Fan Chengda (1126～1193) was a poet of the Southern Song Dynasty. The courtesy name is Zhineng, and the name is Shihu Jushi. A native of Wujun (now Suzhou, Jiangsu). His father, Fan Yu, was a Jinshi in the fifth year of Xuanhe. In the eleventh year of Shaoxing in the Southern Song Dynasty (1141), he was the secretary of Shengzhengzi and finally secretarylang. His mother, Cai, was the granddaughter of Cai Xiang, the famous calligrapher of the Northern Song Dynasty.
Biography Fan Chengda received a good education in his childhood, read classics and history, and was good at writing articles. When he was 17 years old, he responded to the imperial edict and went to the Ministry of Rites to present poems and odes. The following year, his father died of illness, and he raised his younger siblings. It was not until his younger sister got married that he resumed his studies and focused on the imperial examination. Later, he studied with Yue Bei at Jianyan Temple in Kunshan and joined their poetry club. In the twenty-fourth year of Shaoxing (1154), he became a Jinshi. In the 26th year of Shaoxing, he served as Huizhou Sihu and joined the army. Later, on the recommendation of Hong Shi, he was called to Hangzhou, where he supervised the Taiping Huiminhe Pharmacy Bureau and held successive posts. In the second year of Emperor Xiaozong's reign (1166), he was promoted to a member of the Ministry of Civil Service, Wai Lang. However, he was dismissed and returned to his hometown because some commentators said that he had been promoted beyond his rank.
In the fourth year of Qiandao, he became aware of the state. The following year, he was called to the court and served as a member of the Ministry of Rites, Wai Lang, and at the end of the year he was promoted to Jusheren. In the sixth year of Qiandao, Emperor Xiaozong ordered Fan Chengda to be a special envoy to go to the Kingdom of Jin to change the etiquette of accepting the Jin Kingdom's imperial edict and to obtain the "mausoleum" in Henan. Fan Cheng made great efforts to maintain the prestige of the Song Dynasty and returned home. He wrote the envoy Jin's diary "Bringing the Bridle Record" and 72 famous chronicle poems, which won the respect and trust of Xiaozong. After returning to the court, he was promoted to Zhongzhong. Shushe people. In the seventh year of Qian Dao's reign, Xiaozong wanted to use the fawning minister Zhang Yue, but Fan Chengda refused to do so, which made Xiaozong change his mind. Cheng Da then asked for a casual post and returned to Suzhou.
In the ninth year of Qiandao's reign, he went to Jingjiang to serve as the economic and strategic envoy of Guangxi. In the first year of Chunxi (1174), he was renamed Chengdu Prefecture and appointed as Sichuan envoy. In the fourth year of Chunxi's reign, he served as Minister of the Ministry of Quan and Rites. In the first month of the fifth year, he was informed of tribute examinations and directed the Academy of Academic Affairs. In April, he participated in political affairs. Two months later, he was impeached by the admonishment officials for personal regrets and was dismissed from office. In the seventh year of Chunxi's reign, he learned about Mingzhou and set up envoys along the coast; in the eighth year, he changed his knowledge to Jiankang Prefecture and stayed in the palace. Chunxi resigned due to illness in ten years, at the age of 58. He lived in seclusion in Shihu for the next 10 years.
Poetry Achievements Fan Chengda was a scholar-bureaucrat who cared about national affairs, was diligent in government affairs, and sympathized with the people's sufferings. His basic political ideals are the Confucian thoughts of "benevolent government" and "people-oriented". He believes that "the people are the foundation of the country, and the foundation is solid and peaceful." Its suffering" ("Lunbang Benshu"). In some memorials, he urged Xiaozong to save manpower and national power, cherish time, rectify military discipline, train soldiers, use punishments carefully, crack down on corrupt officials, and have the ambition to strengthen the army and restore the country. When he was a local official, he either tried his best to eliminate defects, reorganize armaments, provide disaster relief, build water conservancy projects, and made efforts to reduce the burden on farmers and relieve the suffering of soldiers. Correspondingly, his consistent thought of caring for the country and the people has been fully reflected in his poetry creation.
Fan Chengda’s poems have the highest achievements in his works that reflect the life scenes of rural society. His pastoral poems generally describe the vast life in the countryside in feudal society, combining agricultural poems since "The Book of Songs in July", poems praising the tranquility and leisure of rural life since Tao Qian, and some peasant poems and mountain poems by Tang Dynasty poets that reflect class oppression. Works such as rural ballads are combined together to form a masterpiece of ancient Chinese pastoral poetry.
Fan Chengda was involved in the world very early and had a deep understanding of the hardships of rural life. In his 20s, he wrote some poems describing rural life scenes, such as "A Boat Trip on the Hanshan Road in the Great Summer" In the poem, he expressed the emotion of "pitying the suffering of the old farmers from afar"; in "Le Shenqu", he wrote about the farmers who felt lucky to have enough food to pay rent and avoid being whipped in a good year; in "Silk Journey", he wrote about his sister-in-law cooking cocoons The busy work of spinning, spinning and selling silk; "Rent Collection" describes the scene of officials coming to blackmail the farmers after they have paid the rent. When he was an official in Huizhou, he wrote the famous "Hour of Rent Collection". The poem vividly depicts the heavy tax collection, the cruelty of officials and the suffering of the people in the Southern Song Dynasty. Later, in Hangzhou, Guilin, Chengdu and other places and in his hometown, he wrote a large number of rural-themed poems, such as "Cutting Wheat", "Planting Rice Rice", "Sun-drying Cocoons", "Cleaning Households of Watermelon", "Accumulating Rain after Ear Planting" "Three Wonders of Sudden Cold", "Sigh of Surrounding the Fields", etc. Among them, "Huang Ling" describes the inhumane situation of farmers who live in the mountains, and calls out to "pull you out in peace"; "Laoshe Farming" is about "Xia farmers" slash-and-burn farming, barely eating, and "Wu farmers" because of Due to the pressure of government rent and private debt, "escape from the house without smoke"; the nine songs of "Bamboo Branch Songs of Kuizhou" inherit the tradition of "Zhuzhi Ci" dedicated to praising the local customs and inject new content: there are farmers who burn She grain to grow beans, and there are farmers who carry rice on their backs. There are peasant women with children picking mulberry tea, and wealthy businessmen with embroidered clothes; while the rich are self-satisfied, the peasants are self-poor: "The rice in the flat fields of Dongtun is soft, but it cannot be eaten by the poor"; revealing the disparity between the rich and the poor, The idea of ??criticizing the cruelty of officials and sympathizing with the suffering of the people runs through Fan Chengda's poems from beginning to end. Until he retired to Shihu in his later years, he was still writing in "Winter Crops", "Autumn Thunder Sigh", and "The Singer of the River City" In his works, he deeply sympathizes with the miserable lives of the poor. In "Three Unforgettable Thoughts on Hearing the Sounds of People Selling Fish and Vegetables Outside the Wall in the Snow", the poet declares: "You can't write poems for you!" He truly expresses his creative intention of calling out for the suffering of the people's livelihood.
The poem "Pastoral Miscellany in Four Seasons" written by Fan Chengda in his later years is his representative work of pastoral poetry. These 60 seven-character quatrains respectively depict different pastoral scenes in the four seasons of spring, summer, autumn and winter. , all the farm living environment, seasonal climate, customs and customs, farming and weaving, harvest, suffering and joy, etc., are all truly and vividly displayed. "Butterflies enter the cauliflower in pairs, and no one comes to Tian's house as the day goes by.
Chickens fly over the fence and dogs bark, knowing that a merchant is coming to buy tea. ""We work in the fields during the day and work on hemp crops at night, and the children in the village are responsible for their own affairs. The children and grandchildren are still working for farming and weaving, and they are also learning to grow melons near the mulberry tree. "The author uses plain language to depict farmhouse farming and weaving pictures. However, these pictures are not the paradise that the hermits of the past generations have longed for, but vivid portrayals of the real society full of pain and bitterness." It’s difficult, avoid the rain, dislike the wind, and even fear the cold. The note tells God not to plunder the leftovers, but to pay half of the private debt and half to lose the official position. ""The hard work of collecting water chestnuts wastes the plow and hoe, and the bloody fingers and elixirs dries up. I can’t afford to buy a field to plant water. Recently, the lake is also collecting rent! "These poems also expressed deep sympathy for the suffering of farmers. The poet also faithfully reproduced the "joy" of the poor family in his paintings: "The young woman stayed on the silk screen all night long, and the old man was eager to fly to collect taxes. Fortunately, the silkworms are ripe this year, so I have enough yellow silk to weave summer clothes." "In the winter in the village lanes, we see common customs, and the neighbor talks about worshiping Chai Jing. The long robe is like frost and snow, and the clouds are woven by the home machine. "The meticulous observation and profound writing power are higher than those of previous poets who wrote about similar themes. This group of poems had a great influence on pastoral poetry after the Southern Song Dynasty.
Fan Chengda was a leader of the war school at that time. , his poems are also full of patriotic thoughts. As early as when he was not an official, he wrote the famous line "Don't praise the mountains and rivers to visitors from the north, the cold clouds and cold waters are even more desolate" ("Two Wonders of Autumn"), which expressed his gratitude to the small court of the Southern Song Dynasty. He criticized the envoys from the Kingdom of Jin for their foolish behavior of boasting about the ruined mountains and rivers. Many of his subsequent works, such as "Rouge Well" and "Hejiang Pavilion", were all excellent works written during his mission to the Kingdom of Jin by describing the beautiful scenery of mountains and rivers. The 72 poems "Qijue" express his patriotic thoughts in a concentrated way. "Kou Ruolin, an isolated city in the plains, the two princes (Tang Zhang Xun and Xu Yuan) are still trying to overcome obstacles." Daliang is facing the danger of floods and rivers. Who will send the land of China to sink? "("Twin Temples") "To the north and south of Zhouqiao is Tianjie, where my father is waiting for his return. Holding back tears, he asked the envoy, when will the Sixth Army really come? "("Zhouqiao") These poems denounced the Song Dynasty rulers' mediocrity and neglected the country by chanting the mountains and rivers in the occupied areas, and conveyed the hope of regaining the lost land to the Central Plains elders. Some poems also recorded the story of the Jin Dynasty's aristocratic rule. The tragic experience of the people. When he was an official in Guilin, the author wrote in the poem "The Completion of Guishui Pavilion": "I would like to connect the river to the Han Dynasty and wash the gun in the north for the king." "It also reflects his confidence and lofty ambition to reunify the motherland and regain the lost territory. In his later years, when he was seriously ill, he also expressed his hatred for the Jin people in the poem "Inscribed on Zhang Kan's Fan Horse Hunting Picture"; in the poem "Inscribed on Fucha Temple" , expressed his dissatisfaction with the Southern Song Dynasty's partiality, indulgence in pleasure, and cruelty to loyal people, showing his concern for the fate of the country and his desire for reunification.
Fan Chengda's poems have rich themes and diverse styles. A great poet, he was most influenced by Su Shi. His poetic style has changed several times due to different creative backgrounds: when he was not in the imperial examination in his early years and in his early years as an official, he had not left the imitation stage. His poems reflecting the suffering of people's livelihood were mostly inspired by Zhang Ji and Wang Jian. Most of the successful works have the characteristics of directness and sharpness, which is best reflected in the 72 quatrains written on the way to the Kingdom of Jin in the later period of Huizhou, such as "Fanyang Lake" and "Panyang Lake". "Hui Huang Tan" and other poems have detailed descriptions and exquisite language, which have revealed the clues of the clear and elegant poetic style. During the Guilin and Chengdu periods, due to the magnificent scenery of the mountains and rivers, his poems had a broad realm and rich poetry, with the majestic and majestic poetry as the main theme. Five-character poems are particularly outstanding. In his later years, when he lived in seclusion in Shihu, his poetic style gradually became gentle, graceful, mellow and beautiful. He was best at seven-character poems, especially seven-character quatrains. His artistic accomplishment was not as good as that of Su Shi. He was slightly far behind Su Shi in terms of boldness and elegance, and some of his poems seemed to lack charm and lack of completeness. He worked hard on the five-character poems that Su Shi did not pay much attention to, and absorbed some of the characteristics of his poetry, which he was good at. It achieved greater success, but at the same time, it also developed shortcomings such as Su Shi's fondness for using allusions, showing off his talents, and rhyming with dangerous rhymes. In his later years, when he was sick, he used unconventional Buddhist scriptures to write morbid poems and some six-character poems like Zen verses. Compared with Lu You and Yang Wanli, Fan Chengda was less influenced by the Jiangxi Poetry School, but his poems still have the style of the Southern Song Dynasty that focused on forging and pursuing strangeness.
Fu and poetry. Fan Chengda's poems and poems were also well-known at that time. In his early years, "Guanwa Palace Fu" was used to satirize current affairs by referring to King Wu's reputation, cruelty to loyal people, and indulgence in sensuality, and "Guilin Mid-Autumn Festival" was widely recited. He expresses his feelings towards the moon and has a clear state of mind. His political commentaries and memorials are all able to address the current problems, and they are based on reason. They are not empty words or false claims, and they have a calm and unhurried charm, such as "On the Power of the Country and the Sparse Manpower". "Lunbang Benshu" and "Lunbang Benshu" are all representative works. Most of these political essays are short, plain in language, and rarely use allusions. They are very distinctive in the memorials of the Song Dynasty. His narrative writing achievements are also very high. He wrote "" "Three Gao Temples" was written in memory of three reclusive men, Fan Li, Zhang Han, and Lu Guimeng. At the beginning of the article, he praised the three people for their high moral integrity, but in the middle, he changed his focus and expressed his deep lamentation about how many people in the world wanted to live in seclusion and did not care about state affairs. Zhou Mi is known as the "wonderful pen in the world", which is widely circulated and highly praised. His landscape travel notes are good at following the shapes of objects and conveying dynamics. He is highly praised for Liu Zongyuan's writing style. Two of his poems are deliberately imitated in Su Shi's "Red Cliff Ode". "The Story of Panshi Lake" is written with Su's intention using Liu's pen, creating a unique and elegant environment. It is a masterpiece among the landscape travel notes of the Song Dynasty. In addition, several of his memorial essays such as "Sacrifice to the Dead Brother Gongbu" (Fan Chengxiang). ), etc., are also written in a sincere and touching way.
Fan Chengda is also good at composing lyrics, and he has nearly 100 poems in existence today.
In his early years, his poems mostly wrote about tender lovesickness, such as [Nan Kezi] "Tanabata", "Frost Sky Dawn Corner", etc. The love is long and meaningful, approaching Qin Guan; "Drunk and downcast" is desolate and cold, just like Yan Dao. The middle and later works are closer to Su Shi, such as [Shui Diao Ge Tou] "Nine Days on Yanshan Mountain" is bold and exciting; Beyond the dust. Its clearness and openness are especially similar to Zhang Xiaoxiang's, such as "Man Jiang Hong" "Light Thunder Outside the Willow" and "Nian Nujiao" "Wu Bo Floating" can almost be confused with the excellent works in "Yu Hu Ci". As for "Huanxisha", which writes "The market is open with bamboo fences in Maodian, and the fields are green with crimson skirts and green sleeves", and "Die Lianhua" says, "It's cold in the Jiang Kingdom and it's late for farming. To the north of the village and to the south of the village, the fields are plowed only after Grain Rain", which are fresh and bright. rivaling his idyll.
Fan Chengda had a wide range of interests. His "Raider Record" records what he saw and heard when he was on a mission to the Kingdom of Jin, which has many historical value. The "Luan Lu" and "Wu Chuan Lu" written when he went to Guilin and returned home from Shu, recorded the mountains and rivers, local customs and customs, verified rumors, and recounted unusual events. They can not only be used for textual research, but also have a strong color as travel notes. The Guilin caves, utensils, food, products and folklore historical materials recorded in "Guihai Yuhengzhi" are particularly valuable for studying the local history of Guangxi and the history of the ethnic groups in Southwest China. The records about birds and animals, flowers and fruits, vegetation, insects and fish, like the "Chrysanthemum Pu" and "Plum Pu" written in his later years, are also important materials for the study of the history of natural science. The 50-volume "Wujun Chronicle" is one of the earliest local chronicles of a formal scale in China and has always been valued by historians. Fan Chengda also had high attainments in calligraphy. Yue Ke's "Praise to Baozhenzhai Fa Shu" said that his calligraphy is "strong and powerful, and can be wide or narrow". Wang Shizhen of the Ming Dynasty also said that his calligraphy "comes from Meishan and Yuzhang". "In the meantime, there are rice-shaped pens, which are ripe and elegant, and the business is prosperous" (Volume 130 of "Sibu Manuscripts of Zhou Shanren"). Together with Zhang Xiaoxiang, he is known as the two famous calligraphers in the early Southern Song Dynasty.
Fan Chengda's "The Complete Works of Shihu", 136 volumes, lost. The 34 volumes of "Shihu Lay Poems Collection" are extracted from the "Complete Works", the last volume is Ci Fu; there are movable type editions of Hongzhi in the Ming Dynasty, and Gu and Huang editions of Kangxi in the Qing Dynasty. "Shihu Ci", 1 volume, is available in the "□ Village Series". Shanghai Ancient Books Publishing House published the first and second volumes of "Fan Shihu Collection" in 1981, and published the collection of poems and lyrics in three volumes with annotations by Shen Qinhan of the Qing Dynasty. In 1983, Zhonghua Book Company published Kong Fanli's Collection of Lost Works of Fan Cheng. There is 1 volume of "Lanbri Lu", 1 volume of "Li Luan Lu", 2 volumes of "Wu Chuan Lu", and there is a copy of "Zhiyu Zhai Series". There is 1 volume of "Plum Blossoms", 1 volume of "Chrysanthemum Pus", and the "Baichuan Xuehai" edition. The above five kinds are all included in "Series Collection". "Guihai Yu Heng Zhi" 1 volume, there is a "Zhiyu Zhai Series" version. There are 50 volumes of "Wu Jun Zhi", including the "Zeseshiju Series".