(1) The oldest existing stone arch bridge in the world, the Zhaozhou Bridge in Lichun, Sui Dynasty, is 700 years older than the West (2) The invention of woodblock printing in the Sui and Tang Dynasties - the earliest existing woodblock printing "Diamond Sutra" in the world ( 3) Tang Monk and his party were the first to measure the meridian in the world (the first in the world) (4) The government-run medical school during the Zhenguan period of the Tang Dynasty was 200 years earlier than in the West (5) The government compiled the pharmacopoeia "Tang Materia Medica" (the first in the world) during the reign of Emperor Gaozong of the Tang Dynasty More than 800 years in Europe (6) Sun Simiao of the Tang Dynasty compiled "Qianjin Prescription" and was honored as the King of Medicine. During the Sui and Tang Dynasties, people of all ethnic groups jointly created brilliant scientific and technological achievements based on the culture of the previous generation. It was not only the peak of Chinese feudal culture, It was also the peak of world culture at that time and made outstanding contributions to the development of human civilization. This is the pride of the Chinese nation and worthy of our pride. The Sui and Tang Dynasties adopted a relatively open policy towards the outside world, and economic and cultural exchanges between China and foreign countries were frequent. Tang poetry has made the greatest achievements in literature. Among them, Chen Ziang in the early Tang Dynasty, Li Bai and Du Fu in the prosperous Tang Dynasty, Bai Juyi and Yuan Zhen in the middle Tang Dynasty, and Li Shangyin and Du Mu in the late Tang Dynasty are outstanding representatives. The ancient prose movement initiated by Han Yu and Liu Zongyuan had a great influence on later generations. Yan Zhenqing's calligraphy, paintings by Yan Liben, Wu Daozi, Li Sixun, and Wang Wei, music and dance such as "The Dance of Colorful Feathers", and numerous grotto arts have all been passed down to later generations. In terms of science and technology, two of China's four great inventions, printing and gunpowder, both appeared during this period. The following is a detailed description. From AD 581 to 960, these 380 years were the Sui, Tang and Five Dynasties periods when China's feudal system continued to develop and reached prosperity, which was the second heyday of China's feudal society. The grand social structure, openness and magnificent scenes of the Sui and Tang Dynasties were unmatched by previous dynasties. In the world at that time, China was at the forefront of development and was the most civilized, advanced, prosperous, and powerful country. First, the social system is advanced. The period from the 5th century AD to the 11th century AD was the early Middle Ages in the world, roughly equivalent to the Sui, Tang, and Five Dynasties periods in China's Northern and Southern Dynasties. At this time, Western Europe, North Africa, Central Asia, and East Asia had just entered feudal society and were one stage behind China in social development. In the East, such as Japan, it was under the influence of China's feudal culture that they began to undergo major reforms in the mid-7th century and gradually established a feudal system. When various parts of the world entered feudal society, in China during the Sui and Tang Dynasties, the feudal system had developed for more than 1,000 years. Various political, economic, and cultural systems were already complete, which greatly affected the feudalization process of the world, especially the surrounding countries in East Asia. . Secondly, the level of production development is high. The clothing industry, the main economic production sector of feudal society, developed greatly during the Sui and Tang Dynasties. Agricultural production tools such as hoes, shovels, sickles, and plows have all been greatly improved. Water conservancy facilities were restored and new excavations were made, becoming more extensive and complete. A complete set of agricultural production experience accumulated over a long period of time, including plowing, sowing, fertilizing, and irrigation, has been promoted, improved seeds are widely used, and cash crops have been developed. Agricultural production in the Sui, Tang and Five Dynasties reached a new level. A large number of farmlands were cultivated, and the grain yield per unit area was twice that of the Han Dynasty. One seed could harvest 20 to 40 grains, and the most could reach a hundred grains. However, the most advanced Frankish Kingdom in Europe had only a grain yield per unit area. and China’s 1/10 to 1/20. In handicrafts and commerce, countries in Europe, Asia and North Africa are even more difficult to compare to China. Third, long-term unification. Since the reunification of the Sui Dynasty in the ninth year of Kaihuang (589), China during the Sui and Tang Dynasties was the only major country in the world that remained unified for a long time. Separatism lasted only a short time. China was the strongest and largest country in the world at that time. Other regions in the world, such as Western Europe, Byzantium, India, etc., are all in a state of long-term feudal separatism. However, the large empires established by backward ethnic groups are extremely unstable and are rising and falling. For example, the great food empire established by the Arabs had been divided into east and west parts by the middle of the 8th century. In the 9th century, the Arab Empire centered on Gedda also fell apart. Only in China, the idea of ??reunification is deeply rooted in the hearts of the people, and the situation of reunification is basically stable. The territory of the Tang Dynasty surpassed that of the Qin and Han Dynasties, and its unification and centralization provided favorable conditions for the development of China's economy and culture, and also deepened the influence of Chinese culture on the development of world history. Fourth, culture is prosperous and developed.
His poems are light, good at describing scenes, and mostly reflect his life in seclusion. There is "Meng Haoran Collection". Wang Wei Wang Wei (?—761) was a poet and painter in the Tang Dynasty. The word Mojie. Official to Shangshu Youcheng. Wang Weicun has nearly 400 poems. It is famous for its beautiful landscapes and pastoral poetry. Su Shi praised Wang Wei's poems and paintings in "Dongpo Zhilin": "When you taste Mojie's poems, there are paintings in the poems, and when you look at Mojie's paintings, there are poems in the paintings." Wang Wei's "Snowy Creek Picture" is preserved in the National Palace Museum in Taipei. Gao Shi Gao Shi (706-765), a poet of the Tang Dynasty. His courtesy name was Dafu, a native of Bohai (now part of Hebei Province). Less poor and frustrated. He later served as Jiedushi, was familiar with military life, and was famous for his frontier fortress poems. He is as famous as Cen Shen and is also called "Gao Cen". His poetic style is also similar and his momentum is heroic. Cen Shen Cen Shen (about 715-770) was a poet in the Tang Dynasty. In his middle age, he went to the border twice, full of ambitions to serve the country, and wanted to carve out a future in the army. Although he failed, the subject matter of his poems was unprecedentedly broad and his style changed drastically. Magnificent colors and tragic and heroic style have become the basic tones of his frontier poems. His frontier fortress poems not only describe his military life, but also the changing scenery of nature. "Baixue Ge Sends Judge Wu Back to the Capital" is the most representative song. The whole poem is as follows: "The north wind blows the ground and the grass is broken, and the sky is full of snow in August. Suddenly, like a spring breeze coming overnight, thousands of pear blossoms bloom. They scatter into the bead curtains and wet the curtains, the fox fur is not warm, the brocade quilt is thin, the general The horns and bows are uncontrollable, and the guard's iron coat is still covered with ice. The gloomy clouds are gathering for thousands of miles. The Chinese army is setting out to drink wine, and the fiddles, pipa, and flutes are falling from the camp gates in the dusk, and the red flags are frozen in the wind. I'll see you off at the east gate. When you go there, the mountain road is covered with snow. You can't see me on the winding mountain road. There is only a place for horses to walk on the snow." Grotto Art Grotto temples originally refer to temples and monks' houses carved in the mountains, which are worshiped by religious believers. Sacred temple. With the widespread spread of religion, the cave temple has gradually become a carrier for the spread of religious culture and developed into a complex integrating architecture, sculpture, murals, decoration and other arts. Our country's cave temples occupy a particularly important position in the history of world Buddhist culture. It presents a clear and complete context of the development of Buddhist art since the 16th Kingdom with its rich and diverse content and form and exquisite expressive skills. Buddhism and Buddhist art in ancient India followed the ancient Silk Road, crossed the Pamir Plateau, entered the Yumen Pass along the southern foot of the Tianshan Mountains, and reached Dunhuang. Subsequently, Buddhism had a broad and profound impact on the Chinese people and Chinese culture, and the grand occasion of worshiping Buddhism was most concentratedly reflected in the sprung-up grotto art. Grotto art mainly includes painted sculptures, sculptures, murals, decorations, etc. The Mogao Grottoes in Dunhuang are known as the "Treasure House of Art" due to the large number of grotto art treasures. Its rich relics of the Tang Dynasty also show people a chronicle of the grotto art of the Tang Dynasty. The Sui Dynasty Buddhist statues in Dunhuang reflect the characteristics of the transition from Northern Dynasty sculpture to the Tang Dynasty, while the Tang Dynasty Buddhist sculptures have the characteristics of the Han nation, with gentle, kind, solemn and plump statues. Dunhuang murals have strict composition, rich colors and vivid images, reflecting the prosperity, strength and vitality of the Tang Empire. Zhan Ziqian and "Spring Outing" The Sui Dynasty painter Zhan Ziqian lived in the Northern Qi and Northern Zhou Dynasties. In the Sui Dynasty, he served as the official of Chaosan and the governor of the tent. He is good at painting people, horses, landscapes, and pavilions. It is said that he painted figures in a meticulous manner. When he painted horses, the standing ones seemed to be walking, while the lying ones were jumping up. When he painted mountains and rivers far and near, they had the spirit of being close at hand and thousands of miles away. He once painted Buddhist murals in temples in Luoyang, Chang'an, Jiangdu and other places. The representative work "Spring Outing" depicts the scene of aristocratic spring outing. It is the oldest scroll landscape painting in existence (some people believe that it is not the original but a copy by later generations). This painting has six words written by Emperor Huizong of the Song Dynasty, "Picture of Zhan Zi Qian's Spring Tour". It movingly depicts tourists enjoying themselves in the mountains and rivers under the bright spring light. The lake is sparkling and the mountains are green. There are tourists riding horses on the mountains, women riding boats in the water, and a bridge in front of the waterfall. Although the characters are as small as dots, their movements can be pointed out one by one. This painting expresses the painter's love for the mountains and rivers of the motherland and the bright spring scenery. What is particularly noteworthy is that the proportion of people and mountains in the painting is appropriate, and the relationship between distance and distance is appropriately handled (landscape paintings in the Jin and Southern and Northern Dynasties often "people are larger than mountains", and the expression techniques are immature). This shows that the landscape painting of the Sui Dynasty has developed to a new stage. "The Picture of Xiao Yi and the Orchid Pavilion" "The Picture of Xiao Yi and the Picture of the Orchid Pavilion" was painted by Yan Liben, a painter of the Tang Dynasty. Xiao Yi was the censor of Xitai during the reign of Emperor Taizong of the Tang Dynasty.
"He used traditional techniques to express his personality and made innovations in calligraphy. He is a calligrapher worthy of his era. His broad, fresh, indulgent and bold features far exceed the works of calligraphers of the previous generation, and have a strong sense of the prosperous Tang Dynasty. Weather. Huai Su Huai Su (725-785), whose surname was Qian, was from Changsha. He inherited and developed Zhang Xu's cursive calligraphy and was famous for his "crazy cursive" writing. He was diligent in practicing calligraphy, and when he became bald, he planted banana leaves extensively and used banana leaves to practice calligraphy. He was fond of drinking and moved his pen in circles like a sudden rain or whirlwind. Although there are many changes, the rules are all in place. He was another cursive calligrapher after Zhang Xu in the Tang Dynasty. ", "Kusun Tie", "Qianzi Wen", etc. Jiubue Yue, Shibu Yue Jiubu Yue and Shibu Yue are all banquet music in the Sui and Tang Dynasties. They were originally different from the elegant music used in temple ceremonies in the Zhou Dynasty. Generally refers to music from the folk. During the Sui and Tang Dynasties, banquet music absorbed some foreign music elements and formed nine-part music and ten-part music on the basis of the development of folk music of the Han and various ethnic minorities. It was used for court celebrations and court entertainment. , banquet service. The nine music groups formulated at the beginning of the Sui Dynasty were Guo Ji, Qing Shang Ji, Gao Li Ji, Tianzhu Ji, An Guo Ji, Qiuci Ji, and Wenkang Ji. By the time of Yang Guang, the national music was changed to Xiliang Ji, and Qing Yue was ranked first, and Kangguo Yue and Shule Yue were added, and the Nine Bu Yue in the early Tang Dynasty changed. After Emperor Taizong of the Tang Dynasty unified Gaochang, "Gaochang Yue" was added to form ten. Music. This kind of palace music and dance performances can be divided into sitting and standing performances based on their scale. They are generally reserved for the palace, such as "The Music of the King of Qin", which is used to praise the achievements of the ruler. It also shows the power of the country. "The Music of the King of Qin Breaking the Formation" is the "Dance of the King of Qin Breaking the Formation", also known as the "Seven Virtues Dance". It is one of the most famous court music and dances in the Tang Dynasty. It is a tribute to Li Shimin, Emperor Taizong of the Tang Dynasty. When Li Shimin was the king of Qin, he conquered all directions, and it had already spread among the army. After he became emperor, Lu Cai coordinated the music, Wei Zheng and others composed the lyrics of "Broken Formation Dance Picture" in 633, and ordered Lu Cai to teach according to the picture. There are 120 musicians dancing in armor and holding halberds. The dance team puts on various formations, "exerting vigorous dance and generous sound" ("Old Book of Tang·Music Chronicle"), and the accompanying music "sounds for hundreds of miles and shakes the valley." It not only has a strong atmosphere of battle formation, but also has a kind of intimidation, which makes the audience "awe-inspiring". It promotes the emperor's martial arts, which is both a praise and a demonstration. It is worthy of being a successful one in martial arts. Composed by "The Dance of Colorful Dresses and Feathers", it is a famous palace music and dance in the Tang Dynasty. It is said that it was first presented by the Jiedushi of Xiliang. Later, it was renamed "The Song of Colorful Dresses and Feathers" after it was refined and composed by the Emperor Xuanzong of the Tang Dynasty. It describes the myth of Emperor Xuanzong of the Tang Dynasty who went to the Moon Palace to see fairies. Therefore, the dance, music, and costumes all focus on depicting the illusory fairyland and the image of fairies. Bai Juyi wrote a poem about this in "Dances and Songs in Colorful Feathers". The structure and dance postures of the song are described in detail: the whole song is divided into three parts: prelude, middle overture and break. The break is an instrumental performance with no dancing or singing; the middle prelude starts with beats, singing and dancing; the break is the climax of the whole song. , the complex tones are sharp and the tone is sonorous. At the end, it turns slow, dancing instead of singing. Bai Juyi praised the beauty of this dance and said: "Thousands of songs and dances are countless, but the neon dress dance is my favorite." "Neon Shang Yu Yi" has been circulated for hundreds of years and is a work with great influence in the history of ancient Chinese music and dance.