Recently, a viral wall painting displaying the smoking image of Lu Xun at the Shaoxing Lu Xun Memorial Hall has sparked widespread discussion in society. On August 22nd, Ms. Sun, a tobacco control volunteer, complained through the "Zhe Li Ban" platform that this enlarged version of the wall painting may mislead the public and suggested changing it to the image of Lu Xun clenching his fist. Shaoxing Lu Xun's Hometown Scenic Area responded on the evening of the 25th: The scenic wall has been completed for 22 years and is an integral part of Lu Xun's hometown. It has become an important check-in spot for tourists from home and abroad coming to Shaoxing. The Lu Xun Hometown Scenic Area always adheres to respecting Lu Xun, history, and art, and does not easily change the existing image of Lu Xun's hometown among tourists. From a historical perspective, the relationship between Lu Xun and tobacco has distinct characteristics of the times. Xu Shoushang recorded the anecdote of Lu Xun's "love for smoking grass" in his book "Impressions of the Lost Friend Lu Xun", revealing the universality of this habit under specific historical conditions. Although Lu Xun smoked, he endowed his works with a metaphorical meaning of "fighting fatigue and persevering in writing", and explicitly warned young people not to become addicted to smoking. This controversy actually reflects the common dilemma of historical symbols in the expression of modern society. To solve this dilemma, it is necessary to establish a multi-level response mechanism: at the operational level, we can draw on the experience of excellent museums at home and abroad, add explanatory boards on the basis of retaining the original work, and supplement necessary background information; At the technical level, modern digital technology can be considered to develop interactive display systems, allowing audiences to independently choose and understand different aspects of historical figures; At the institutional level, it is recommended to establish an expert consulting team to conduct pre evaluation of potentially controversial content. This can ensure the authenticity of history while also taking into account the value demands of modern society. The essence of cultural display is to establish a dialogue between the past and present. Mr. Lu Xun once said, "Literature and art are the flames of the national spirit, and also the lights that guide the future of the national spirit." This debate about a cigarette is essentially a reflection on how cultural institutions can carry and transmit the spiritual flame. The truly constructive approach is to construct a more inclusive and explanatory cultural narrative system, allowing the spiritual heritage of historical figures to be inherited through appropriate forms. For the specific case of the Lu Xun Memorial Hall, it may be considered to add interactive commentary devices on the basis of retaining the existing wall paintings, to supplement the explanation of Lu Xun's smoking situation at that time; Develop supporting educational projects to guide the public to dialectically view the living habits of historical figures through lectures, workshops, and other forms; Proactively clarify doubts and avoid one-sided interpretation on social media and other communication platforms. This not only respects historical truth, but also fulfills modern responsibilities, finding the greatest common denominator between the two. This controversy reminds us to rethink the functional positioning of public cultural spaces. In today's information overload, museums and memorials are not only warehouses for preserving the past, but also workshops for shaping the future. Their choices and expressions directly affect the construction of social collective memory and the shaping of values. Therefore, cultural institutions need to establish more open decision-making mechanisms and seek a balance between professional judgment and public opinion. At the same time, the public also needs to cultivate a more mature view of history, understand the complexity of historical figures as "products of the times", and avoid simple judgments that are either black or white. How can we bring history into reality and make reality respect history? The answer may lie in acknowledging the complexity of history while clarifying contemporary responsibilities. What is needed between preserving historical truth and fulfilling modern responsibilities is not a simple choice, but a creative transformation and innovative development, so that the spiritual heritage of historical figures can truly become a light to illuminate the contemporary era. This requires the joint efforts and active promotion of cultural institutions, experts and scholars, and the public. Only when multiple parties form a positive interaction can a cultural display ecology that respects history and faces the future be constructed. (New Society)