CHINA - During Taiwan’s People First Party Chairman James Chu-yu Soong visited China’s prestigious Qinghua University on May 11, two prestigious Chinese scholars exposed themselves to the public as being not as educated as their positions, embarrassing themselves and the Chinese people. President of Qinghua University and member of Chinese Academy of Sciences, Gu Binglin, stammered many times over the course of his opening remarks at Qinghua University on that day. His performance incurred a poor introduction for James Soong. Even more embarrassing, Gu stumbled over a poem by the Qing Dynasty poet Huang Zunxian, resulting in hisses from students at the reception.

When James Soong returned to Taiwan, CCTV (Central Chinese Television) hosted a talk-show program, which included a reading of the same poem by Tsinghua University’s deputy director of the Institute of International Studies, Liu Jiangyong. Liu made the same mistake when reading the poem. In an attempt to cover up his mistake, he said that his mispronunciation [for “small seal script” (Xiaozhuan)] actually represented a new calligraphy style (Xiaoli) based on “small official script” (Li Shu) [1]. The performances of these two famous scholars have shocked the Chinese people. Criticism of the two poured in from all sectors of society. We Chinese feel that the performance of China’s most outstanding scholars has tarnished Qinghua University and even China’s image.

People throughout society have lamented the fact that the professor, the academician, the president of Qinghua University could be so embarrassingly ignorant of traditional Chinese culture. Even worse, among the top scholars in China there are more outrageous mistakes. Why has China’s traditional culture declined so drastically? The culprit is quite simply the malevolent Chinese Communist Party (CCP).

The sixth commentary “On How the Chinese Communist Party Destroyed Traditional Culture” in the “Nine Commentaries on the Communist Party” published by The Epoch Times, exposes the CCP’s intrinsic nature of destroying traditional Chinese culture. Some may ask: “Doesn’t the Chinese Communist regime often say that it promotes traditional Chinese culture?” The CCP’s tactics are as aptly stated in the “Nine Commentaries”: “to absorb its essence and resist its dark side,” “to make the past serve the present, and weed out the old to promote the new.”

In reality, the CCP resists the essence of China’s tradition and absorbs the dark side of political struggle. By doing so, the CCP has gradually inserted its malevolent party culture into the national tradition and disguised itself as the reincarnation of traditional values. The so-called “national culture” it promotes is actually nothing more than the malevolent Party’s culture in disguise. China’s traditional culture is a semi-divine culture, while the CCP’s culture is atheist. Over the past several decades, the CCP has continually destroyed the nation’s semi-divine culture by inserting its atheist culture. Doesn’t the ignorance of traditional culture among the CCP’s elites, such as Gu Binglin and Liu Jiangyong, bear witness to the fact that our national culture has been destroyed by the malevolent Party’s culture? Gu and Liu’s attempts to justify their mistakes prove the point made by the “Nine Commentaries” that the CCP’s destruction of traditional culture is unprecedented.

The CCP’s society-wide destruction of traditional culture is the biggest barrier to invigorating our national culture. The national culture can only be invigorated after the malevolent Party’s evil specter is completely eliminated, its poison cleaned out and its evil effect thoroughly destroyed..

All Chinese who love the Chinese nation, especially those in intellectual circles, must be clear on the CCP’s intrinsic nature of destroying traditional Chinese culture. Withdrawing from the CCP, the Communist Youth League and the Communist Young Pioneers, they can completely rid themselves of the shackles of the malevolent party culture and return to the Chinese traditional culture which creates and breeds the Chinese nation with the boundless vitality.

Note:

[1] In the history of Chinese calligraphy, Xiaozhuan and Li Shu are basic styles of writing. The archaic Xiaozhuan (small seal script) began with in the Qin Dynasty (221-206 B.C.), which is meticulous and laborious. The square Li Shu (small official script), with its clear brushstrokes, came in in the Han Dynasty and used in official writing.