In the Song Dynasty, the humanistic image also stood out. Qin, chess, calligraphy, painting, pen and ink, paper, inkstone, epigraphy, seal cutting, calligraphy, painting and other carriers of human mind frequently appear, replacing the natural images that are still popular in the Tang Dynasty and occupying an overwhelming advantage. Su Shi once wrote eight scenic spots in Fengxiang, which are composed of stone carvings, paintings, tombs, sculptures and buildings. , are the objects of humanity; In Huang Tingjian's poems, books 120 times, calligraphy 53 times and tea 82 times also account for a large proportion. Among the Tang people, Du Fu wrote the most poems, only 20, while Su and Huang wrote more than 200.
The natural image has always been the foundation of literature, and it can be inclined to human nature under the Song people. Lin Bu's "Room at the End of Wanggu Mountain Temple" says: "The gloomy painting axis of Lin Temple is scattered in the field." Liu Chang's "Two Rains Climbing to the City": "Shallow mountains and high trees, a Jiangnan ink painting." The natural landscape was transformed into seal script, screen painting, axe painting, chessboard and other cultural relics after being filtered by the soul of the Song people. In Song's works, natural images are abstracted and summarized, and become humanistic symbols bearing personality spirit. Writing peach blossoms in the Tang Dynasty is a concrete image of a one-time experience. For example, "Last year today, in this door, peach blossoms set each other off in red" (Cui Hu's "Capital South Village"), the location, characters and peach blossom images are all true; When people in Song Dynasty wrote peach blossoms, they were more abstract. For example, Huang Tingjian's "Send Yellow Several Times": "A glass of wine in the spring breeze of peaches and plums, Yi Deng in Jianghu for ten years." The spring breeze of peaches and plums and the rainy night in the rivers and lakes are the precipitation of many life experiences, not a temporary situation.
Of course, the most full is the excavation of the spiritual connotation of plum, lotus, chrysanthemum and bamboo. In the Tang Dynasty, people paid attention to the external sensory experience, such as "Wait until the mountain holiday, I will come back when I am in the chrysanthemum" (Meng Haoran's Passing the Old People's Village), "Spring tide brought rain late and hurried, and no one crossed the boat in the wild" (Wei's Xixi in Chuzhou), even though Wang Wei and other landscape masters famously said "The tits are surprised when the moon rises" ("Birds sing in the spring stream"). Song people paid attention to its inner spiritual implication and incorporated humanistic spirit such as self-cultivation into it. Meizhu is the description object of Song poetry, Song ci and Song painting, and almost becomes the collective symbol of the spiritual character of Song people. Lin Bu loves plum blossom, which has actually become a symbol of noble personality in his works. His "Two Plums" said: "All fragrant flowers shake off their beauty and occupy the small garden. Yongmei not only described the external morphological characteristics, but also wrote the internal spirit. Since then, Lin Bu's plum blossom has become a symbol of the noble character of the literati in the Song Dynasty. In addition to plum blossoms, Song people also like bamboo, while Tang people chant bamboo, focusing on interest, such as "shocking the wind and bamboo, opening the door full of snow" (Wang Wei's "Winter Night's Record of Hu Jushi's Home"); Su Shi's "Lu Yunxuan, a monk in command" says: "You can eat without meat, and you can't live without bamboo. No meat makes people thin, no bamboo makes people vulgar. People are thin and fat, but laymen are hopeless. "Taking bamboo as the foundation of humanistic feelings, taking whether to love bamboo as the boundary of elegance and vulgarity, and making a warning incisive exposition, it can be seen that the worship of things in Song Dynasty is different from that in Tang Dynasty.