Introduction: According to literary history textbooks, the connotation of Jian'an style is "generosity", and patriotism is their sentiment. At the same time, there are a group of pastoral poets who like to be reclusive. Do these people really exist?
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The Seven Sons of Jian'an.
Jian'an style, as one of the important categories of Chinese classical poetry, not only refers to the vigorous, deep, generous and tragic literary style of the Han and Wei dynasties, but has also been the way critics from the Southern Dynasties to the Song and Ming Dynasties evaluated literature. Main criteria. For thousands of years, this living and authentic cultural seed has gone through changes, from narrow to broad, from morality to aesthetics, profoundly affecting the ethnic identity and life imagination of the Chinese people, and becoming an indispensable part of understanding our cultural characteristics. The symbol reflects the complex relationship between the transition of the times and poetic concepts.
From the late Han Dynasty to the Wei, Jin, Southern and Northern Dynasties, it was a long painful period in Chinese history. The turbulence and division of society, the disintegration and collapse of political power, as well as the decline of Confucianism and the rise of Xuanfeng, all together constitute the main reasons for the fission of scholars' personality and spiritual transcendence. The standards for talent selection are quietly changing. Morality is no longer the only criterion, but talent or the beauty of body, soul, and spirit that accompany talent are being valued. This is obviously the background of the times when character comes to the fore.
There are many records about this in Liu Yiqing's "Shi Shuo Xin Yu" and Shen Yue's "Song Shu". Feng refers to grace, charm and wind spirit, and is used to appreciate the posture and temperament of a character; bone refers to bone appearance, which is used to appreciate the physique and image of a character. Once this perspective and standard were formed, it quickly affected the aesthetic consciousness of the Wei and Jin Dynasties, and had a profound impact on the appreciation and creation of painting, calligraphy and literature. For example, reciting Lao Ji Fufou, aiming for a thousand miles. In the twilight years of the martyrdom, Cao Cao, who was still ambitious ("Leaving the Xiamen and Traveling Part 2"), expected that his name would be remembered in history and he would be listed in the imperial court. Although he was in Shu, he was still alive in Wu Que ("Qiu"). Cao Zhi of "Self-Examination Table"), as well as his contemporaries such as the Seven Sons of Jian'an and the female poet Cai Yan, this so-called Cao Wei Group, which is full of talents, is the most outstanding representative among them.
Cao Cao, Cao Pi and Cao Zhi in artistic images.
The first person to theoretically summarize the Jian'an style and refine its aesthetic spirit is Liu Xie, a literary theorist from the Qi and Liang Dynasties in the Southern Dynasty. As we all know, the basic stance of "Wen Xin Diao Long" is to examine the origin and creation of literature from the perspective of the ancient Confucian school of literature. Starting from this, Liu Xie first expanded the concept of character bones from the metaphysical function of characters and objects to the literary criticism scale of Ming Dao Zongjing.
Secondly, he inherited the concept of Qi as the mainstay of literature proposed by Cao Pi ("Essays on Classical Theory"). On the one hand, he emphasized the key role of the writer's life experience in creation, and on the other hand, he clearly Highlight the inherent relationship between literature and the times: looking at the literature of the time, it is elegant and generous, good things are accumulated due to the chaos of the world, the decline of social customs and resentment, and the ambition is deep and the writing is long, so it is concise and full of energy. ("The Preface to "The Literary Mind and the Carving of Dragons") Here, he combines the theory of poetry and ambition since the pre-Qin Dynasty and the theory of Lu Jiyuan's love, combining a deep sense of the times with spiritual care. He not only pays attention to the works of ancient and simple writers, but also attaches great importance to them. It does not belittle the innovations in diction and rhythm during the Wei and Jin Dynasties. Its pattern and magnanimity provide a theoretical footnote for the era of literary self-consciousness.
On this basis, Liu Xie summarized the aesthetic characteristics of Jian'an literature with generosity and willfulness, uprightness and talent, highlighted the tragic consciousness of life in the great pulse of the times, and then pushed forward the Chinese character of Jian'an A critical model of poetic aesthetics.
"Picture of Luo Shen Fu" is a masterpiece painted by the Eastern Jin Dynasty painter Gu Kaizhi based on the literary meaning of Cao Zhi's "Luo Shen Fu". "Luo Shen Fu" is a famous romantic poem written by Cao Zhi during the Three Kingdoms period. Its original name was "Gan Zhen Fu".
This perspective of thinking was continued in Zhong Rong’s poetry theory, which was written at the same time as Liu Xie. It is generally believed that although Zhong Rong's "Shi Pin" does not explicitly mention religious scriptures, it still has obvious traces of Confucianism and a consistent devotion to the elegant system. For example, the Qi animals emphasized in the "Preface to Poems" are touching things, so they shake the temperament and form various dance chants. They are refinements of Xunzi's "Lectures on Music" and the Han Dynasty's "Legends of Music" and "Preface to Mao's Poems" . It can be seen that Xunzi, Wang Chong and others' theory of universe composition based on Qi as the material gene actually became the theoretical cornerstone of Shipin. As for the specific discussion of Jian'an literature, it is mainly reflected in the aesthetic tendency of advocating elegance and integrity, emphasizing "wind" and suppressing "sao".
Especially the praise for Cao Zhi in it reaches an unparalleled level: Wow! Chen Sizhi’s article also said that human relations have Zhou Kong, scales and feathers have dragons and phoenixes, music has harps and shengs, and female workers have There is black hair. Bi'er is a person who holds lead and sucks ink. He holds the chapter in his arms and admires it, reflecting the afterglow and lighting himself up. Therefore, if poems are used on the door of the Confucius family, official duties will be promoted to the hall, and King Si will enter the palace. Jingyang, Pan, and Lu can naturally sit among the verandas. ("Poetry No. 1") This kind of ancient-oriented evaluation style closely responds to the call and desire of this era for a style that combines elegance and resentment without anger. It is similar to Liu Xezhen's heroic views, and also This further established the important position of Jian'an style in the history of classical poetry.
Tang Wang Li Shimin came to the throne after pacifying the great social unrest in the late Sui Dynasty, and gradually established a unified, stable and powerful new dynasty. There is no doubt that the prosperity of the empire had a decisive influence on the creation and criticism of poetry. The vigorous, majestic and eloquent poetic style has become the poet's conscious pursuit. We can see this in Wang Bo's "Preface to Thinking of Friends in the Mountain Pavilion": Open up the Han Garden, clean up the literary field, obtain the correct rules of the palace merchants, and be inspired by the outstanding spirit of the mountains and rivers. . Although Lu Pingyuan and Cao Zijian were strong enough to carry a chariot, Xie Lingyun and Pan Anren were strong enough to walk with their knees and elbows. (Volume 4 of "Wang Zi'an Collection")
Correspondingly, in the history of the evolution of Jian'an style, the two iconic figures in the Tang Dynasty are Chen Ziang in the early Tang Dynasty and Yin Fan in the prosperous Tang Dynasty. Chen Zi'ang was the first to raise the banner of the Han and Wei Dynasties and loudly shouted: The article has been evil for five hundred years. The character of the Han and Wei dynasties is not passed down from the Jin and Song dynasties. The poems written between Qi and Liang Dynasties are rich in color and complexity, and their popularity is outstanding. ("Preface to the Chapter of Xiu Bamboo with Dongfang Zuo Shi Qiu") connects Xing Ji with character and integrity, expresses the character and uplifts the character, the tone is full and downbeat, the light is heroic and refined, and the aesthetics of the sound of gold and stone reaches the state of smiling at the Jian'an author. Mr. Luo Zongqiang believes that this makes the theory of character he advocates not only inherit the generous and desolate style of Jian'an poetry, but also be full of powerful, high-spirited, majestic and majestic spirit ("Literary History of Sui, Tang and Five Dynasties" p. 84).
Yin Fan's "Collection of Heroes of Heyue".
Yin Fan's "Collection of Heroes in Heyue" theoretically summarizes the pursuit and creative practice of poets in the prosperous Tang Dynasty such as Li Bai, Gao Shi, Cen Shen, etc. When discussing palace business, Taikang fails to take into account aesthetic propositions such as the coming of spirit, the coming of emotion, and the coming of Qi. It can be said to be an echo of Chen Ziang's theoretical banner. Some scholars pointed out that the poets of the prosperous Tang Dynasty creatively transformed the tradition here, replacing the Jian'an style with the style of the prosperous Tang Dynasty or the atmosphere of the prosperous Tang Dynasty, which revitalized the theory of Liu Xie's style and style, but also changed its connotation (Meng Dengying's " "Liu Xie's theory of character and its evolution", "Journal of Southeast Shanxi Normal University", March 15, 2000). In the author's opinion, this change not only manifests itself as a shift from writing and diction to imagery and realm, but also manifests itself as a shift from morality to aesthetics, reflecting the profound impact of changes in the current situation on poetic style.
However, it is worth noting that if the construction of character bones before the Tang Dynasty was mainly about interpretation and invention, then after the Song Dynasty, its functional value became more prominent. In other words, when the so-called prosperous Tang Dynasty faded away with the decline of the Tang Empire, critics' call for the Jian'an style actually had a clear tendency to correct the current shortcomings and recall the ghosts of the past. For example, Yan Yu's flag of retrospection was directly aimed at the literary world dominated by the Jiangxi School of Poetry; while the seven scholars emphasized that literature must be from the Qin and Han Dynasties, and poetry must be from the prosperous Tang Dynasty, and what they wanted to cure was also the government and the public where Taige style and eight-legged prose were prevalent. Examination hall. More importantly, in Yan Yu’s view, one must have a good start in learning to compose poetry, and one must have high aspirations; take Han, Wei, and the prosperous Tang Dynasty as teachers; do not be a person below Kaiyuan and Tianbao; discuss poetry as if discussing Zen; Han, Wei, and Jin Compared with the poetry of the prosperous Tang Dynasty, it is the first meaning ("Canglang Poetry Talk"). It can be seen that through the conscious act of retrospection, the connotation of Jian'an style is no longer just a poetic style or style worthy of imitation, but has become the carrier of a strong and profound national spirit, which has been cherished by literati for thousands of years.
In this sense, it is necessary to review Mr. Lu Xun’s words: According to my opinion, even among people in the past, there were no so-called pastoral poets or mountain poets whose poetry was completely transcendent of politics. of. There is nothing that is completely beyond the human world. Since it is beyond the world, of course it does not even have poetry. Poems are also human affairs. Since there are poems, we can know that we have not forgotten our feelings in worldly affairs. ("The relationship between style and articles in the Wei and Jin Dynasties, medicine and wine") The evolution history of Jian'an style, on the one hand, accurately illustrates the internal relationship between the changes in the current situation and the literary pattern and style, on the other hand, it also reminds us that we should Look at the ancient proposition of the relationship between literature and politics more objectively.
Participation in and understanding of politics deepened the poet's understanding of life; the warmth and romance of literature gave politics a different kind of sentiment. When Jian'an literature came out of Jian'an, when Jian'an style was no longer just a symbol of a certain era, but became the entire nation's imagination of the magnificent and noble life, we have a deeper insight into the profound meaning of the changes in literature that infect the world's sentiments. In the tension, an aesthetic spirit is worthy of eternal hope and expectation.