Kerou Zhu's "Lotus Pond Without Duck" in Southern Song Dynasty
In China people's minds, "Jiangnan" is the bridge of willow painting, apricot blossom and spring rain, green pool of spring rain and Diaoyutai in spring, which symbolizes a long history, beauty, exquisiteness and richness. However, is "Jiangnan" just a synonym for poetry? As an important display of cultural heritage, the answer lies in cultural relics.
The "Spring Breeze Thousands of Miles-Jiangnan Culture and Art Exhibition" being held in Shanghai Museum focuses on culture with art. 197 pieces (groups) of cultural relics present a vivid and multifaceted Jiangnan: wenxiu is full of wisdom and courage, pursuing freedom without being standardized, elegant and full of responsibility and integrity, and tradition is full and inclusive. From the Jiangnan stories told by cultural relics, people can see rich cultural levels.
Ming Dynasty Tangerine Rhinoceros Horn Carved Lotus Leaf Mantis Cup
Zhiyong and Wen Xiu
Brother Guang, the bronze king of Wu, left a microcosm of wuyue's hegemony during the Spring and Autumn Period and the Warring States Period; The private "Bibliography of Neem Pavilion" shows the prevailing book style and reading atmosphere in Jiangnan in Qing Dynasty.
In the pre-Qin period, the soil in the south of the Yangtze River was low and wet, and her husband died young, making it uninhabitable. However, archaeological discoveries prove that agriculture, fishery and animal husbandry in the south of the Yangtze River have developed as early as prehistoric times, and they also have a certain aesthetic level and artistic creativity. Taking Hemudu culture in Ningshao Plain on the south bank of Hangzhou Bay as an example, its discovery is considered as one of the most important archaeological discoveries in China in the 20th century. One of the bones in the exhibit, that is, the bone of Hemudu culture period, is about 7000 years ago. It is the only rattan wooden handle found in domestic archaeology so far, and it is a well-preserved bone. It is a microcosm of the prehistoric agricultural development in the south of the Yangtze River, and it is also a wise example of the ancestors in the south of the Yangtze River transforming nature.
During the Spring and Autumn Period and the Warring States Period, wuyue dominated one after another, and Jiangnan gradually rose. At present, the academic circles generally believe that Jiangnan culture mainly originates from Wu Yue culture, and the narrow sense of Wu Yue culture refers to the culture created by wuyue during the Spring and Autumn Period and the Warring States Period. The story of wuyue's hegemony is well-known in China, while Wu Yueshi is good at casting bronzes, mainly swords, spears, swords and other weapons. Among the exhibits is an inscription cast by Wu Ge, Yuan He and Hu Bu in the late Spring and Autumn Period, which reads: "Wang (see Figure 1) used Ge himself (as a work)". "Wang Zhiguang" is the "light of children" in Historical Records, that is, Fu Cha's father, He Lv, the king of Wu. Generally speaking, in the cultural history of China, until the early Six Dynasties, typical Jiangnan folk customs remained.
In 3 17 AD, Jin moved south, and Wang Xizhi, whose ancestral home was Langya (now Linyi, Shandong), moved south to the Yangtze River (now Shaoxing, Zhejiang). The autumn moon post page of Chunhua Pavilion in the exhibit is a reply written by Wang Xizhi to a friend when he lived in Shaoxing. Under the injection of "gentry spirit" and "literati temperament", Jiangnan turned gracefully. Take calligraphy as an example. Today, the world is still famous for the calligraphy of "one family" (Wang, Xie, Yu), among which Wang's calligraphy, represented by Wang Xizhi and Yu, 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.
Wang Xizhi's autumn moon post
Since then, Jiangnan has become better, and a new atmosphere has emerged in literature and history. In the Song Dynasty, books were printed in Hangzhou. In the Ming Dynasty, there were four places: "Yanshi (now), Jinling (now), Huhe (now Suzhou) and Lin 'an (now Hangzhou). "Among the exhibits, there is a banknote-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 book reading in Jiangnan in the Qing Dynasty. Cao Yin was born in the capital and grew up in Jiangnan. The neem pavilion is his private library. Because there are so many books, he wrote a bibliography of Neem Pavilion. 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 20 years. He also has an important identity, 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, Jiangnan operas, operas, operas and other popular literary works were exhibited, and literature and art had penetrated into all walks of life.
Bird jade in Liangzhu culture
Norms and freedom
The gold ornaments of the Southern Song Dynasty unearthed in Santianmen, Huzhou, can be used as an example of giving gifts. Seven sages of bamboo forest and brick paintings in Rongqi period were found in the tombs of the Southern Dynasties, showing the demeanor of Wei and Jin Dynasties.
The ancients said that "being polite should be practical and realistic", and today people say that "being a man should have a sense of etiquette", so Jiangnan is naturally content with etiquette and willing to be polite.
China's traditional etiquette was summarized as "Five Rites" in the Tang Dynasty, including five categories: auspicious, military, fierce, guest and meticulous. Among them, the auspicious ceremony is the first of the five ceremonies, which mainly refers to the ceremony of husband and wife, places and figures, and the ceremony is closest to people's livelihood, including diet, wedding crowns and celebrations. There is an intaglio picture of a god bird on the jade wall of Liangzhu culture in the exhibit, which is very precious. "Zhou Li" has a record of "Cang Bi Li Tian". Jade jade can be used in ancient times, such as burial, Rui and so on. , popular in Qing dynasty. The picture of the god bird may show the historical picture that the upper class in the south worshipped the clan totem god and hoped to communicate about 5000 years ago during the Liangzhu culture period. There is also a set of gold ornaments unearthed from the tombs of aristocrats in the Southern Song Dynasty in Santianmen, Zhejiang. Wu's Dream in the Song Dynasty records that when people get married in the Southern Song Dynasty, wealthy families will prepare "gold cymbals, gold pendants and gold pendants" as dowry, commonly known as "three golds". There are also three kinds of gold ornaments unearthed in Santianmen, Huzhou, which can be regarded as an example of Li Jia.
Jin Xia Pei Pendant Unearthed from the Noble Tomb of Southern Song Dynasty in Santianmen, Zhejiang Province
In addition to 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 ascend to the throne. After Sima's founding, the "Eight Kings Rebellion" broke out within the royal family for 16 years. In this context, the scholar-officials retired to the mountains and were fascinated by Zhuangzi's learning represented by the Seven Sages of Bamboo Forest. Seven sages often gather in the bamboo forest to drink and sing, and discuss philosophies such as life and the universe, which is also called "speaking clearly". Although the Seven Sages mainly lived in Shanyang County (now northwest of Huixian County, Henan Province) in the early Western Jin Dynasty, the demeanor of celebrities also influenced Jiangnan after the southern crossing of the Jin Dynasty. There are many archaeological discoveries of brick paintings in the tombs of Southern Dynasties in Jiangsu Province, among which 1960 Xishan Qiaogongshan Tomb is the most exquisite one, and it is also the original of brick paintings in the seven sages of bamboo forest and Rongqi period. 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 free and easy and lofty was what Jiangnan people yearned for.
Brick Paintings of Seven Sages of Bamboo Forest and Rongqi Period in Southern Dynasties
As mentioned above, one of the exhibits is a portrait axis of a teacher painted by Luo Pin, one of the Eight Eccentrics in Yangzhou in Qing Dynasty, which shows a dignified teacher falling from the sky with a utensil in his hand. During the Eastern Han Dynasty, Zhang Ling, who lived in Sichuan, claimed to be appointed to this post and founded Wudou Midao, which was the beginning of the founding of China. After the Yuan Dynasty, he mainly led Jiangnan. The division is considered to have unlimited rescue power and is quite influential in Jiangnan area. In addition, there is a poem on the axis: "If not, there are thousands of ways in this old sleeve. If you can send gold, everyone will look for me to paint. " It shows that there are many kinds of coexistence in Jiangnan, and that even if it is right, Jiangnan has always held a free and accessible attitude. More obvious is the regional characteristics. When China came to the south of the Yangtze River, he no longer emphasized "prosperity and peace", but paid attention to longevity. Under the influence, Nanzong was derived. At that time, techniques such as breathing prevailed, adding to the literati temperament. Outsiders come to Jiangnan, diluting "sex" and being "philosophical". Among the exhibits is a three-acid mirror embroidered by Gu Xiuxiu in Qing Dynasty, which embroidered the story of three highs. It is said that Jinshan Silver invited Huang Tingjian and Su Dongpo to taste the newly brewed peach vinegar, and all three frowned and cried sour, so they were called "three acids". The three masters were extended by later generations as cultural representatives of Confucianism, Buddhism and Taoism, which reflected the different feelings of the three cultures in tasting the taste of life.
Gu Xiu's Three Acids in Qing Dynasty
Wen Ya and Responsibility
A silver note of the Five Dynasties embodies the tenderness of an iron man. Its owner is Qian Liu, the king of wuyue. He wrote "A exhausted love can be returned slowly".
Jiangnan is as beautiful as a "paradise", but the beauty of Jiangnan has never been a "paradise".
Among the exhibits, there is a silver slip from the Five Dynasties, which was exhibited for the first time, but the audience did not respond well. In the history of China literature, it was once known as "eternal fame", that is, "a exhausted love can slowly return". The person who wrote this sentence is the owner of this silver letter-Qian Liu, King of Wu Yue. According to legend, during the period, Qian Liu's wife left home to visit relatives and never came back after several days. Qian Liu felt very sorry for him, but she missed him more and more, so she wrote a letter with a few words on it, meaning that the flowers on the road are blooming, so you should come back slowly. Affection is real, simple and subtle. More importantly, from the late Tang Dynasty to the Five Dynasties, Qian Liu pacified the Zhejiang-Jiangxi War, maintained local peace, built seawalls, dredged lakes and marshes, developed agriculture, forestry and mulberry shipping, and expanded trade, thus becoming the overlord in the southeast. In 907, he was officially named King Wu Yue. Qian Liu set the basic national policy of "children and grandchildren serve the country with virtue, and will not change the country's major policies because the emperor of the Central Plains changed his surname", which enabled Wu Yue's Qian family to protect the environment and people, pay tribute to governors and do good deeds 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: "Wu Yue is thousands of miles away, with a hundred thousand troops. Casting mountains and cooking the sea is like the wealth of rhinoceros, pearls and jade, ranking first in the world ... As for those who die of old age, I don't know how to fight. " Fan Zhongyan even called Qian Liu "wuyue Fuxing". Romantic elegance and Iron Man's gentleness are not enough to describe King Wu Yue.
Qian Liu yin Jian
In addition, the ideological level of Jiangnan people is also very high. After the middle of Ming Dynasty, the study of mind and nature came quietly, advocating self-return and individuality, represented by Wang Shouren, a native of Yuyao, Zhejiang. Because Wang Shouren was nicknamed Yangming, his mind is also called Yangming's mind, which is composed of three aspects: being conscientious, being close to the people, integrating knowledge with practice, and emphasizing pioneering practice, which is still very enlightening today. Among the exhibits is a handwritten book by Wang Yangming, which shows his nephews and can be regarded as a model of writer training. The article wrote: "I am only young and have no career. Without the help of teachers and friends, I never achieved anything in middle age. Our children should learn from my past and struggle in time. Don't regret it another day like I did today. " A generation of psychology, like ordinary elders, is modest and sincere, inculcating and touching.
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 called "adherents". They changed dynasties, either rebelled angrily, became martyrs or became monks and recluses. It seems that Wenya Jiangnan is the area with the most painters and the most active activities of adherents. Among the exhibits is a 15 volume of "Fang Yizhi the Scholar in the 13th Year of Chongzhen (1640)". When he changed his name in the Ming and Qing Dynasties, he wrote "Don't be a minister, don't rebel, don't disgrace" and became a monk in the tenth year of Shunzhi in the Qing Dynasty (1653). The Fangs in Tongcheng, Anhui Province (Fang Kongzhao, Fang, Fang Yizhi) are one of the adherents of the late Ming Dynasty, and some people call them "the second most famous family in the world", second only to Qufu Confucius House.
"From this perspective, adherents are a gesture; From the moral point of view, adherents are an ethics; Philosophically, believers are a kind of value belief; From the point of view of culture and aesthetics, adherents is an insurmountable classic with eternal aesthetic value. " The adherents' complex is not only loyalty to a dynasty, but also adherence to ideals and beliefs.
Ganqinglong Sanguo Yuwen Cultural Construction
Traditional harmony
As a representative of Shanghai style art, Liu Haisu's paintings of green mountains and green waters are an innovation of traditional culture and a blend of Chinese and western cultures.
When it comes to the coexistence of tradition and modernity, and the combination of classicism 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 be the best, you must converge." The Notes on Agricultural Policy in the exhibit is a part of Xu Guangqi's Notes on Agricultural Policy Compilation. Two10 years after Xu Guangqi's death, in 1843, Shanghai opened for trade, which was of great significance to the whole of China.
"Since the opening of the sea ban, trade has flourished, and there is no corner in Shanghai, and those who make a living in Yantian are also here, living overseas and selling paintings." In the late Qing Dynasty, a large group of painters took Shanghai as the activity center and made a living by painting. Their paintings were both artistic and commercial, and both refined and popular, so they were called "Shanghai School". After the 20th 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 etiquette, so the concept of Shanghai School culture came into being and became the mainstream of Shanghai School culture.
Mudan Tumo in Cao Sugong in Qing Dynasty
"Shanghai was originally a part of Jiangnan. Although modern Shanghai is a place where five parties live together, more than 80% of the population is in the south of the Yangtze River. " Among the exhibits, there is a set of peony paintings in Cao Sugong in Qing Dynasty, four of which are combined into a landscape picture of peony. The words "Jiazi Year of Tongzhi (1864)" and "Made in Yao Qian, Cao Sugong" were engraved on both sides of the ink. Cao Sugong, a native of Huizhou, was born in the Wanli period of Ming Dynasty, when Huimo flourished, and was one of the "Mohists of Qing Dynasty". In the tenth year of Xianfeng (1860), later generations moved Mozhuang to Shanghai after their sixth grandson Cao. In addition, one of the peony paintings has the style of "Ben Ji" and "Guo Bin Engraving", with the seal of "Ren Hu" at the bottom, which means that this peony ink painting is the product of cooperation between Hu, a master of ink painting in the late Qing Dynasty, and Ren Bonian, one of the representatives of Shanghai School. There is also a picture of green mountains and rivers written by Liu Haisu at the age of 83 at 1978. 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 and learned from the post-impression style. Take this picture as an example. The pen and ink are pungent, colorful, inspiring and full of personality. As a result, the so-called "Shanghai School" was created by * * * from all over the world, which not only innovated traditional culture, but also integrated Chinese and Western cultures. Shanghai-style culture inherits Jiangnan culture, develops gradually through compatibility and innovation, and finally merges Chinese and western cultures and moves towards pluralism.
Liu Haisu created the green landscape axis in 1978.
Gu Xianzi, Deputy Research Librarian, Technical Research Department, Shanghai Museum
Editor: Fan Xin
All pictures are provided by Shanghai Museum.
The above is related to the year of Tongzhi Jiazi, which is about sharing the ancient history of China. I have been studying Tongzhi for three years. I hope this will help everyone!