Lotus Pond Duck Picture by Kerou Zhu in Southern Song Dynasty
In Chinese people's minds, "Jiangnan" is a bridge with willow flowers and apricot blossoms, a green pond with plum rains and a fishing platform in spring, which means a long history, beauty, exquisiteness and richness. However, is "Jiangnan" just a synonym for poetry? As an important demonstration of cultural heritage, the answer lies in the cultural relics.
The "Spring Breeze Thousands of Miles-Jiangnan Culture and Art Exhibition" being held by Shanghai Museum focuses on culture by art, and 197 pieces (groups) of cultural relics present a vivid and multifaceted Jiangnan: Wen Xiu is full of wisdom and courage, pursuing freedom and uninhibited in norms, being gentle and elegant, being extremely responsible and honest, and its tradition is sufficient and inclusive. From the story of Jiangnan told by cultural relics, people can see rich cultural levels.
Ming Dynasty Youkan rhinoceros horn carved lotus leaf mantis cup
Zhiyong and Wen Xiu
bronze Wu Wangguang Ge left the epitome of wuyue's hegemony in the Spring and Autumn Period and the Warring States Period; The private "The Book of Neem Pavilion" shows the prevailing style of books and reading in Jiangnan in Qing Dynasty
In the pre-Qin period, the soil in Jiangnan was low and wet, and her husband died young, making it uninhabitable. However, archaeological discoveries have proved that as early as prehistoric times, agriculture, fishery and livestock industry in the south of the Yangtze River have all developed, and they also have a certain aesthetic level and artistic creativity. Taking Hemudu culture in Ningshaopingyuan, south bank of Hangzhou Bay as an example, its discovery is considered as one of the most important archaeological discoveries in China in the 2th century. One of the bones in the exhibit, namely Hemudu Cultural Period, is about 7, years ago, and it is the only one of its kind found in domestic archaeology so far with a rattan bound wooden handle and kept intact. It is a microcosm of the prehistoric agricultural development in the south of the Yangtze River, and it is also an example of the wisdom of the ancestors in the south of the Yangtze River to transform nature.
During the Spring and Autumn Period and the Warring States Period, Wu and Vietnam successively dominated, and Jiangnan gradually rose. At present, it is generally recognized in academic circles that Jiangnan culture mainly originates from Wu and Yue culture, and the narrow sense of Wu and Yue culture refers to the culture created by Wu and Yue in the Spring and Autumn Period and the Warring States Period. The story of wuyue's hegemony is a household name in China, while Wu Yueshi was good at casting bronzes, mainly weapons such as swords, spears and swords. Among the exhibits is an inscription cast by Wu Wangguang Ge, Yuan He and Hu Bu in the late Spring and Autumn Period, which reads: "Wang Guangguang (see Figure 1) used Ge himself (as a work)". "The King's Light" is the "Son's Light" in Historical Records Wu Taibo Family, which is also the father of Fu Cha, He Lv, the king of Wu. Generally speaking, in the cultural history of China, until the early Six Dynasties, the typical folk customs in the south of the Yangtze River were still.
In 317 AD, the Jin family traveled south, and Wang Xizhi, a "book" whose ancestral home was Langya (now Linyi, Shandong), moved south to Shanyin, south of the Yangtze River (now Shaoxing, Zhejiang). The autumn moon post page of Chunhua Pavilion in the exhibit was a reply that Wang Xizhi wrote to a friend when he lived in Shaoxing. With the injection of "gentry spirit" and "scholar temperament", Jiangnan turned gracefully. Take calligraphy as an example. Up to now, the "family" (Wang, Xie, Xi and Yu) calligraphy is famous in the world, and the Wang family calligraphy represented by Wang Xizhi and Wang Xianzhi is the most famous. Taking painting as an example, the birth of the "Three Masters of the Southern Dynasties" (Gu Kaizhi, Lu Tanwei and Zhang Sengyou) headed by Gu Kaizhi has set up an immortal monument for later painting circles.
After Wang Xizhi's Autumn Moon Post
, Jiangnan has been better, and literature and history have all taken on a new look. In the Song Dynasty, the book was printed in Hangzhou, and there were four places in the Ming Dynasty: "Yanshi (now), Jinling (now), Huhe (now Suzhou) and Lin 'an (now Hangzhou)." Among the exhibits, there is a bill-clearing version of "The Book of the Neem Pavilion" written by Cao Yin, which is ugly, but it can be seen from the prevalence of books and reading in Jiangnan in Qing Dynasty. Cao Yin was born in the capital and grew up in the south of the Yangtze River. The Neem Pavilion is his private library. Because of many books, he wrote the Neem Pavilion Bibliography. Sun Shi, the mother of Cao Yin, was Emperor Kangxi. Cao Yin was deeply trusted by Emperor Kangxi and was re-elected as Jiangning Weaving for 2 years. He also had an important status, namely, Cao Xueqin's grandfather. It is conceivable that Cao Xueqin may have read the book "A Dream of Red Mansions" in his childhood, which has accumulated an important literary foundation for his later writing. By the Qing dynasty, popular literary works such as Jiangnan opera, opera, opera and so on were exhibited, and literature and art had penetrated into all walks of life.
Jade with Bird Patterns in Liangzhu Culture
Norm and Freedom
The gold ornaments of Southern Song Dynasty unearthed in Santianmen, Huzhou can be taken as an example of a gift; The discovery of brick paintings of the seven sages of bamboo forest and the Rongqi period in the tombs of the Southern Dynasties reveals the demeanor of Wei and Jin Dynasties.
The ancients said that "you should be honest and know the etiquette", and today people say that "life should have a sense of ritual", so Jiangnan is naturally content with etiquette and happy to be polite.
China's traditional etiquette was summarized as "Five Rites" in the Tang Dynasty, including five categories: auspicious, military, fierce, guest and fine. Among them, the auspicious ceremony is the first of the five ceremonies, which mainly refers to the ceremony of couples, places and people, while the gift is closest to people's livelihood, including diet, wedding crown and celebration. The bird-patterned jade wall of Liangzhu culture in the exhibit has an intaglio picture of a god bird, which is very precious. "Zhou Li" has a record of "Cang Bi Li Tian". Jade Bi can be used in ancient times, such as burial, Rui, etc., and it was popular in Qing Dynasty. The picture of the god bird may show the historical picture of the upper class in the south, worshiping the clan totem god and hoping for communication during the Liangzhu culture period about 5 years ago. There is also a set of gold ornaments unearthed from the tombs of aristocrats in the Southern Song Dynasty in Santianmen, Zhejiang Province. In the Song Dynasty, Wu Zimu's "Dream of Liang Lu" recorded that when people in the Southern Song Dynasty got married, wealthy families would prepare "gold cymbals, gold pendants and gold pendants" as dowry, commonly known as "three golds". There are also three kinds of gold ornaments in Southern Song Dynasty unearthed in Santianmen, Huzhou, which can be regarded as examples of Jia Li.
The pendant of Jin Xiapei unearthed from the Southern Song Dynasty noble tomb in Santianmen, Zhejiang Province
Apart from the ubiquitous etiquette norms, Jiangnan is also considered to have the courage to break the routine. At the end of the Three Kingdoms and the beginning of the Western Jin Dynasty, Sima used his power to win over the cremation, cut off dissidents, and forced Cao Huan to take the position. After Sima's founding, the "Eight Kings Rebellion" broke out within the royal family for 16 years. Under this background, the scholar-officials retired from the mountains and were fascinated by the learning of Zhuang zi, represented by the seven sages of bamboo forest. Seven wise men often gather in the bamboo forest to drink and sing songs, and discuss philosophies such as life, the universe, also known as "talking clearly". Although the Seven Sages mainly lived in Shanyang County in the early Western Jin Dynasty (now in the northwest of Huixian County, Henan Province), the demeanor of celebrities also influenced Jiangnan after the southern crossing of the Jin Dynasty. There are many archaeological discoveries of brick paintings of the Seven Sages of Bamboo Forest and Rongqi Period in the tombs of Southern Dynasties in Jiangsu Province, among which the most exquisite one is the one unearthed from the Gongshan Tomb of Xishan Bridge in 196, and it is also the original of the rubbings of brick paintings of the Seven Sages of Bamboo Forest and Rongqi Period in the exhibits. Until the Ming and Qing Dynasties, the theme of the Seven Sages of Bamboo Forest was still common in Jiangnan literati paintings, and the Wei and Jin demeanor of being happy, free and lofty was what Jiangnan people yearned for.
Seven Sages of Bamboo Forest in Southern Dynasties and Brick Painting rubbings in Rongqi Period
It is mentioned that there is a portrait axis painted by Luo Pin, one of the "Eight Eccentrics of Yangzhou" in Qing Dynasty, which shows that the dignified teacher is descending from the sky with an instrument. During the Eastern Han Dynasty, Zhang Ling, who lived in Sichuan, claimed to be appointed as the position by order and founded Wudou Mi Dao, which was the beginning of the establishment of China. In the future, the five buckets of rice praised it, and after the Yuan Dynasty, it mainly led Jiangnan. The division is considered to have unlimited rescue and rescue, and it is quite influential in Jiangnan area. In addition, there is a poem on the axis of the picture: "If it doesn't work, there are thousands of methods in this old sleeve. If you can send gold, everyone will ask me to draw. " It shows that there are many kinds of coexistence in the south of the Yangtze River, which shows that even if it is right, the south of the Yangtze River has always held a free and accessible attitude. What is more obvious is the regional characteristics. When China came to the south of the Yangtze River, it no longer emphasized "prosperity and peace", but paid attention to longevity. Under the influence, Nanzong was derived, and the techniques of then and breathing were prevalent, adding to the literati temperament. When foreigners come to Jiangnan, they dilute "sex" and are very "philosophical". Among the exhibits, there is a three-acid lens embroidered by Gu Xiu in Qing Dynasty, which embroidered the story of three high tastes. It tells that Jinshan Yin invited Huang Tingjian and Su Dongpo to taste the newly brewed peach vinegar, and all three frowned and shouted sour, so they were called "three acids". The three masters were extended to the cultural representatives of Confucianism, Buddhism and Taoism by later generations, reflecting the different feelings of the three cultures in tasting the taste of life.
Wen Ya and responsibility of the lens of the three-acid diagram of Gu Embroidery in Qing Dynasty
A silver slip of the Five Dynasties embodies the tenderness of the iron man, and its owner is Qian Liu, the king of wuyue who wrote "an all-consuming love, you can return home slowly"
Jiangnan is as beautiful as a paradise, but the beauty of Jiangnan is never in the "outside world".
Among the exhibits is a silver slip from the Five Dynasties period, which was exhibited for the first time, but it was not well received by the audience. In the history of China literature, it has been praised as "eternal fame", that is, "an all-consuming love can return slowly". The person who wrote this sentence is the owner of this silver letter-King Qian Liu of wuyue. According to legend, during the period of Wu Yue-guo, Qian Liu's wife left for home to visit relatives and didn't come back after several days' walk. Qian Liu felt sorry for him, but he missed him more and more, so he wrote a letter with a few words as above, meaning that the flowers on the road are blooming, so you should come back slowly. Affection is true, simple and subtle. More importantly, from the late Tang Dynasty to the Five Dynasties, Qian Liu calmed the war between Zhejiang and Zhejiang, maintained local peace, built seawalls, dredged lakes and lakes, developed agriculture, mulberry and shipping, and expanded trade, and became the overlord in the southeast. In 97, he was officially named king of wuyue. Qian Liu set the basic national policy of "Children and grandchildren should do good to China, and never change the country's major policies because of the changeable surname of the emperor in the Central Plains", which made Wu Yue Qian's family protect the environment and the people, pay tribute to the vassal, and do good to the Central Plains, and Wu Shan under his rule became more and more peaceful. Su Dongpo, a poet in the Northern Song Dynasty, once lamented when he was an official in Hangzhou: "wuyue is a thousand miles away, with a hundred thousand troops. Casting mountains and cooking the sea is like the wealth of rhinoceros, pearls and jade, and it is the best in the world ... As for the people who die of old age, they don't know how to fight. " Fan Zhongyan even called Qian Liu "a lucky star in wuyue". The tenderness of romantic Wen Ya and iron man is not enough to describe the king of wuyue.
Qian Liu silver slips
In addition, Jiangnan people also have a high ideological level of self-denial. After the middle of the Ming Dynasty, the study of mind and nature came quietly, advocating self-return and advocating individuality, represented by Wang Shouren, a native of Yuyao, Zhejiang. Because of Wang Shouren's nickname Yangming, his theory of mind is also called Yangming's theory of mind, which consists of three aspects: to be conscientious, to be close to the people, and to be integrated with knowledge and practice, emphasizing pioneering practice, which is still very enlightening today. Among the exhibits is a handwritten book by Wang Yangming showing his nephews, which can be seen as a model of writer's training. The article wrote: "I am only young and have no career. Without the help of teachers and friends, I have never achieved anything in my middle age. Our children should learn from my past, strive in time, and not regret it another day, as I do today. " A generation of psychology, like ordinary elders, is modest and sincere, and it is touching to inculcate.
Jiangnan people have a sense of loyalty that transcends regions and even national boundaries. In the cultural history of China, there is a kind of people who are called "adherents". When they changed dynasties, they either rebelled in anger, or became martyrs, or became monks and retired. It seems that Jiangnan, Wen Ya, is the area with the largest number of adherents' painters and the most active activities. Among the exhibits, there is a 15-volume Fang Yizhi, a scholar in the 13th year of Chongzhen (164). When the Ming and Qing Dynasties changed their flags, he wrote "Do not be a minister, rebel, surrender or disgrace" and became a monk in the 1th year of Shunzhi in Qing Dynasty (1653). Fang Family in Tongcheng, Anhui Province (Fang Kongzhao, Fang Weiyi, Fang Yizhi and Fang Qiyi) is one of the adherents of the late Ming Dynasty, and some people call it "the second most famous family in the world", second only to Qufu Confucius.
"From the point of view, adherents are a gesture; From the moral point of view, adherents are a kind of ethics; Philosophically, adherents are a kind of value belief; From a cultural and aesthetic point of view, adherents are an insurmountable classic with eternal aesthetic value. " The adherents' complex is not only loyalty to a dynasty, but also adherence to ideals and beliefs.
The tradition of Qing-gan-long jade flower pattern
and
As a representative of Shanghai style art, Liu Haisu painted green landscapes, which not only marked the innovation of traditional culture, but also blended Chinese and Western cultures.
On the coexistence of tradition and modernity, we have to mention Shanghai. In the late Ming Dynasty, an important figure-Xu Guangqi appeared in Shanghai. He praised western learning with the Elements of Geometry, advocated the agricultural ecological view in Agricultural Policy, advocated learning from others, and put forward that "if you want to excel, you must converge". The book of notes on agricultural policy in the exhibit is part of Xu Guangqi's notes for compiling Agricultural Policy. In 1843, 21 years after Xu Guangqi's death, it was of great significance for the whole of China to open a port for trade.
"Since the opening of the sea ban, there has never been a corner of Shanghai where trade has flourished, and people who make a living from inkstone fields have come here to live abroad and sell paintings." During the late Qing Dynasty, a large group of painters took Shanghai as the activity center to paint for a living, and their paintings were both artistic and commercial, and they were praised for elegance and vulgarity, so they were called "Shanghai School". After the 2th century, the name "Shanghai School" spread to the theater, and soon spread to literature, opera, music, art education and other fields, as well as fashion, lifestyle, manners and manners, so the concept of Shanghai School culture came into being and became the mainstream of Shanghai culture.
Cao Sugong Peony Tumo in the Qing Dynasty
"Shanghai was originally a part of the south of the Yangtze River. Although it was a mixed place in modern times, its population was more than 8% in the south of the Yangtze River." Among the exhibits, there is a set of peony paintings in Cao Sugong in the Qing Dynasty, and four pieces are combined to form a peony landscape map. On the two sides of the ink, there are letters: "Jiazi Year of Tongzhi (1864)" and "Cao Sugong Yaoqian System". Cao Sugong, a native of Huizhou, was born in the Wanli period of Ming Dynasty, the peak of Huimo, and was one of the "Mohists of Qing Dynasty". In the tenth year of Xianfeng (186), later generations moved Mozhuang to Shanghai, following the works of Cao Sugong and his sixth grandson Cao Yaoqian. In addition, one of the peony paintings has a style: "Written in the Year of Bon", "Engraved by the State Guest" and a seal of "Ren Hu" on the bottom, which means that this peony painting in ink is the product of cooperation between Hu Guobin, a master ink maker in the late Qing Dynasty, and Ren Bonian, one of the representatives of Shanghai painting. There is also an axis of Liu Haisu's painted green landscape, which was created in 1978 at the age of 83. Liu Haisu, a native of Changzhou, Jiangsu Province, studied western painting in his early years, and then went to Japan and Europe to inspect art. In his later years, he devoted himself to studying the splash-ink method of Chinese painting, learning from the style of post-impression. Take this picture as an example, the pen and ink are pungent, colorful, inspiring and very personal. As a result, the so-called "Shanghai School" was created by * * * from all over the world, which not only innovated traditional culture, but also blended Chinese and Western cultures. Shanghai-style culture inherits from Jiangnan culture, and gradually develops in compatibility and innovation, and finally combines Chinese and western culture and moves towards pluralism.
Liu Haisu's green landscape picture axis created in 1978
: Gu Xianzi, deputy research librarian of Shanghai Museum
Editor: Fan Xin
Pictures are provided by Shanghai Museum
The above is related to the year of Jiazi in Tongzhi, and it is about the sharing of ancient history of China. It's been three years since I read Tongzhi, and I hope this will help everyone!