Another aspect of Tang people’s life that had an impact on the development of literature was the custom of studying in the mountains and forests. Some scholars in the Tang Dynasty lived in seclusion in the mountains and forests, or stayed in temples and Taoist temples to study before becoming officials. Chen Ziang once studied at Yujing Temple in Jinhua Mountain; before Li Bai left Kuimen, he studied in seclusion in Dakuang Mountain; Cen Shen lived in seclusion in Songyang for fifteen years; Liu Changqing once studied in Songshan; among those who studied in Songshan were Meng Jiao and Cui Shu , Zhang Wei, Zhang Xi, etc.; when Yan Zhenqing was not an official, he often studied and lectured in Fushan; Li Duan, Du Mu, Wen Tingyun, Du Xunhe, and Li Zhong all studied in Lushan; Yan Fang, Xue Ju, and Xu Ji studied in Zhongnan Mountain; Xu Shang studied in Zhongnan Mountain Zhongtiao Mountain; Fu Zai and several others studied at Qingcheng Mountain; Li Shen studied at Huishan Temple in Wuxi; and so on. In the Tang Dynasty, scholars from poor families were able to apply for the scholarship. One of the ways for them to study was through temples and Taoist temples. In the Tang Dynasty, temples had a developed economy and could provide free meals and accommodation to poor scholars. It also has a rich collection of books, providing convenience for scholars to study. In the study mountain, I not only read classics and history, but also wrote poems and poems. The quiet environment of mountains and forests will have an impact on the cultivation of scholars' taste and the direction of their aesthetic taste. Studying in the mountains and forests often occurs in youth, and this influence often follows them throughout their lives and is reflected in their poems. The quiet and elegant style in Tang poetry is related to this.
The relegated life of literati in the Tang Dynasty, especially after the mid-Tang Dynasty, also enriched Tang literature, making Tang literature more colorful in terms of life aspects and emotional and artistic conceptions. Literati were relegated to form various songs and chants, which continued in every dynasty since Qu Yuan; but before the Tang Dynasty, there had never been so many and such good relegated works by Tang people. Li Bai was demoted to Yelang on the way, Wang Changling was demoted to Long Biao, and Liu Changqing was demoted twice, all of which have very good poems. The relegation's grief and resentment, loneliness, sadness, persistence in life and pursuit of ideals constitute the rich and diverse connotation of relegation literature. Such rich and diverse connotations are particularly clearly reflected in the relegated works of Yuanhe poets. Han Yu, Liu Zongyuan, Liu Yuxi, Yuan Zhen, and Bai Juyi all have excellent works in this field.
Roaming, studying in the mountains and forests, entering the imperial court and being relegated to life enriched the connotation of Tang literature from different levels and constituted the colorful emotional and ideological styles of Tang literature.
The fusion of Confucianism, Buddhism and Taoism in the Tang Dynasty, the influence of Buddhism on literature, the influence of Taoism and Taoism on literature
In the nearly three hundred years of the Tang Dynasty, thought adopted a compatible attitude. Confucianism is the mainstay, and hundreds of schools of thought are taken from it. The "Five Classics of Justice" revised in the early Tang Dynasty already contained the intention of unifying the interpretation power of Confucianism. From the perspective of the foundation of a country, Confucianism is the foundation. In the field of thought, Confucianism, Buddhism, and Taoism coexist. The royal family of the Tang Dynasty regarded Laozi as its ancestor, and Zhuangzi, Liezi and Wenzi were all named Zhenren. "Laozi", "Zhuangzi", "Liezi" and "Wenzi" were listed as classics. During the Kaiyuan period, the Taoist examination was established, and the four sons were included in the examination subjects. Taizong supported Xuanzang's translation of the Sutra. Xuanzong personally annotated the "Book of Filial Piety", the "Tao Te Ching" and the "Diamond Sutra" and promulgated them throughout the world. This is a clear evidence of the integration of the three schools of thought. All three families were involved in political disputes, and their political status fluctuated from time to time, but their ideological status was always equal. The integration of Confucianism, Buddhism, and Taoism can be said to be the basic feature of Tang Dynasty thought.
In terms of political power operations (such as legal basis, social structure and social ethics, etc.), and in terms of talent selection and use, Confucianism dominates. Scholars entered the officialdom, served the emperors Yao and Shun, made achievements, and upheld the enterprising spirit of Confucianism. In terms of life beliefs, social trends, life interests and lifestyles, Buddhism and Taoism are always mixed in. These influences greatly affected the development of Tang literature.
Buddhism developed greatly in the Tang Dynasty. Tiantai, Three Treatises, Faxiang, Huayan, Zen and other sects have reached a very mature stage in the sinicization of Buddhism. This is especially true of Zen. It has been deeply integrated into Chinese culture. The influence of Buddhism on Tang literature was mainly reflected in the works by affecting the life ideals and life interests of scholars. Many writers in the Tang Dynasty, such as Wang Ji, Shen Quanqi, Song Zhiwen, Zhang Shuo, Meng Haoran, Wang Wei, Cen Shen, Chang Jian, Li Qi, Du Fu, Li Bai, Wei Yingwu, Yuan Zhen, Bai Juyi, Liu Yuxi, Li He, Xu Hun The works of , Pi Rixiu, Lu Guimeng, Luo Yin, Wu Rong, Huang Tao, Han Xie, Du Xunhe and others all have the imprint of Buddhist influence. Some directly talk about Buddhist principles in their poems, such as "Understand the rationale and know that there is no self, observe the emptiness and be disgusted with the tangible" (Meng Haoran's "Accompanying Yao Shijun and Ti Hui in the Master's Room"). "At the beginning, I felt that there was no place to live in the floating life, and my heart and earth suddenly felt like wandering around." (Li Qi's "Wearing the Brahma in Su Yinggong's Zen Room"). "Everything that has arisen has ceased, and nothing remains the same" (Bai Juyi's "Guanhuan"). Some express a kind of Zen interest and a little bit of Zen inspiration, such as "The king asks the poor to understand the truth, and the fisherman's song goes deep into the pond" (Wang Wei's "Reward Zhang Shaofu"). "Walking to a water-poor place, sit and watch the clouds rise" (Wang Wei's "Zhongnan Bieye"). Zen Buddhism talks about the nature of the body, which is the cessation of speech and the cessation of mental actions. It uses specific objects to express the indescribable bit of Zen. This is a deeper impact and a more important impact. It brings a new quality to Tang poetry. The realm of emptiness and silence, the interest of clarity and peace, and the indifferent yet profound implications of Tang poetry come from here. This is the positive influence of Buddhism on Tang literature.
The more direct influence of Buddhism on Tang literature was the emergence of a large number of poetic monks in the Tang Dynasty. The Qing Dynasty compiled "Complete Poems of the Tang Dynasty", which included 113 monk poetry authors and 2,783 poems. The poems written by these monks include Buddhist doctrinal poems, poems admonishing good deeds, and verses, but most of them are general poems, such as traveling, interacting with scholars, giving gifts, etc. The more important monk poems include Wang Fanzhi's poems and Hanshan's poems. There are currently 390 Wang Fanzhi poems in existence, which seem to have been written by more than one person. Those that write about secular life mostly focus on the poverty and misfortune of the lower class; those that express Buddhist thoughts generally encourage people to do good. The language is popular and seems to have been widely circulated among the people at that time. Hanshan's poems include descriptions of secular life, seeking immortality and learning Taoism, and Buddhist content. Among them, the poems expressing the Zen interest have a wide and far-reaching influence. In addition to monks' poems, the scholars' extensive contacts with Buddhism and their extensive interactions with monks were also largely reflected in the poems. There are 2,273 such poems in "The Complete Poems of the Tang Dynasty". Together, they account for 10.3% of the total number of "The Complete Poems of the Tang Dynasty". That is to say, one out of ten Tang poems is related to Buddhism.
The widespread influence of Buddhism in the Tang Dynasty. Directly expanded the genre of literature. Common sayings and bianwen were the new literary styles that emerged at this time. The main feature of this style of writing is that it is easy to speak and sing, the content is Buddhist scriptures, and the form is the same as the folk speech at that time, with the nature of popular literature.
Taoism and Taoism also exerted extensive influence on Tang literature. For the literati of the Tang Dynasty, Taoist thought mainly caused them to return to nature and develop an affinity for nature. People in the Tang Dynasty wrote many poems with the theme of "Xiaoyaoyou", but they all used Dapeng as an image to express majestic spirit and great ambition. They have left Zhuangzi's fundamental spirit of forgetting the two things and self and making all things one and the same. They seek action from inaction and move from inaction to progress. Taoism had a greater influence on the life beliefs of the Tang people. This is mainly reflected in the influence of the idea of ??gods. Writers in the Tang Dynasty such as Wang Bo, Lu Zhaolin, Chen Ziang, Song Zhiwen, Zhang Jiuling, Li Qi, Wang Changling, Cen Shen, Bai Juyi, Li Shangyin and others all believed in gods. There are many descriptions of the fairy world in Tang poetry. Li Bai’s fairy tales of Mount Tai, Tianmu Mountain, and Lotus Mountain, Li He’s colorful fairy world, and Li Shangyin’s images of the saint, Chang’e, and Dragon Palace are all influenced by Taoism. obvious example. Even Bai Juyi, who is famous for his realism, imagined a fairy world at the end of "Song of Everlasting Sorrow". The thought of gods also greatly enriched the imagination of Tang legends, making the plots more romantic.
Among the writers of the Tang Dynasty, few were solely influenced by Confucianism, Taoism or Buddhism. Most of them have the thoughts of Confucianism, Buddhism and Taoism, but it’s just a matter of how many elements there are, whether they are implicit or explicit.
The influence of Confucianism brought an enterprising spirit to Tang literature, the influence of Buddhism enriched the expression of mood in Tang poetry, and the influence of Taoism enriched the imagination of Tang poetry. They all played a positive role in the development of Tang literature.
The prosperity of Tang Dynasty literature, the development trajectory of Tang poetry, the stylistic innovation of Tang Dynasty prose, the emergence and prosperity of new styles, the position of Tang literature in the history of Chinese literature
The Tang Dynasty was such a dynasty. : It was once the most glorious period in the history of our country. More than a hundred years of pioneering development, strong national power, economic prosperity, inclusiveness of ideas, and the integration of Chinese and foreign cultures have created an environment that is extremely beneficial to cultural development; the prosperous age The enterprising spirit, broad mind, and magnanimity of the scholars created greatly enriched the creativity of literature, brought a high-spirited spiritual outlook to literature, and created the atmosphere of the prosperous Tang Dynasty that has been repeatedly praised by future generations. At the same time, it also experienced an unprecedented war disaster such as the Anshi Rebellion, and began a life of killing, destruction, displacement, and disasters in front of the scholars. There have been great booms and great disruptions, and then there have been attempts at recovery but never enough. Such a rich life is not available in every dynasty. The diverse and colorful life has prepared rich soil for the development of literature, provided writers with extremely rich themes, expanded their horizons, given them passion, and made them have to sing.
But this is only the objective condition for the prosperity of Tang literature. From the perspective of literary development itself, the prosperity of Tang literature is the inevitable result of the development of literature in the Wei, Jin, Southern and Northern Dynasties. Chinese literature developed into the Wei, Jin, Southern and Northern Dynasties, and its artistic characteristics were fully understood, and it has developed rapidly on the road to becoming an independent subject. This is mainly reflected in its gradual separation from academics, downplaying its utilitarian purpose of political and educational purposes, and consciously pursuing aesthetics. From the content, the emphasis is on the expression of personal feelings, whether it is expressing philosophy or lyricism, all for the purpose of expressing personal feelings. When developed to the extreme, it may even move from lyricism to entertainment. Since the formal language, the pursuit of the beauty of diction and rhythm, the innovation of expression techniques, and the understanding of the creative process, including the perception and grasp of imagination, inspiration, words, and form and spirit, have all made amazing progress. Parallel prose pushes the beauty of prose to the extreme, while also exposing its weaknesses. The rhythmic form of poetry has taken shape, and a new poetry style that will influence our country for more than a thousand years is about to emerge. The expansion of performance fields and the enrichment of performance techniques have promoted the change and expansion of article genres (genres). The writing purposes and writing standards of the original multiple genres are changing; new genres are constantly emerging. Liu Xie's "Wen Xin Diao Long" alone discusses 81 types of literary styles. Although it contains a large number of applied styles and does not belong to the scope of literature, the diversity of literary genres is an indisputable fact. All these show that the literature of the Wei, Jin, Southern and Northern Dynasties has made all preparations for the development of Chinese literature to a new stage. It was on this basis that the Tang people ushered in a glorious era of poetry, absorbed the achievements of parallel prose, abandoned its weaknesses, and carried out stylistic reforms. From the perspective of literary development itself, without the literature of the Wei, Jin, Southern and Northern Dynasties, there would be no prosperity of Tang literature.
The prosperity of Tang literature is reflected in the comprehensive development of poetry, essays, novels and Ci. Poetry developed earliest and occupied the most important position in Tang literature. When poetry developed to its peak, prose began its stylistic reform. In terms of the scale and impact of the reform of styles and styles, no previous period can compare with it. Novels also began to flourish. And when prose, novels, and poems have reached a low ebb one after another, another form of poetry, the word, has entered the literary world again and is shining brightly. After the Tang Dynasty, it was almost impossible to find a period of literary silence.
The prosperity of Tang literature is also reflected in the large number of authors and the emergence of great masters. "Complete Tang Literature" includes 3,035 authors, and "Complete Tang Poems" includes more than 2,200 authors. According to incomplete statistics, there are still 223 types of Tang novels available today. The number of outstanding poets who appeared in the Tang Dynasty is unprecedented in the history of Chinese poetry.
The highest achievement of Tang Dynasty literature was poetry, which can be said to be the symbol of a generation of literature. There are different stages in the development of Tang poetry. The first 90 years or so were the preparation stage for the prosperity of Tang poetry.
In terms of the field of expression, it gradually moved from palaces and pavilions to Guanshan and Saimo, and the authors also expanded from palace officials to ordinary people; in terms of emotion and style, the freshness and vigor of Northern Dynasty literature merged with the freshness and brightness of Southern Dynasty literature, moving toward both A state of character and cheerfulness; as far as the form of poetry is concerned, on the basis of Yongming style, the Tang Dynasty people did two things, one is to dualize the four tones, and the other is to solve the problem of sticky rhythm, from the rhythmic sentences The rhyme couplets constitute the rhyme chapters, breaking away from the shackles of the Yongming poets' various theories of illness and guilt, and creating a new style of poetry that has both program constraints and broad space for creation - rhyme poetry. By around the fifteenth year of Kaiyuan, sufficient conditions had been prepared for the prosperity of Tang poetry, whether in terms of emotional style, artistic conception, or rhythmic form. What followed was the overall prosperity of Tang poetry during the Kaiyuan and Tianbao periods. During this period, landscape and pastoral poets Wang Wei and Meng Haoran appeared, who expressed the quiet, bright and beautiful beauty of landscape and pastoral areas in a fascinating way. The frontier fortress poets Gao Shi and Cen Shen appeared, and they wrote about frontier fortress life in a magnificent and generous way. There are also a large number of famous artists such as Wang Jingling, Li Qi, Cui Hao and Wang Zhihuan. Of course, the most important thing is the great poet Li Bai. With his peerless talent and bold and elegant temperament, he writes poems that are flowing and unpredictable, and his emotions are rolling and beautiful, like clear water and hibiscus. Later generations have many comments on the Tang poems of this period. In summary, they are high-spirited, exquisite, no work visible, no traces to be found, but profound implications and endless charm.
Just as Tang poetry reached its peak, Tang Dynasty society also moved from its peak of prosperity to turmoil and decline. In the late Tianbao period, social conflicts intensified, and some poets began to write about people's sufferings. In the winter of the fourteenth year of Tianbao (755), Anlu Mountain rebelled against Fan Yang, which was known as the Anshi Rebellion in history. This eight-year war swept through the northern half of China, destroying the social prosperity accumulated over more than a hundred years. The Anshi Rebellion became a watershed in the Tang Dynasty's society from prosperity to decline. This great social change also caused changes in literature. In the poems, the exquisite and graceful state of the Kaiyuan and Tianbao prosperous periods has gradually faded, and the idealistic color and romantic sentiment have also gradually faded. The greatest poet representing this period is the poet Du Fu. He faced the war and chaos that lasted for eight years, and expressed the human disasters and blood and tears of the people in the war with earth-moving songs. Integrating strong and deep lyricism into narrative techniques, and using narrative techniques to write about current events, both the subject matter and the writing method are different from the poetry of the Tang Dynasty. This can be said to be a change in the development of Tang poetry. After that, Dali poets came out, and they were troubled by the decline of society. In their poems, there were feelings of loneliness, the setting sun and autumn wind, and the sudden decline of spirit and bones. By the time of Zhenyuan and Yuanhe, scholars were eager for a revival. At the same time as the political reform, a trend of innovation also appeared in the poetry world. Poetry creation reached another climax. Han Yu, Meng Jiao, Li He and others, influenced by Du Fu's extraordinary rise, prose culture, and calligraphy, became more eccentric, bizarre, and even regarded ugliness as beauty, forming the Han and Meng schools of poetry. Bai Juyi and Yuan Zhen, as well as Zhang Ji and Wang Jian, absorbed nutrients from Yuefu folk songs and wrote poems in a popular and easy-to-understand manner, forming the Yuan and Bai poetry schools. These poets of the Mid-Tang Dynasty, at a level as high as that of the prosperous Tang Dynasty, but in a situation where their prosperity was extremely difficult to continue, with their innovative spirit and innovative courage, they opened up a new world of poetry. After Changqing, ZTE became a dream, and the life of scholars became mediocre, their mentality was introverted, and their emotions became delicate. Poetry creation has entered a new stage. The subject matter is so narrow and the writing style is so painful. In this ebb of poetry, Du Mu and Li Shangyin stood out and shone brightly. Li Shangyin, in particular, with his sensitive soul, delicate and rich emotions, used symbols, hints, and non-logical structures to express hazy emotions and hazy realms, pushing the ability of poetry to express the deep world of the soul to an unparalleled peak, and created The final glory of Tang poetry.
The prosperity of literature in the Tang Dynasty was due to the achievements of prose in addition to poetry. The development and changes of Tang poetry, except that Yuan Zhen and Bai Juyi once proposed satire and utilitarian poetry, the general trend is towards the exploration, development and perfection of poetry's own artistic substance. The different styles in different periods are caused by social life, but the differences in expression methods and techniques, as well as the pursuit of different artistic interests, are more due to the poetry itself.
It originally came from the folk, with folk songs and dances, drinking orders and lyrics, and was used in daily banquets and kalou opera halls. After the mid-Tang Dynasty, with the development of urban economy, Ci also flourished rapidly, and literati joined the ranks of Ci writers. In the late Tang and Five Dynasties, Ci became highly prosperous in Western Shu and Southern Tang. The poet of "Flower Room" in Western Shu is charming and charming, and his vision is not separated from the love between men and women, and his purpose is nothing more than entertainment and entertainment. The poets of the Southern Tang Dynasty expanded the realm of poetry and turned to the expression of lingering inner feelings.
Tang's