Zhang Dai (1597-1679), also known as Weicheng, also named Zongzi, also named Shigong, also known as Tao'an, Tiansun, alias Die'an Jushi, and later Liuxiu Jushi, Han nationality, Shan A native of Yin (now Shaoxing, Zhejiang). Lives in Hangzhou. Born into a family of officials, he was a wealthy son when he was young. He was good at tea appreciation. After the death of the Ming Dynasty, he stopped serving as an official and ended up writing books in the mountains. Zhang Dai was a writer and historian in the late Ming and early Qing dynasties. He was best at prose. He wrote such peerless literary masterpieces as "The Collected Works of Lang Huan", "Memories of Tao'an Dreams", "Dreams in the West Lake", "Three Immortal Pictures" and "Night Sailing".
Zhang Dai Nationality: Chinese Ethnicity: Han Birthplace: Shaoxing, Zhejiang Date of Birth: 1597 Date of Death: 1679 Belief: Confucianism Main achievements: Prose Representative works: "Three Immortal Pictures", "Night Sailing" and "Dream of the West Lake" "Xun" etc.
Character profile
Essayist in the late Ming and early Qing dynasties. Emperor Gaozu Tianfu returned to Yunnan as deputy envoy, and served as Grand Servant of Gansu Province. Great-grandfather Zhang Yuanbian passed the imperial examination in the fifth year of Longqing's reign (1571). He served as an official at the Hanlin Academy and served as Zuo Yude of Zhan Shifu. His grandfather, Zhang Rulin, was a Jinshi in the 23rd year of Wanli (1595) and went to Guangxi to participate in the Council of Ministers. His father, Zhang Yaofang, was born in Fubang and was the right chief historian of the Lu vassal. Zhang Dai was born into a scholarly family with a rich family background. The ancestors were all well-educated Confucians, proficient in history, Confucian classics, Neo-Confucianism, literature, primary school and geography. He was praised by his uncle as "Today's river is flooded". Tianfu and Yuanbian's father and son once wrote and edited "Shaoxing Prefecture Chronicles", "Kuiji Chronicles" and "Shanyin Chronicles". "Three Chronicles came out together, and they are known as Tan Qian and his son." ("Family Biography") (The poems and essays of Zhang Dai are quoted below. Those who commented on the "Collected Poems of Zhang Dai" published by Shanghai Ancient Books Publishing House and edited by Xia Xianchun in 1991 only noted the title of the chapter.) Grandfather Ru Lin, "was fond of ancient studies when he was young, and was well-read." (ibid.) Even when he is old, he never puts down the volume. . He had accumulated thirty years of energy to write and compile "Yunshan", but later stopped writing because it was similar to "Yongle Dadian" ("Tao'an Meng Yiyunshan").
The third generation of the Zhang family collected books. Dai "has been collecting books for forty years, and there are no less than 30,000 volumes." ("Tao'an Mengyi III Collection of Books") In the third year of Shunzhi (1645), he escaped from the army and went into the mountains, carrying only Counting boxes of books while walking. The remaining ones were inhabited by soldiers of the Qing Dynasty, and the sun cracked to use the smoke from cooking stoves; books were also used as armor and shields to serve as arrows. All the accumulation of 40 years is gone.
Zhang Dai was born in a literary and artistic family. For generations, ancestors and grandsons were good at poetry and writing, and they had many writings. Tianfu has "Mingyutang Manuscript", Yuanbian has "Buerzhai Manuscript", Rulin has "Shijieyuan Collected Works", Yaofang is "good at singing poems, and his voice can produce gold and stone." ("Family Biography") Zhang's descendants from Rulin Start by accumulating your voice skills and pay attention to this. Yaofang "taught Xiaoqi and advocated drama." ("Family Biography") When it comes to Zhang Dai's generation, "the master appreciates it carefully, Yanshi teaches drama, and the children have thousands of fingers. When the Qi children come to his home, they say 'passing the sword gate', How dare you do it carelessly?" ("Tao An Meng Recalls the Sword Gate") He studied the piano with a teacher and learned more than 30 pieces of music, and his fingering skills were "refined and mastered" (ibid., "Shaoxing Qin School"). And "when we join the Silk Society, we will meet three times a month." (ibid. "Silk Society") Zhang Dai Zhongshu Lianfang, "can sketch from life, is said to be able to paint", and is "on par with Shen Zhou, Wen Zhengming, Dong Qichang, and Li Liufang" . He was also fond of antiques, rich in collections, and sophisticated in appreciation. "He left behind thousands of statues, statues, famous paintings, and Buddhist brocades." ("Additional Biography") Zhang Daier's eyes were wet, and his hands and eyes were not low, and he wrote various cultural relics and antiques. Ming, the evaluation of many porcelain kiln bronzes is indeed made by experts.
Zhang Dai lived in the late Ming Dynasty. After the middle of the Ming Dynasty, eunuchs were in power, sycophants were in power, spies were rampant, party struggles were fierce, and internal and external troubles intensified. Those who are capable, loyal and upright may be demoted or expelled or tortured. At the same time, a trend of thoughts against Neo-Confucianism and ethics emerged in the ideological world. The left wing of the Wang School, represented by Wang Gen and Li Zhi, openly flaunted the desire for profit and desire as human nature, opposed the pretentiousness of Neo-Confucianists, and advocated innocence and innocence of children, and acting with spontaneity. This is undoubtedly a rebellion against traditional ethics and a challenge to Cheng and Zhu's Neo-Confucianism of "preserving heaven's principles and destroying human desires".
Spurred by this trend of thought, literati, apart from being dissatisfied with society, pursued individual liberation: they indulged in lust, indulged in mountains and rivers, and pursued material and spiritual satisfaction to the greatest extent.
"Tao'an Mengmei·Twenty-Four Bridges Wind and Moon" writes about the second watch of the night, and those prostitutes who "are still waiting for late guests" "sometimes make coquettish sounds, sing "Breaking Jade" and other short lyrics, or joke with each other. Laughing, pretending to be lively, to mess up the time; but the hoarse voice gradually became sad, and I had to go away at night, quietly touching the old bustard, hungry, and beaten, all of which revealed the prosperity. The misery concealed, the bitterness concealed by a forced smile. In short, "This is a compilation of chants in dialect and alleys, laughing at trivial things. However, after a few touches, it becomes an excellent article. The reader feels like traveling through mountains and rivers, seeing customs, and looking at the beauty of palaces and ancestral temples. It is almost the same as "Caiwei" and "Maixiu" "Who can express his emotions with humor?" (Anonymous "Tao An Meng Yi Preface") This can be said about most of Zhang Dai's sketches. For example, in "The Epitaph of Yao's eldest son", he set up a monument for Yao's eldest son, the servant who planned to annihilate one hundred and thirty Japanese pirates at the cost of his own sacrifice, and rescued the people of the whole township from disaster, praising his merits: " One person can survive tens of millions of people. How can he not think about his achievements? Where is the hero? The patriotism contained in it is obvious. In the "Preface to a Song for Shen", he praised his friend Shen Suxian for being "steadfast in his integrity and persevering in his talk. He could not sharpen his sword or axe, and could not seize anything that the three armies could not take away." After the National Revolution, he was lonely on the first floor, unable to walk on the ground. His loyalty and anger are not diminished by Wenshan, and he will not suffer the misfortune of Chaishi. "He believes that "loyal ministers and righteous men are often seen when the country is destroyed and the family is destroyed. It will be extinguished in a flash." The fire is extinguished." ("Small Preface to Yue Jue's Poems"), so he selected "Yue Jue's Poems" and "Yu Yue San Immortal Pictures" to write a preface in praise of them. In order to ensure that "loyalty and righteousness will not die in the hearts of the people", he compiled "The Biography of Ancient and Modern Yi", "from the historical records to the barnyard officials, and from the hands of the banknotes" ("Preface to the "Biographies of Ancient and Modern Yi"), "In the past ten years, I have searched for hundreds of martyrs. , It seems to be a self-deletion and a statement of its own." (Qi Biaojia's "Preface to the Biography of Yi Lie") It can be said that it is well-intentioned.
"Dream Seeking the West Lake" is Zhang Dai's landscape garden sketch. Wang Yuqian's "A Preface to Dreams of the West Lake" said: Zhang Tao'an has been occupying the West Lake for more than 40 years, and it can be found everywhere at the top of Shuiwei Mountain. There are indeed allusions in the lake that people who have lived in the West Lake for a long time cannot recognize, but Tao An knows them uniquely and in detail; there are indeed people in the lake who have lived in the West Lake and cannot understand them, but Tao An knows them uniquely. Nowadays, the mountains and rivers are reforming, and the tombs and valleys are changing. It is no wonder that they are frightened and frightened, but they are looking for it in dreams.
Before him, Tian Rucheng had written "West Lake Tour Records" and "Continued Records". Zhang Dai's "Meng Xun" is mostly adopted from "Tian Zhi". "Zhang compiled it after the war in Hangzhou to record old travels. The five gates of North Road, West Road, South Road, Middle Road, and Outer Scenery are used to record the victories. Each scene is preceded by a small preface, and a collection of ancient and modern poems are listed below. The style is also attached to Liu Tong's "Scenery of the Imperial Capital", and his poems are also based on Gong'an and Jingling. "This passage in "Sikuquanshu General Catalog" does not point out that Zhang Dai's "Mengxun" was adopted and copied from "Tian Zhi" in terms of style and content. It is not difficult to see by comparing the two books. Of course, there are many differences between "Mengxun" and "Tianzhi". Zhang Dai said that his grandfather had a villa in the West Lake, and he himself also studied at Li's Guangshan House. During his twenty-eight years away from West Lake, he dreamed of West Lake every day. Later, he arrived at West Lake in Jiawu (1654) and Dingyou (1657). After the war, in the West Lake, “only rubble remained in the lakeside area.” “All the weak willow trees, singing houses, and dancing pavilions of the past were like floods, and not a single one remained.” The author believes that “the rest came for the West Lake. What I see now is not as safe as the West Lake in my dream." So I wrote seventy-two chapters of "Dream Search" to leave the shadow of the West Lake in future generations." ("Dream of the West Lake") "Xun Xun") "Dream Xun" is about the author "dreaming every day" in the West Lake and "never saying goodbye for a day". In this haunting nostalgia for the past, he expresses the pain of his family and country: Li Wenshu's "Luoyang" "Records of Famous Gardens" states that the rise and fall of famous gardens can be used to predict the rise and fall of Luoyang; the rise and fall of Luoyang can be used to predict the rise and fall of the world. Sincere words. In the Jiawu Year, I happened to get involved here. When the Forbidden City leaves the millet, there are thorns and bronze camels, feeling sad. How many times a mulberry man goes to the Zhe River, and will return crying at night.
"("Tao An Meng Yi·Xianhua Pavilion") In "Tao An Meng Yi·Fan Changbai", he believes that "the place must be a monument, and the name must be an ancient person. This is the master's knowledge. But the peach tree is in the stream, the plum tree is in the island, and the bamboo tree is in the forest. You can call it your own home without having to rely on others. "One pavilion, one pavilion, one hill and one valley. The layout and naming should not only reflect the owner's elegance and knowledge, but also reflect his artistic personality and interest. This is exactly the aesthetic taste pursued by Zhang Dai's landscape sketches, and also his taste. Standards for poetry essays.
Zhang Dai uses ice and snow as a metaphor for his poems and advocates vitality and vitality. He said: "Gai Wen's ice and snow are in the bones and in the spirit. "If a man writes poems, his muscles, joints, veins, limbs and bones are not bathed and irrigated with the air of ice and snow, and his poems will not be good." "("Preface to a Volume of Bingxue Essays") "I play the harp and ruan, play cuju and play the flute, sing and act, draw and write, compose and write poems, and hundreds of other things, all of which are brought to life by this. Those who gain this vitality will become pure and empty; those who lose this vitality will eventually become filthy. " ("With He Zixiang") When he commented on poetry and prose, he also advocated the ethereal. He believed that the air of ice and snow "can be used endlessly, and it cannot be deeper than poetry." There are only these numbers in the poems and texts. When written by an expert, they appear ethereal; when they fall into the hands of ordinary people, they become rotten. "("Preface to a Volume of Ice and Snow Essays") "Therefore, poetry must be ethereal to become a wonderful poem. "However, the emptiness he admires is not "those who are stubborn and stubborn", but the foundation that must "use solidity as emptiness": "Those who are solid in the world are the ancestors of emptiness." Therefore, if the wood is strong, the flame will shine through; if the iron is strong, the sound will be loud. "("Bi Ke Shangren Rice Painting") Therefore, he also praised reality and closeness: "Eating dragon meat means that the taste is not as good as eating pork, which is true; the appearance of ghosts and gods means that it is not as good as the appearance of dogs and horses, which is close. "("Preface to Zhang Zi's Talk about Bells") This kind of aesthetic pursuit is reflected in his creative practice, which makes his sketches "have an ethereal and crystalline atmosphere. Looking for his pen and ink, there is nothing. "(Qi Zhijia's "Preface to a Dream of the West Lake") This is a realm that is both secular and elegant, both real and ethereal.
Zhang Dai believes that the creation of poetry, calligraphy and painting cannot be intentional or artistic. Deliberately do it and force it to be good: “If you use a painting with poetic lines as a painting, the painting will not be good; if you use a poem with picturesque meaning as poetry, the poem will not be good. "Looking at it from this point of view, the painting with poetry is quite solid, but the valley in the chest is not as good as the ingenuity and training of hands." "("With Bao Yanjie") "Those who intend to be good in the world may not be good; and the wonderful calligraphy and paintings in ancient times were all written without intention and acquired suddenly. For example, Wang Youjun's "Lanting Ji" and Yan Lugong's "Zheng Si Tie" are both drafts. Although they were imitated many times, they could not reach the original version. "("Five Posts of Ba Zhen'an") but it should be "When the melon is ripe, it will happen naturally. "("Portraits of Die'an") In his discussion of selected poems, he criticized his younger brother Zhang Yiru's "Selected Poems of the Ming Dynasty" for "having no definite knowledge in mind, no fixed opinions in eyes, and no definite opinions in mouth." " He advocated "leaving aside Zhong Tan and pushing away Wang Li" ("Yi Rudi"), which comes from his own hands and eyes and has its own characteristics. His creations can develop their own style on the basis of extensive learning from teachers and learning from the strengths of others. He believes: "The ancients recorded mountain sailors, Li Daoyuan as the supreme leader, Liu Zhihou as the second best, and Yuan Zhonglang as the more recent one. "("Two Notes on Postscript to Yushan") He was able to take advantage of all the other masters, so his landscape sketches, "Written with chemical engineering, and the travels he recorded, are as profound as Li Daoyuan's and as spicy as Liu Tongren's. , with the beauty of Yuan Zhonglang and the humor of Wang Jizhong. "(Qi Zhijia's "Preface to Dreams of the West Lake") Of course, as mentioned above, Zhang Dai's landscape sketches and Liu Zongyuan's grievances are things that Qi has never written.