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In 2022, a storm known as "toxic textbooks" swept the entire network, arousing strong concern from the masses. A large number of textbook illustrations scandalize the image of China and are full of elements of the Jingri style, which undoubtedly has a serious poison to children. People are outraged by this, and this bad phenomenon is very troublesome to the people of the country.
However, what is unexpected is that the real behind-the-scenes ** is a well-known "big man" in the field of book design in China. Based on their expertise, they have skillfully incorporated illustrations that do not conform to the values of our country into their teaching materials, so as to achieve their goals.
The influence of these "bigwigs" is so great, and their design ideas and aesthetic views have largely influenced the direction of the book market. Their actions run counter to the original purpose of education and cause our young people to be misguided in the process of growing up.
Lu Jingren, a highly praised representative in China's book design industry, is now being questioned because of a series of "poisonous textbook" incidents that have aroused widespread concern in the society.
These poisonous textbooks have caused shock among the Chinese people, especially recently, some parents of students have reported on the Internet that the illustrations on the primary school textbooks of the People's Education Edition have many vulgar, inducing and exquisite content, which seriously distorts historical facts.
These illustrations not only involved Lu Jingren, but also aroused widespread public attention and discussion about why he drew such a teaching material. There is speculation about whether he had ulterior motives, but we have no way of knowing.
As a well-known figure in China's book design industry, Lu Jingren's reputation and reputation have undoubtedly been greatly damaged. As an honorary professor, his behavior not only violated his status as an honorary professor, but also seriously violated the reputation of the book design community, and also brought a serious negative impact on the book design industry in China.
In many illustrations depicting Chinese children, it is common to see inaccurate depictions. In these illustrations, children's eyes are wide, their eyelids droop, and their eyes are blank, which often gives a negative impression, which is undoubtedly a distortion and misunderstanding of the image of Chinese children. This depiction of children is unjust and is suspected of discrediting the image of children in China.
In addition, some unrealistic images of children have also been found. Some children have strange tattoos on their bodies, or girls wear "bunny-girl" style outfits that don't match their age and gender. The large difference between the images of children in these images and the images of children in real life is surprising and puzzling.
In addition, in some boys' illustrations, the depiction of private parts is too straightforward and exposed, and this overly ** depiction may cause discomfort to adults, and even cause some unnecessary misunderstandings and prejudices. This depiction is not only inconsistent with the innocence and innocence of children, but may also have a negative impact on children's mental health.
Especially when the little boys are active and the cute little girls are together, the situation is even more unpredictable. It is embarrassing for a naughty boy to lift the skirt of a girl's dress, but it is a sign of the child's innocence.
However, what is even more troubling is that sometimes boys will do some "brain-attacking" behaviors and make rude actions to the girls around them. This kind of behavior is not only uncomfortable, but also beyond the scale we see in film and television works. Such behaviour not only reflects their own ignorance and immaturity, but also has a negative impact on the formation of our social ethos.
In addition, the boy in the Star-Spangled Banner costume is also very conspicuous in the crowd. Their yellow hair and blue eyes are seen by some as a symbol of Americans, an over-the-top compliment that shows a "** mentality." In fact, we should look at this cultural difference rationally, rather than blindly following it.
In addition, a spooky illustration is also thought-provoking. On the screen, a boy dressed in an American flag pattern costume holds a hoe in his hand and makes a "poaching" action. And this wall turned out to be the Great Wall of which we are proud. The appearance of such images is not only confusing, but also reflects the disrespect that some have for our own cultural treasures.
What is even more outrageous is that the "N33K" fighter plane, which symbolizes Japan's war of aggression against China, actually appeared in the textbook, which is undoubtedly a blasphemy against our history.
What is even more puzzling is that the pilot on the fighter plane greets people with a smile on his face, and this kind of blatant appearance on our Chinese students' textbooks is undoubtedly a provocation to our national feelings. This is not only a distortion of our history, but also has a negative impact on the education of our next generation.
The "N33K" fighter in the textbook is not only a symbol of war, but also a criminal evidence of Japan's war of aggression against China. And the pilot's blatant smile made people feel angry and heartache. The content of such textbooks is undoubtedly a desecration of our history and culture, and also has a negative impact on the education of our next generation.
The illustrator's actions in this case can be described as well-intentioned, but this practice not only does not help to express the author's intentions, but also causes unnecessary controversy and misunderstanding. Such behavior is tantamount to playing cleverness, and not only will it not win the public's understanding and support, but will instead lead to more doubts and criticism.
The most outrageous thing is that the illustrations that were supposed to depict Lei Feng were usurped by a Japanese fascist and glorified as "doing good deeds". This kind of behavior is undoubtedly a snake and a great blasphemy against Lei Feng. This approach makes us wonder: what makes a character who has made great contributions to human society so ruthlessly tarnished?
In addition, there are a large number of incomprehensible and extremely angry illustrations in the field of education in our country. Not only do these illustrations grossly deviate from social values, but they can also mislead our youth.
Just to name a few of these examples is already unbearable. Just imagine, our teenagers learn these illustrations every day, how can they understand the meaning behind these illustrations? And how can they establish the right values?
In order to solve this problem, the relevant departments launched an in-depth investigation, and the matter has also attracted widespread attention from the whole network.
However, when we dig deeper, there is a truth behind the "poisonous textbook" that we can't imagine.
After in-depth investigation, we found that the illustrations of the Renjiao version of the textbook were jointly produced by two companies, one of which was Beijing Jingrenjing ** Design Company, and the owner of this company, Lu Min, had a close relationship with his father, Lu Jingren.
Lu Jingren is a well-known book design master in China, and his illustration style is unique. Therefore, many people believe that the illustrations of the Renjiao version of the textbook were designed by Lu Jingren himself.
However, when we took a closer look, we found out that the production of the illustrations for these textbooks was actually done by Lu Jingren's company and other companies. Among them, Jing Renjing ** Design Company is responsible for the overall design and the drawing of part of the illustrations, while other companies are responsible for the production of other illustrations.
However, what is surprising is that the illustrations produced by these other companies have been exposed to some problems, and have even been accused of "poisonous textbooks". After in-depth investigation, we found that the root cause of these problems may be related to the illustration style, color matching, character image, etc.
In our sight, another company, Beijing Wu Yong Design Studio, has attracted everyone's attention. The person in charge of this studio is Wu Yong, and his ** is Lu Jingren.
Such a connection can't help but point the finger at the same person - Lu Jingren. As a "heavyweight" in the field of design in China, he enjoys a high reputation overseas and is also a particularly famous designer in Asia.
However, such a seemingly respected design master has produced questionable textbook illustrations. This makes one wonder, what is the reason for him to commit such a despicable act?
Under the leadership of Lu Jingren, his apprentice Wu Yong Design Studio does not seem to have been spared. Their textbook illustrations have been accused of having many problems.
In fact, his success is inextricably linked to his background and rich experience.
Lu Jingren was born in Shanghai in 1947, a time of war and turmoil. However, Lu Jingren's family has ample resources and good living conditions. They live a high-quality life in high society at home, eat Western food, listen to foreign **, and wear fashionable dresses.
This special growth environment allowed Lu Jingren to be influenced by Western culture to a certain extent, which also laid the foundation for his future growth and success.
The Lu family has always worked in silk and cotton spinning, and with the family's business empire, they have achieved great success in this field. This rich business experience and extensive business network have undoubtedly provided strong support for the growth of Lu Jingren.
Therefore, we can see that Lu Jingren's success is not accidental, but the result of his personal background, rich experience, and family business empire.
With the support of the Japanese, the Lu family's enterprises rose rapidly in that turbulent era and became a typical representative of Japan. Many national enterprises were in trouble and on the verge of bankruptcy at that time, but the Lu family's family business showed extraordinary vitality, which was naturally inseparable from the support of the Japanese.
When Lu Jingren's father remarried, the Japanese took the initiative to send congratulatory gifts, and this pious attitude was even publicly reported in the newspapers. From this point of view, the interests of the Lu family and the Japanese are very close.
It is not difficult for people to imagine that the success of the Lu family is inseparable from the support and help of the Japanese. This close relationship of interests is not only reflected in the economic level, but also penetrates into all aspects of social life, and the Lu family has embarked on its own development path under the protection of the Japanese.
Indeed, the service of the members of the Lu family to the Japanese enabled them to stay awake in a complex situation and thus gain security and prosperity. In this educational environment, the brothers of the Lu family gradually lost their love for the motherland, and instead developed a strong yearning for countries such as Japan and the United States.
Their choice to work and settle in the United States and Japan after graduation is further proof of their choice. To some extent, the Lu family can be regarded as a real traitor family. However, we must recognize that this behavior is not of personal will, but is influenced by family traditions and circumstances.
The brothers of the Lu family may not have been aware of the impact of their actions on the country, and they may have simply made such a choice out of the pursuit of personal development and life. However, their actions undoubtedly harmed the interests of the state to some extent.
Lu Jingren, a student at Harbin Normal University, chose a different path and went to Japan to study. There, he not only continued his studies, but also chose as his mentor a Japanese professor named Kohei Sugiura, one of Japan's most famous design masters. Under the influence and guidance of Kohei Sugiura, Lu Jingren's thoughts and style have also been deeply imprinted with Japanese culture.
After returning to China, his fame gradually grew, and soon after he became a professor at the Academy of Fine Arts. His student Wu Yong was also one of his protégés, and they were given the opportunity to illustrate the student's textbook in this context.
Lu Jingren's illustrations are unique, retaining elements of Japanese culture while incorporating the essence of traditional Chinese art. His illustration style is distinctive and has attracted the attention of many students.
We have always hoped that the so-called "design masters" can add some freshness and deeper educational significance to our teaching materials. However, the truth is harrowing. Instead of bringing useful content to our little ones, they have extended their claws to the flowers of the motherland, poisoning their minds and hearts with vulgar and shameful content.
What is even more outrageous is that the magnitude of the problem is far greater than we can imagine. Lu Jingren and his entire studio are not the only reason. Their idea of admiring the foreign is particularly prominent, and it is even a trend in the entire industry. These people are all Chinese nationals, but they have seriously damaged the image of the Chinese nation. Their brazen behavior has reached the point where it is intolerable.
Nowadays, it is full of all kinds of toxic content, and the impact on children is huge. They may misinterpret this content and develop a wrong understanding of the real world. This is not only harmful to them, but also has a bad impact on our society.
At the same time, we need to reflect. Why are these so-called "design gurus" able to harm our children so brazenly? Are there any loopholes in our education system and regulatory mechanisms? This requires us to re-examine our educational philosophy and standards to ensure that children are properly guided and protected.
In this process, we need to be clear: our children are the hope of our future, and they should not be harmed and misled in any way. We must ensure that they grow up in a healthy and sunny environment, which is our responsibility and obligation as parents, educators and members of society.
It is very dangerous for children to misjudge and discern bad habits in the textbook, as it can lead them to imitate these behaviors and thus fall into more serious consequences. Therefore, we must resolutely oppose any form of appeasement and abuse and must not tolerate such behavior.
In August 2022, the Ministry of Education has conducted preliminary interviews and dealt with key figures involved in the "poisoned textbook" incident. The problem of illustration in these textbooks has become very obvious, and it has become a problem that cannot be ignored.
Epilogue. We must set an example by imposing the necessary penalties on those responsible for such irregularities. The people are also looking forward to it, and they want to see a happy ending that will satisfy everyone.
After in-depth research and evaluation, the Ministry of Education has made a decision to punish those involved in the "poisonous textbook" incident. Among them, Lu Jingren, Wu Yong and others will never be hired. The severity of the punishment is intended to serve as a warning to those who do wrongdoing, and to make them realize that there is a price to be paid for their actions. At the same time, it also shows the importance that the Ministry of Education attaches to the quality of teaching materials and has a zero-tolerance attitude towards non-standard behavior.
Education is a big deal about the future, and we have to face up to every detail. We should take care of every step of the way to ensure that children can grow up in a healthy and positive environment. Only in this way can they embrace a brighter and brighter future. At the same time, it is also a process of contributing to the prosperity of the motherland. Everyone can play their part in creating a better educational environment for the next generation.