissitudes of ancient and modern times,
Smiling at the rise and fall of tides, the beacon illuminates the mortal world.
Not clinging to the beauty of morning clouds,
Aspiring to alleviate the hardships of the times.
Linking Europe and Asia, connecting North and South,
Bridging Chongqing and Sichuan.
Silk Road sails chase the waves,
Ten thousand nations come and go together.
Taking the majestic peak as a covenant,
Continuing a new volume of civilization,
Facing wind and rain calmly.
Sun and moon shine together,
The whole world celebrates lasting peace.
五、《神女峰》（歌詞）
中文原文
作詞：王本海
（主歌1）
昆侖山 推開巫峽的門
長江浪 奔涌向前不停頓
石頭峰 刻著歲月的痕
燈塔光 照亮南北的清晨
舊船票 寫著往日疑問
新航船 滿載時代的歌
每條紋 都是文化的根
每個夢 都在向上攀登
（副歌）
神女峰 頂天立地的身影
熱血涌 長江奔騰的豪情
眾人心 掃清迷霧向前行
文旅火 點亮中國的燈
嘿！嘿！ 我們心相連
嘿！嘿！ 夢想共前行
迎浪來 踏歌行
這山水 天下?lián)P名
（主歌2）
巴渝風 吹散晨霧蒙蒙
吊腳樓 映著夕陽紅
古棧道 通往新的征程
游船上 滿載笑語歡聲
老人講 這是神仙的見證
少年說 這是追夢的路程
八方客 來赴山水約定
四海朋 愛上這里的真誠
（副歌）
神女峰 頂天立地的身影
熱血涌 長江奔騰的豪情
眾人心 掃清迷霧向前行
文旅火 點亮中國的燈
嘿！嘿！ 我們心相連
嘿！嘿！ 夢想共前行
迎浪來 踏歌行
這山水 天下?lián)P名
（橋段）
從古到今 從山到海
這山峰挺立 江水澎湃
文旅搭臺 人人都是主角
不分遠近 同唱一首歌
讓每片土地 煥發(fā)光彩
讓每個故事 傳遍四海
神女見證 我們一起闖
寫下這時代 最美的篇章
（副歌）
神女峰 頂天立地的身影
熱血涌 長江奔騰的豪情
眾人心 掃清迷霧向前行
文旅火 點亮中國的燈
嘿！嘿！ 我們心相連
嘿！嘿！ 夢想共前行
迎浪來 踏歌行
這山水 天下?lián)P名
（尾聲）
山不倒 夢不止
愛不息 路無盡
心如火 向光明
千年守望 與你同行
English Translation
Lyrics: Wang Benhai
(Verse 1)
Kunlun Mountain pushes open the door to Wuxia Gorge,
The waves of the Yangtze River surge forward without stopping.
The stone peak is carved with the marks of time,
The beacon light illuminates the morning of the north and south.
The old boat ticket writes the doubts of the past,
The new ship is loaded with the songs of the times.
Every grain is the root of culture,
Every dream is climbing upward.
(Chorus)
Goddess Peak, a towering figure standing upright,
Passion surges, the lofty spirit of the surging Yangtze River.
Hearts of the people clear the fog and move forward,
Cultural tourism flourishes, lighting up China's lamp.
Hey! Hey! Our hearts are connected,
Hey! Hey! We pursue dreams together.
Facing the waves, singing as we walk,
This landscape is famous all over the world.
(Verse 2)
Bayu wind disperses the misty morning,
Stilted buildings reflect the red sunset.
The ancient plank road leads to a new journey,
The cruise ship is filled with laughter and joy.
Old people say this is the testimony of gods,
Young people say this is the journey of chasing dreams.
Guests from all directions come to keep the appointment with mountains and rivers,
Friends from all over the world fall in love with the sincerity here.
(Chorus)
Goddess Peak, a towering figure standing upright,
Passion surges, the lofty spirit of the surging Yangtze River.
Hearts of the people clear the fog and move forward,
Cultural tourism flourishes, lighting up China's lamp.
Hey! Hey! Our hearts are connected,
Hey! Hey! We pursue dreams together.
Facing the waves, singing as we walk,
This landscape is famous all over the world.
(Bridge)
From ancient times to the present, from mountains to seas,
This peak stands tall, the river surges.
Cultural tourism sets the stage, everyone is the protagonist,
Regardless of distance, singing the same song.
Let every inch of land glow with brilliance,
Let every story spread across the four seas.
Witnessed by the Goddess, we forge ahead together,
Writing the most beautiful chapter of this era.
(Chorus)
Goddess Peak, a towering figure standing upright,
Passion surges, the lofty spirit of the surging Yangtze River.
Hearts of the people clear the fog and move forward,
Cultural tourism flourishes, lighting up China's lamp.
Hey! Hey! Our hearts are connected,
Hey! Hey! We pursue dreams together.
Facing the waves, singing as we walk,
This landscape is famous all over the world.
(Outro)
Mountains do not fall, dreams do not end,
Love does not cease, the road is endless.
Hearts burn like fire, towards the light,
Guarding for a thousand years, walking with you.
六、千載文脈?一峰領航——評王本?！渡衽濉废盗械囊庀笸黄婆c前賢對話
中文原文
評論員 / 寧靜
神女峰，這座矗立巫峽的地理地標與不朽文化圖騰，自宋玉《高唐賦》肇始，便深深鐫刻于歷代文人的精神疆域。從漢唐的神話詠嘆到近現(xiàn)代的山水抒情，前賢筆墨始終聚焦其“仙姿靈韻”與“孤高風骨”，沉淀出“靜觀描摹、借景寄情”的固化范式。王本海先生以賦、詩、詞、歌四重文體構建的《神女峰》系列，最具革新意義的突破在于：毅然掙脫傳統(tǒng)桎梏，將神女峰從“被凝視的自然客體”與“被征用的神話符號”，重塑為照耀千里、導航時代的巍峨燈塔。通過與代表性前賢文本的深度對話，這一意象重構的創(chuàng)新性與說服力愈發(fā)鮮明，更為同類題材的當代創(chuàng)作提供了極具價值的實踐范式。
一、前賢范式：三類經(jīng)典書寫及其核心局限
縱覽歷代神女峰題材創(chuàng)作，核心范式可凝練為“神話浪漫型”“山水審美型”“情感寄托型”三類。三者雖各有藝術成就，卻共同陷入“靜態(tài)被動”的表達困境，未能賦予意象主動的時代價值。
（一）宋玉《高唐賦》《神女賦》：神話浪漫型的奠基
作為題材開山之作，宋玉以“朝云暮雨”的瑰麗想象，為神女峰披上奇幻面紗?！捌涫紒硪?，耀乎若白日初出照屋梁”的鋪陳筆觸，將神女塑造成美艷絕倫、縹緲難測的仙境象征，極盡宮廷審美之能事。
局限：神女峰僅為神話的“承載物”與審美對象，功能止于滿足貴族階層的浪漫遐想，既無與現(xiàn)實社會的主動關聯(lián)，更缺乏時代精神的價值錨點，本質是“靜態(tài)化的神話符號呈現(xiàn)”。
（二）陸游《入蜀記》（節(jié)選）：山水審美型的典范
陸游以紀實筆法寫下“峰巒上入霄漢，山腳直插江中……皆無此奇”，以極簡文字凸顯神女峰的雄奇險峻，將其錨定為令人嘆服的山水奇觀。
局限：創(chuàng)作聚焦“視覺審美”與“地理標識”雙重功能，神女峰始終是“被贊嘆的風景”。作者固守“旁觀者”視角，未深入開掘意象的精神內核，更未賦予其人格化的主動力量，延續(xù)了“山水即景觀”的傳統(tǒng)認知。
（三）毛澤東《水調歌頭·游泳》：情感寄托型的升華
“神女應無恙，當驚世界殊”的豪邁詠嘆，將神女峰轉化為歷史變遷的見證者，借“神女之驚”反襯新中國建設的曠世成就，使意象成為時代豪情的情感載體。
局限：神女峰仍是“被動的見證者”，核心作用在于折射人的情感與時代偉績，并未獲得獨立的精神主體性與主動引領功能，終究未能突破“借景抒情”的傳統(tǒng)框架。
二、意象突破：與前賢對話的三重創(chuàng)造性超越
王本海先生的《神女峰》系列，在承續(xù)文脈基因的基礎上，通過對前賢范式的自覺反思，完成了“燈塔”意象的立體建構，實現(xiàn)了從傳統(tǒng)到現(xiàn)代的根本性跨越。
（一）功能之變：從“被動符號”到“主動燈塔”的價值重構
前賢筆下的神女峰，始終難逃“被觀賞、被寄托”的被動宿命——宋玉視其為神話載體，陸游奉其為審美客體，毛澤東引其為情感鏡像。王本海則徹底顛覆這一定位，賦予神女峰“主動領航”的時代使命。《神女峰賦》直言“今作領航之端”，以“光在引航，如北辰指路”的精準喻體，為意象注入核心功能；組詩“永耀江天引遠征”、《臨江仙》“今作燈塔明遠志”，更將“領航”從抽象理念固化為具象行動。這種從“靜立待觀”到“屹立領航”的轉變，讓神女峰成為凝聚意志、指引方向的精神主體，完成了功能價值的革命性重構。
（二）格局之拓：從“地域/家國”到“寰宇文明”的視野升維
前賢創(chuàng)作的視野始終存在邊界：宋玉困于巫峽神話的地域敘事，陸游限于眼前山水的局部視角，即便毛澤東的詞作關聯(lián)時代，核心仍未脫離“家國”范疇。王本海以“燈塔”為支點，實現(xiàn)了“地域—家國—寰宇”的層級躍升?！端{歌頭·神女峰》起筆“危峰擎宇宙，浩氣貫坤乾”，將意象意義置于天地坐標系中；“牽歐亞，連南北，架渝川”“絲途帆影逐浪，萬國共來還”的書寫，更將“導航”功能延伸至絲綢之路與人類文明互鑒的宏大圖景。此舉不僅超越了前賢的視野局限，更讓神女峰從巴渝地域地標，升華為承載人類共同價值的文明交流符號。
（三）傳播之維：從“文體單一”到“雅俗共振”的表達革新
前賢作品多以單一古典文體呈現(xiàn)，宋玉之賦、陸游之文、毛澤東之詞，受眾皆局限于文人階層，傳播范圍與影響力受限。王本海創(chuàng)新性采用“賦+詩+詞+歌”的四重文體交響策略，實現(xiàn)了傳播維度的突破：賦體承古典之雅，與宋玉賦傳統(tǒng)形成文脈呼應，奠定意象的歷史厚度；詩詞凝精神之魂，與陸游的山水審美、毛澤東的豪邁風骨形成跨時空對話；現(xiàn)代歌詞破圈層之限，以“燈塔光 照亮南北的清晨”的直白表達，讓“燈塔”意象走出書齋，成為全民可感、可唱的時代強音。這種文體融合既尊重傳統(tǒng)文脈，又契合當代傳播規(guī)律，實現(xiàn)了文化深度與傳播廣度的完美統(tǒng)一。
三、創(chuàng)作啟示：經(jīng)典題材當代轉化的三重路徑
王本海先生《神女峰》系列的成功實踐，為同類題材的當代創(chuàng)作提供了清晰可循的突破路徑，其核心在于實現(xiàn)傳統(tǒng)符號與時代精神的深度契合。
（一）意象重構：為傳統(tǒng)符號注入“時代主動力”
超越前賢的關鍵，在于打破傳統(tǒng)意象的“被動屬性”，賦予其契合時代的主動功能。正如王本海將神女峰轉化為“燈塔”，本質是注入“指引、凝聚、賦能”的時代使命。這啟示創(chuàng)作者：應跳出“借景抒情”的舒適區(qū)，挖掘傳統(tǒng)意象與當代精神的連接點，讓長城成為“民族奮進的脊梁”，讓黃河成為“文明傳承的動脈”，使靜態(tài)的“文化標本”轉化為動態(tài)的“精神能源”。
（二）格局升維：為地域題材搭建“多維意義網(wǎng)”
經(jīng)典題材的當代書寫，需打破“地域敘事”或“個人抒情”的局限，將具體意象置于更宏大的時空框架中。王本海的實踐證明，唯有立足家國、放眼寰宇，關聯(lián)文明互鑒、民族復興等時代命題，才能拓展題材的意義深度與廣度。創(chuàng)作中可借鑒這一思路，如寫西湖關聯(lián)生態(tài)文明，寫長城呼應文明互鑒，讓地域意象在多重意義交織中煥發(fā)新的生命力。
（三）表達創(chuàng)新：為文化傳播構建“跨圈層體系”
媒介多元時代，傳統(tǒng)題材的傳播需打破文體壁壘。王本海先生以“古典文體+現(xiàn)代形式”的融合策略，為我們提供了有益借鑒：以賦、詩、詞等古典文體承續(xù)文脈厚度，以歌詞、短視頻等現(xiàn)代形式激活傳播活力，形成“雅俗共賞、古今對話”的立體表達體系。這種跨圈層的傳播方式，能讓傳統(tǒng)文化符號在不同群體中引發(fā)共鳴，實現(xiàn)文化價值的最大化傳播。
結語：王本海先生《神女峰》系列的核心成就，在于以“燈塔”意象為鑰匙，完成了與前賢的深度對話和創(chuàng)造性超越。它深刻昭示：經(jīng)典題材的當代生命力，不在于對傳統(tǒng)的復刻模仿，而在于對文脈的深刻理解、對時代的敏銳把握，以及賦予舊符號新靈魂、新功能的藝術魄力。這束從巫峽云濤間升起的燈塔之光，不僅照亮了一座山峰的千年文脈，更照亮了經(jīng)典題材創(chuàng)作的未來征程——唯有扎根傳統(tǒng)、回應時代、勇于重構，方能讓古老的文化符號在新時代的蒼穹下，煥發(fā)出照耀當下、引領未來的不朽光芒。
English Translation
Commentator / Ning Jing
The Goddess Peak of Wushan, a geographical landmark and immortal cultural totem standing in Wuxia Gorge, has been deeply inscribed in the spiritual territory of literati of all dynasties since Song Yu's "Ode to Gaotang". From the mythological odes of the Han and Tang dynasties to the landscape lyrics of modern times, the writings of ancient scholars have always focused on its "fairy grace and elegant charm" and "lonely and noble character", forming a fixed paradigm of "contemplative description and expressing emotions through scenery". The most innovative breakthrough of Mr. Wang Benhai's "Goddess Peak" series, constructed through four literary forms—fu, poem, ci, and song—lies in resolutely breaking free from traditional shackles, transforming the Goddess Peak from a "gazed natural object" and "expropriated mythological symbol" into a towering beacon illuminating thousands of miles and leading the times. Through in-depth dialogue with representative ancient texts, the innovation and persuasiveness of this imagery reconstruction have become increasingly distinct, providing a highly valuable practical paradigm for the contemporary creation of similar themes.
I. Ancient Paradigms: Three Types of Classic Writings and Their Core Limitations
Looking at the creation of Goddess Peak themes throughout history, the core paradigms can be condensed into three types: "mythological romantic type", "landscape aesthetic type", and "emotional sustenance type". Although each has artistic achievements, they all fall into the expression dilemma of "static passivity" and fail to endow the imagery with active contemporary value.
(1) Song Yu's "Ode to Gaotang" and "Ode to the Goddess": The Foundation of the Mythological Romantic Type
As the pioneering work of the theme, Song Yu draped the Goddess Peak in a magical veil with his magnificent imagination of "morning clouds and evening rain". The descriptive brushwork of "When she first comes, she shines like the rising sun illuminating the beam of the house; as she draws near, she glows like the bright moon spreading its light" portrays the Goddess as a symbol of fairyland—extremely beautiful and unpredictable, fully catering to the court aesthetic.
Limitation: The Goddess Peak is only a "carrier" of mythology and an object of aesthetic appreciation. Its function is limited to satisfying the romantic reveries of the aristocratic class. It has no active connection with real society, nor does it have a value anchor of the times. Essentially, it is a "static presentation of mythological symbols".
(2) Lu You's "Travel Notes on Entering Shu" (Excerpt): A Model of the Landscape Aesthetic Type
Lu You wrote in a documentary style: "On the 23rd day, passing through Ningzhen Guan of Wushan, I paid homage to the Shrine of the Mysterious and Wonderful True Person, who is the so-called Goddess of Wushan in the world. The shrine faces Wushan directly; the peaks tower into the sky, and the foot of the mountain plunges straight into the river. Commentators say that Mount Tai, Hengshan, and Lushan are not as strange as this." With extremely concise words, he highlights the majestic and precipitous nature of the Goddess Peak, anchoring it as an admirable landscape wonder.
Limitation: The creation focuses on the dual functions of "visual aesthetics" and "geographical identification". The Goddess Peak has always been a "admired scenery". The author adheres to the "bystander" perspective, failing to deeply explore the spiritual core of the imagery or endow it with personalized active power, continuing the traditional cognition of "landscape as scenery".
(3) Mao Zedong's "Shuidiao Getou·Swimming": The Sublimation of the Emotional Sustenance Type
The heroic ode "The Goddess should be safe and sound, amazed at the world's great changes" transforms the Goddess Peak into a witness of historical changes. By virtue of the "Goddess's amazement", it sets off the extraordinary achievements of New China's construction, making the imagery an emotional carrier of the era's pride.
Limitation: The Goddess Peak is still a "passive witness". Its core role is to reflect human emotions and the era's great achievements. It has not obtained independent spiritual subjectivity and active leading functions, and ultimately fails to break through the traditional framework of "expressing emotions through scenery".
II. Imagery Breakthrough: Threefold Creative Transcendence in Dialogue with Ancient Scholars
Mr. Wang Benhai's "Goddess Peak" series, on the basis of inheriting cultural genes, has completed the three-dimensional construction of the "beacon" imagery through conscious reflection on ancient paradigms, realizing a fundamental leap from tradition to modernity.
(1) Functional Change: Value Reconstruction from "Passive Symbol" to "Active Beacon"
The Goddess Peak in the writings of ancient scholars has always been trapped in the passive fate of "being watched and entrusted"—Song Yu regarded it as a mythological carrier, Lu You revered it as an aesthetic object, and Mao Zedong cited it as an emotional mirror. Wang Benhai completely subverted this positioning, endowing the Goddess Peak with the contemporary mission of "actively leading the way". In "Fu on the Goddess Peak", he directly states "now serving as the beacon leading the way", injecting core functions into the imagery with the accurate metaphor of "its light guides the way, like the North Star pointing the path". The poem "Forever shining over the river and sky, guiding the distant expedition" and the ci poem "Linjiang Xian·Goddess Peak" ("Today it becomes a beacon, illuminating lofty aspirations") further solidify "leading the way" from an abstract concept to a concrete action. This transformation from "standing still to be watched" to "standing tall to lead the way" makes the Goddess Peak a spiritual subject that unites will and guides direction, completing the revolutionary reconstruction of functional value.
(2) Pattern Expansion: Horizon Elevation from "Regional/National" to "Global Civilization"
The horizons of ancient creations have always had boundaries: Song Yu was confined to the regional narrative of Wushan mythology, Lu You was limited to the local perspective of the immediate landscape, and even Mao Zedong's ci poem, which is related to the times, did not break away from the "national" category at its core. Taking the "beacon" as a fulcrum, Wang Benhai achieved a hierarchical leap from "region—nation—global". The opening line of "Shuidiao Getou·Goddess Peak" ("The towering peak holds up the universe, noble spirit permeates heaven and earth") places the significance of the imagery in the coordinate system of heaven and earth; the descriptions of "linking Europe and Asia, connecting North and South, bridging Chongqing and Sichuan" and "Silk Road sails chase the waves, ten thousand nations come and go together" further extend the "guiding" function to the grand picture of the Silk Road and the mutual learning of human civilizations. This not only transcends the horizon limitations of ancient scholars but also elevates the Goddess Peak from a regional landmark in Bayu to a cultural exchange symbol carrying common human values.
(3) Communication Dimension: Expression Innovation from "Single Literary Form" to "Elegant and Popular Resonance"
Most ancient works were presented in a single classical literary form. Song Yu's fu, Lu You's prose, and Mao Zedong's ci poems were only accessible to the literati class, with limited communication scope and influence. Wang Benhai innovatively adopted a symphonic strategy of four literary forms—fu, poem, ci, and song—achieving a breakthrough in the communication dimension: fu inherits the elegance of classical literature, forming a cultural echo with Song Yu's fu tradition and laying the historical depth of the imagery; poems and ci condense the spiritual core, forming a cross-temporal dialogue with Lu You's landscape aesthetics and Mao Zedong's heroic spirit; modern lyrics break the circle limitation, with straightforward expressions such as "The beacon light illuminates the morning of the north and south", making the "beacon" imagery go out of the study and become a popular clarion call of the times that all people can feel and sing. This integration of literary forms not only respects the traditional cultural context but also conforms to contemporary communication laws, realizing the perfect unity of cultural depth and communication breadth.
III. Creative Insights: Three Paths for the Contemporary Transformation of Classic Themes
The successful practice of Mr. Wang Benhai's "Goddess Peak" series provides a clear and accessible breakthrough path for the contemporary creation of similar themes, whose core lies in realizing the in-depth integration of traditional symbols and contemporary spirit.
(1) Imagery Reconstruction: Injecting "Contemporary Active Power" into Traditional Symbols
The key to surpassing ancient scholars lies in breaking the "passive attribute" of traditional imagery and endowing it with active functions in line with the times. Just as Wang Benhai transformed the Goddess Peak into a "beacon", it essentially injects the contemporary mission of "guiding, uniting, and empowering". This inspires creators to jump out of the comfort zone of "expressing emotions through scenery", explore the connection between traditional imagery and contemporary spirit, make the Great Wall a "backbone of national forging ahead", and the Yellow River an "artery of civilization inheritance", transforming static "cultural specimens" into dynamic "spiritual energy".
(2) Pattern Elevation: Building a "Multi-dimensional Meaning Network" for Regional Themes
The contemporary writing of classic themes needs to break the limitations of "regional narrative" or "personal lyricism" and place specific imagery in a broader temporal and spatial framework. Wang Benhai's practice has proved that only by being rooted in the nation, looking at the world, and associating with contemporary propositions such as mutual learning of civilizations and national rejuvenation, can the depth and breadth of the theme's significance be expanded. This idea can be used for reference in creation—for example, writing about West Lake in connection with ecological civilization, and writing about the Great Wall in response to mutual learning of civilizations, allowing regional imagery to radiate new vitality in the interweaving of multiple meanings.
(3) Expression Innovation: Constructing a "Cross-circle System" for Cultural Communication
In the era of diverse media, the communication of traditional themes needs to break the barriers of literary forms. Mr. Wang Benhai's integration strategy of "classical literary forms + modern forms" provides a useful reference for us: using classical literary forms such as fu, poem, and ci to inherit the thickness of cultural context, and using modern forms such as lyrics and short videos to activate communication vitality, forming a three-dimensional expression system of "elegant and popular appreciation, dialogue between ancient and modern". This cross-circle communication method can resonate traditional cultural symbols among different groups, realizing the maximum communication of cultural value.
Conclusion: The core achievement of Mr. Wang Benhai's "Goddess Peak" series lies in using the "beacon" imagery as a key to complete in-depth dialogue and creative transcendence with ancient scholars. It profoundly reveals that the contemporary vitality of classic themes does not lie in the reproduction or imitation of tradition, but in the deep understanding of cultural context, the keen grasp of the times, and the artistic courage to endow old symbols with new souls and functions. This beacon light rising from the clouds and waves of Wushan not only illuminates the thousand-year cultural vein of a mountain but also lights up the future journey of classic theme creation—only by being rooted in tradition, responding to the times, and daring to reconstruct, can ancient cultural symbols radiate immortal light that illuminates the present and leads the future under the sky of the new era.
策劃出品發(fā)行
中國?思路海浪花文化藝術服務中心
特別推出王本海原創(chuàng)詩詞一組十一首作品展示
一、《勞動之光》
百年工運鑄輝煌，熱血曾經(jīng)破舊章。
鐵臂擎天開偉業(yè)，匠心織夢煥榮光。
千行汗?jié)櫳胶訅眩f眾情凝歲月長。
再展宏圖揮巨筆，征程新啟耀東方。
二、《岳溪高鐵站》
岳溪勝景啟新章，鐵驥馳風韻繞梁。
鳳舞仙姿開畫境，鯉魚奔漢聚祥光。
浦河卷浪彰雄渾，碧水騰波顯浩茫。
九域通途興駿業(yè)，千秋偉績永傳揚。
三、《鷓鴣天?春之韻》
億萬人民斗志堅，齊心共賦鷓鴣天。
修成大道心安泰，引薦賢良夢傲然。
南海涌，北風眠。聯(lián)盟工匠報平安。
神龍?zhí)て骗h(huán)球路，貨幣傾盆用處寬。
四、《詠重慶湖廣會館》
東水門邊古館崇，飛檐翹角傲蒼穹。
禹王殿內香煙繞，粵客堂前笑語融。
壁畫山川呈勝景，梁雕瑞獸展祥風。
移民浩史千秋頌，故梓宏情萬代雄。
五、《詠鯉魚城寨》
岳溪勝景鯉魚城，霧繞云環(huán)史韻盈。
舊堞殘痕思往昔，青山煥彩啟新程。
靈波軼事添幽趣，隆替交更悟此生。
文保鴻篇開畫卷，鐵龍馳暖夢方榮。
六、《研盤灣》
星望銀潢灌斗光，浦河倉水繞環(huán)塘。
回龍映月沉犀影，困犢銜輝臥犬梁。
圣像攜童東障固，獅巖踞勢嶺南昂。
躍登直下江天闊，一脈滄溟接大康。
七、沁園春?九三閱兵
八秩風云，烽煙未遠，青史長銘。看天安門下，旌旗獵獵；長安道上，步履鏗鏗。鐵甲洪流，銀鷹浩宇，猶記當年血火程。凝眸處，正山河無恙，日月同明。
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今朝再聚雄兵，承先烈精神續(xù)遠征。恰鼓鼙催馬，初心未改；風霜礪劍，浩氣難平。赤縣同歡，神州共慶，告慰忠魂慰此生。豪情起，待復興夢遂，再耀丹青。
八.臨江仙?研盤灣
口王本海
浦水湯湯環(huán)故苑，龍蟠虎踞呈祥。三梁續(xù)脈接穹蒼。望星凝浩渺，寶鼎護鄉(xiāng)邦。
∥
九世傳薪承祖訓，詩聯(lián)高雅昭彰。家山入夢總牽腸。初心凝雅賦，文脈萬年長。
九.沁園春?研盤灣
勝景研盤，翠影婆娑，秀色可餐?？辞嗌綋泶洌鍘n競秀；碧波漾彩，魚戲荷間。野徑通幽，繁花似錦，蝶舞翩躚逐蕊歡。憑欄處，望湖光瀲滟，詩意綿綿。
∥
遙思歲月如煙，憶往昔、風流故事傳。念昔賢逸客，尋幽攬勝；文人雅士，潑墨詩篇。勝地揚名，韻情千古，逸趣長留天地間。今朝醉，賞山川盛景，夢繞魂牽 。
十.水龍吟?研盤灣
浦河瀲滟仙環(huán)繞，歲月漫尋陳貌。望星寨頂，煙霞縹緲，山川襟抱。憶昔先人，墾荒鋤草，夢懷情傲。念勤儉立家，本修德啟，文芳志、賢才耀。
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曾歷洪波狂嘯，眾齊心、護家園好。古房舊巷，依稀故事，家風未老。稻穗翻金，田疇凝翠，韻含豐峭?？囱斜P勝景，王氏根脈，永傳榮耀。
十一.滿庭芳?研盤灣
浦水環(huán)塘，星望銀潢，山川勝景悠長。念初先述，開兆啟榮光。首創(chuàng)勤修字輩，為后世、德范昭彰?？唇袢眨t才繼起，文韻綻華芳。
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難忘，風雨驟，洪波狂嘯，眾志安邦。任歲月滄桑，古巷流芳。本海新篇續(xù)就，一百四、薪火傳揚。期來日，研盤煥彩，族運永繁昌。
王本海人物介紹
王本海，字木心，號一合，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，是集詩人、音樂創(chuàng)作人、作家、文化學者于一身的跨界文化從業(yè)者，擁有教授級高級工程師職稱，長期深耕文學、音樂、文化傳播與非遺傳承領域，以“工科嚴謹+人文浪漫”的獨特風格，成為新時代文化傳承與創(chuàng)新的標桿人物。
一、基本信息
姓名：王本海
字/號：字木心，號一合
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)：詩人、音樂創(chuàng)作人、作家、文化學者
職稱：教授級高級工程師
核心特質：融合工科思維與人文情懷，擅長以傳統(tǒng)文體書寫時代主題，推動文化跨界傳播
二、教育與職業(yè)背景
教育經(jīng)歷：大學文化背景，獲渭南市電工職業(yè)資格證書，兼具工科精準思維與人文創(chuàng)作素養(yǎng)，為其跨界文化實踐奠定雙重學術基礎。
職業(yè)方向：早年涉足工程技術領域，后聚焦文化創(chuàng)作與傳播，深耕辭賦、詩詞、歌詞、散文等多元文體，同時主導文化活動策劃與非遺傳承項目，實現(xiàn)從“工程圖紙”到“文化篇章”的跨界轉型。
三、社會職務
1. 國際作家和作曲家協(xié)會聯(lián)合會會員
2. 中國音樂著作權協(xié)會會員
3. 中華詩詞學會會員
4. 貴州省詩詞楹聯(lián)學會會員
5. 中央新影發(fā)現(xiàn)之旅頻道《文化強國》欄目組首批特聘高級智庫專家（教授級高工）
6. 全國第一批非物質文化遺產創(chuàng)新人才
7. 中國·思路海浪花文化藝術服務中心總策劃/總編
8. 福建省莆田市荔城區(qū)海浪花文學藝術中心法人代表
四、主要成就與作品
（一）文學創(chuàng)作：以傳統(tǒng)文體載時代新聲
王本海在文學領域以“守正創(chuàng)新”為核心，尤其擅長賦體、詩詞、楹聯(lián)創(chuàng)作，獨創(chuàng)“四維文化透視”模型（地理形勝—歷史溯源—紅色基因—當代圖景），作品兼具古典風骨與現(xiàn)代氣息。
1. 賦體文學：代表作《百城百賦百詩》系列，涵蓋《開州賦》《重慶賦》《遵義賦》《延安賦》《井岡山賦》《四川賦》《中華賦》《人民日報賦》《新華社賦》《法治晨報賦》等。其中，《人民日報賦》《新華社賦》以駢儷之筆勾勒主流媒體的使命擔當，《法治晨報賦》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《人民日報市場報》《法治晨報》等權威平臺，成為“以賦載道”的典范、評論家木蘭飛燕評論“一篇襄陽賦，半部中國史”。
2. 詩詞創(chuàng)作：作品入選《新中國建國六十周年中華詩詞詩書畫精品典藏卷》，獲“功勛詩人”稱號；2022年在《法治晨報》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；2024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)評論界高度認可；其七律《詠人民日報》《詠新華社》凝練媒體風骨，成為傳統(tǒng)詩詞現(xiàn)代轉化的樣本。
3. 楹聯(lián)與散文：2025年建黨節(jié)期間，遵義市詩詞楹聯(lián)協(xié)會《紅城聯(lián)墨?中國楹聯(lián)雙修遵義分?！窞槠鋵β?lián)作品推出專題版面；其創(chuàng)作的有聲作品《散文《美麗鄉(xiāng)村五通》、《故鄉(xiāng)的炊煙》、詩詞作品《贊普陽律師事務所及陳震、陳韓欽律師》、《賀遵義市紅花崗區(qū)協(xié)會成功開通中華詩詞子網(wǎng)站》、英文版《沁園春.贊劉新星》創(chuàng)作背景簡介、《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征程》、人物對話《在鐵軌與詩行間筑造文化橋梁--跨界大師王本海的創(chuàng)作人生》在燕趙有約官方通過QQ音樂、酷狗音樂、酷我音樂等多平臺發(fā)布，著有地方傳奇故事《鯉魚劫——血色山河中的一尾神話》。
4. 學術編著：編著《巴渝王氏160字輩詩庫暨巴渝王氏世系圖》，以“詩文活化族譜”的創(chuàng)新形式，為家族文化與非遺傳承提供實踐方案；《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)作的黃金法則教案--寫一首讓大眾共情傳唱的“好歌”。
（二）音樂創(chuàng)作：以旋律傳遞文化溫度
作為高產音樂創(chuàng)作人，王本海累計創(chuàng)作原創(chuàng)歌曲200余首，堅持“歌詞為魂、旋律為翼”，作品覆蓋家國情懷、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：《祖國的霞光》（激昂抒發(fā)愛國情懷，成謳歌時代經(jīng)典）、《這面旗幟》《穿過月亮的旅行》（呼應同名電影，以浪漫曲風編織情感夢境）、《雄奇山水·新韻重慶》（展現(xiàn)地域風光）、《非遺中國》（助力非遺傳播）、《紅巖朝露》（校園紅歌）、《緬懷劉伯承元帥》《您從黃葛古道走來》（紅色主題）今歌之約 (總第一百三十三期 · 天津市音樂文學學會 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）、《思路海浪花文藝之歌》（凝聚文藝群體理想）。
2. 傳播與榮譽：作品由賀筠筠等知名歌唱家演繹，入庫全國KTV，登陸QQ音樂、網(wǎng)易云音樂等主流平臺；獲中國大眾音樂協(xié)會“金獎”、“永遠跟黨走·獻禮二十大”原創(chuàng)歌曲金獎等國家級獎項。
（三）文化傳播與實踐：搭建傳承與創(chuàng)新橋梁
王本海以“文化使者”身份，推動文化落地與跨界融合，主導多項具有社會影響力的文化活動。
1. 紅色文化傳承：2023年春節(jié)前夕，牽頭聯(lián)合全國知名鋼筆畫家張根和、開州書法家譚周文、賀啟財（野神）、彭曉、田小波等，向劉伯承同志故居捐贈11幅書畫作品；主導“紀念劉伯承元帥誕辰130周年詩詞書畫征文征集活動”，吸引全國創(chuàng)作者參與，收到2000余首詩詞、11幅書畫作品，經(jīng)評審后多平臺推廣，推動紅色文化與藝術創(chuàng)作深度融合。
2. 跨界實踐：2023年參演電影《穿過月亮的旅行》（飾演“專注讀報的乘客”），拍攝結束后深夜3點結合片場感悟創(chuàng)作同名歌曲，實現(xiàn)“影視表演—音樂創(chuàng)作”無縫銜接；其作品及事跡獲央視、中國教育電視臺、《法治晨報》《人民日報市場網(wǎng)絡版》城市新聞等主流媒體報道，2022年8月30日《法治晨報》以整版篇幅報道其詩歌創(chuàng)作成就。
3. 非遺與智庫工作：作為全國第一批非物質文化遺產創(chuàng)新人才，探索非遺現(xiàn)代轉化路徑；擔任《文化強國》欄目特聘高級智庫專家，為文化建設提供專業(yè)建議；主導思路海浪花文化藝術服務中心工作，策劃多項文化活動，推動“文藝服務大眾”理念落地。
五、榮譽獎項
1. 1999-2009年度：國際中華詩歌總會“一級作家”
2. 2010年：英國皇家藝術基金會永久學術顧問
3. 2019年：中國世紀大采風“德藝雙馨藝術家”
4. 2019-2024年：遵義市紅花崗區(qū)“優(yōu)秀文藝工作者”
5. 2022年：“永遠跟黨走·獻禮二十大”原創(chuàng)歌曲金獎
6. 2022年：“《大國·大家》優(yōu)選工程杰出藝術家優(yōu)選人才獎”
六、藝術特色與評價
（一）藝術特色
1. 文體創(chuàng)新：融合駢偶句式與時空對話，獨創(chuàng)“賦體敘事詩”，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，擅長從“小場景”寫“大主題”（如以“街燈”“遞書”等細節(jié)傳遞時代精神），避免口號式表達。
3. 跨界融合：貫通文學、音樂、影視、非遺研究，形成“新古典主義”風格，實現(xiàn)“工科精準架構+人文情感表達”的獨特統(tǒng)一。
（二）外界評價
1. 《文化強國》欄目組：“以賦載道，以歌詠志，其作兼具漢賦的鴻篇氣象與現(xiàn)代文藝的傳播力?！?/div>
2. 專業(yè)評論界：“詞凝日月，曲動山河”，其個人經(jīng)歷體現(xiàn)“立本為基，匯海成瀾”的文化追求，作品本質是“新時代的《山河社稷圖》”，以地理為載體、歷史為脈絡、賦體為形式，完成中華文明基因的解碼與現(xiàn)代化轉譯，在當代文學中具有不可替代性。
七、參考資料
1. 《法治晨報》2022年8月30日專題報道、2025年9月3日相關作品報道
2. 《人民日報市場網(wǎng)絡版》城市新聞2025年9月3日人物及作品報道（含《人民日報賦》《新華社賦》等）
3. 貴州省詩詞楹聯(lián)學會《貴州詩聯(lián)》《黔詩紅韻》發(fā)表記錄
4. 陜西省詩詞學會官方網(wǎng)站發(fā)表記錄
5. 中央新影《文化強國》欄目組專家?guī)烀?/div>
6. 中國音樂著作權協(xié)會會員名錄
7. 中國·思路海浪花文化藝術服務中心公眾號及莆田市海浪花文藝官網(wǎng)
8.紅花崗區(qū)作協(xié)紅城詩韻、巷口詩韻公眾號
9. 城市頭條、知乎、今日頭條、詩人作家檔案庫、網(wǎng)易新聞、頂端新聞及主流音樂平臺作品收錄與傳播數(shù)據(jù)
10. 相關榮譽獎項官方公告及證書
王本海人物簡歷.原載《人民日報市場網(wǎng)絡版》城市新聞2025年9月3日http://www.peoplezixun.cn/renwen/2025/0903/31242.html 王本海人物簡介《人民日報市場網(wǎng)絡版》城市新聞
【海浪花文藝】特推原創(chuàng)歌曲《川渝人家》作詞作曲王本海、演唱/海浪花藝術團 中國思路海浪花文化藝術服務中心 https://a.51vv2.com/v/2k3c4t9B -VV
【海浪花文化藝術服務中心徽標辭】
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法人代表：王本海
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特邀法律顧問:重慶市浦里法律事務所主任律師:譚雪峰
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刊頭書法: 詩書雙絕國禮藝術家譚周文
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音視頻總監(jiān)制
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布依男孩.金戈鐵馬.朵朵花開.李云霞.東方微笑
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責任編劇
稿件管理
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專職文藝評論員：寧靜、王汐雯、佳佳、靈川、飛燕、光輝、辛明、木蘭飛燕……
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外聯(lián)演出團長:快樂老翁·樸明哲·瀘潔·葉麗英?甜蜜雙飛?武姍姍
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中國?思路海浪花歌舞藝術團團長.宣傳部長:薔薇
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中國?思路海浪花文化藝術服務中心海南省海之花藝術學校校長：葉麗英
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主播：宋慶齡特型演員劉新星.音漢雙語?子境（劉子靜）.馬建英.柳依.東籬.藝舟.宋重東.于華.關瑞林.碧海青天.金色風帆.滄海.豆豆.花兒.依依.春妮..小橋流水.舞.紅葉.文刀客.金戈鐵馬.微笑東方.慧覺.王蕓宵.等眾多主播
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中國?思路海浪花文化藝術服務中心
福建省莆田市荔城區(qū)海浪花文學藝術中心
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承接業(yè)務范圍：
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影視制作.活動策劃.廣告創(chuàng)意.節(jié)目主持.作品創(chuàng)作.制作發(fā)布.書刊印刷、紅白喜事.文藝演藝、《企事業(yè)機關》單位團體《歌詞》《歌曲》量身定制.廣告代理.餐飲配送.煙酒副食品零售.預制食品包裝.農副產品.托管托教.教育.培訓宣傳代理等多媒體業(yè)務。
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線下演出聯(lián)盟合作單位:
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武姍姍藝術團
遵義女子詩社
開州南山演出集團公司.
思路海浪花吉林市藝術團
福建省戲劇一團.
廣東省惠州市海浪花藝術團
廣東省惠州市旗袍美人藝術團
廣東省惠州市飛翔舞蹈藝術團
廣東省惠州市鴻潤舞蹈藝術團
廣東省惠州市南山雙人舞蹈藝術團
黑龍江省大慶市旗袍藝術團
江蘇省洪澤區(qū)洪澤湖戲劇藝術團
廣東省東莞市旗袍朗誦藝術團
吉林省吉林市老兵文工團
吉林省吉林市銘陽舞蹈藝術團
海南省海之花藝術學校
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官方合作
雷鋒雜志社(國家級)
人民法制·清廉中國(國家級)
漯河市統(tǒng)戰(zhàn)部線上
世界名家組委會
世界日報社、世界頭條
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投稿須知：
1、海浪花文化藝術服務中心.公眾平臺以文會友，互相交流，推廣老作者，扶持文藝新人， 弘揚傳統(tǒng)文化，提升自我價值，努力為廣大文藝愛好者提供一個最優(yōu)質的交流平臺。
2、海浪花文化藝術服務中心.平臺開設欄目:1《詩詞天地》2《散文·小說》3《隨筆.隨風》4《格言·幽默大觀》5《戲劇、曲藝舞臺》6《相聲小品》7《平臺歌聲》8《創(chuàng)作及理論漫談》9《萌芽苗圃》10《天南地北》11《民俗民風》12巜動態(tài)新聞》13《人文景觀》14《音頻視頻》15《史海鉤沉》
16《民間故事會》17《三農報告》18《社會科學》19《政治學》20《人民法治·清廉中國》21《攝影攝像》22《書畫藝術》等等。作者請自行校對文字、古詩檢測需合要求.
附帶100字內個人簡介高清橫拍照片一張
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