The rational spirit of Pre-Qin
1. Complementarity of Confucianism and Taoism
1. The so-called "Pre-Qin" generally refers to the Spring and Autumn Period and the Warring States Period. ...It inherits the past and connects the future. On the one hand, it gets rid of the various conceptual traditions of primitive witchcraft and religion. On the other hand, it begins to establish the cultural-psychological structure of the Han nation. In the field of thought and literature and art, this is mainly reflected in Confucianism represented by Confucius and Zhuangzi. Taoism, represented by Taoism, has made its opposition and complement. The complementarity of Confucianism and Taoism has been a basic clue of Chinese thought for the past 2000 years.
2. Whether it is good or bad, criticism or inheritance, Confucius’ historical position in shaping the Chinese national character and cultural and psychological structure is an objective fact that is difficult to deny.
? The reason why Confucius achieved this historical status is inseparable from his use of a rationalist spirit to reinterpret the rituals and music of ancient primitive culture. He brought primitive culture under the control of practical rationality. The so-called practice Rationality means guiding and implementing reason in daily real world life, ethical feelings and political concepts, without engaging in abstract speculation.
? The basic characteristics of this route are a skeptical or atheistic world view and a positive outlook on life towards real life.
3. Confucius guides and dissolves human emotions, concepts, and rituals into worldly relationships and real life based on parent-child blood relations... and expresses and satisfies them in the daily psychological and ethical society In life, this is also an important feature of Chinese art and aesthetics. … What China values ????is the combination of emotion and reason, the balance of reason, temperance, and social and ethical psychological feelings and satisfaction, not the ascetic suppression of the senses, nor the intellectual joy of knowledge, nor the mystical emotions. Ecstasy (Plato) or spiritual evolution (Aristotle).
4. Anyone who sounds. What comes into being is the emotion in the heart, so it takes shape in the sound. The sound is written, that is, the sound. Therefore, the sound of governing the world is peaceful, and the government is harmonious. The sound of resentment in the troubled times is to express anger at the obedient government; the sound of sorrow in the ruined country is to reflect on the plight of its people. The way of sound is connected with politics. ("Le Ji·Le Ben")
5. Consistent with Chinese philosophical thought, the focus of Chinese aesthetics is not on objects and entities, but on functions, relationships, and rhythm. From yin and yang (and the presence or absence of offspring, form and spirit, reality and reality, etc.)... As contradictory structures, they emphasize more on the penetration and coordination between opposites... As reflections, they emphasize more on the expression of the opposite sex of inner life ...As an effect, it emphasizes more on the combination of emotion and reason, and there is wisdom hidden in emotions to achieve harmony and satisfaction in real life...As an image, it emphasizes more on emotional beauty (femininity) and magnificence (masculinity). ——The principle of neutrality in Chinese classical aesthetics. ?
6.
2. Principle of Fu Bixing
1. The folk love songs in "The Book of Songs·Guofeng" and some chants of clan nobles established the foundation Understand the foundation of Chinese poetry and its basic aesthetic characteristics of lyricism. ...The sincere emotions of joy or sorrow they conveyed, the vivid and true artistic images they created, the repetitive language form of singing and sighing, and the euphemistic and long-lasting profound meaning are still touching today.
2. Chinese literature excels with lyricism...Subjective emotions must be objectified and must be combined with specific imagination and understanding to form an artistic work with certain universal inevitability and produce corresponding infectious effects. The so-called "bi" and "xing" are the specific ways to combine emotion with imaginative understanding and achieve objectification.
? Wang Euzhi said that Xiaoya's poems about Heming are all in metaphorical style, without a single sentence. The so-called "not telling the truth" has always been one of the important standards of Chinese aesthetics.
? "To express emotions through things" and "to express feelings with great joy" are better than "to speak directly", because the latter tend to become conceptual understanding and exhaust all meanings. Even a straightforward statement of emotion can often become a conceptual understanding and not contagious. "Ah, how sad I am" is not a poem, but just a concept. Direct expression of emotions also needs to be done in order to have aesthetic effect. Therefore, later generations have so-called theories such as "using scenes to form feelings", "using happy scenes to express sorrow, and using sad scenes to express joy, doubling the sorrow and joy" and so on. These theories are based on this clue.
3. Meng Wen uses quite neat parallel syntax as a form to greatly enhance the emotional color and emotional power of his logical reasoning, so that his reasoning has an unstoppable momentum.
Zhuang Wen uses strange and exaggerated imagination as the main line, and uses scattered and integrated syntax as the form, dissolving logical arguments into concrete images and giving his reasoning an "elegant" style of admiration. Not all of them are just emotional understanding. Can you imagine different proportions of combinations or combinations of factors? Isn't it because it is full of rich and full emotions and imagination that the words of reasoning and debate finally become prose literature? Aren’t they still in line with the national aesthetic characteristics of Chinese poetry mentioned above?
3. Architectural Art
1. The organic group spread out across the plane of Chinese architecture has actually transformed spatial awareness into a time process. The plane and depth of Chinese architecture allow people to travel slowly In the continuous process of a complex and diverse towers and pavilions, you can feel the comfort of life and the harmony with the environment, the huge space that can be grasped intuitively in an instant, and the time process that has become a long wandering here, practical, worldly, and rational, Historical factors have a clear advantage here.
Chu-Han Romanticism
1. Qu Sao Tradition
1. Since the original clan social structure has more reservations and remnants, South China is still strong We have vigorously maintained and developed the splendid ancient tradition, from "Chu Song" to "The Classic of Mountains and Seas", from Zhuang Zhou to the power of the south that "teaches leniently and softly but does not repay the unjust", which still pervades all ideological fields. A totem of strange imagination and fiery emotions - a mythical world, expressed in the field of literary and artistic aesthetics, this is the Chu culture represented by Qu Yuan.
2. Qu Yuan’s works collectively represent a cultural system with a profound foundation. This is the cultural system of witchcraft and southern mythology mentioned above that is full of romantic passion and retains ancient traditions.
3. "Li Sao" combines the most vivid and vivid uninhibited and ambiguous romantic imagination that can only appear in primitive mythology with the most passionate and profound individual that can only exist at the moment of rational awakening. Personality and sentiment are most perfectly integrated into an organic whole. Therefore, it created a truly glorious starting point and an unparalleled model for Chinese lyric poetry. In the past 2000 years, the only prose literature that can match it in terms of artistic level may be "Dream of Red Mansions". ...the original vitality, wild moods, and uninhibited imagination are expressed more freely and fully here. ...It is the ancestor of the fu-style literature of the Han Dynasty.
3. Chu-Han Romanticism is another great artistic tradition in ancient China that follows and complements the rational spirit of the Pre-Qin Dynasty. It is the aesthetic trend that dominates the art of the two Han Dynasties.
4. The myths and fantasies of the Chu region and the historical stories of the Northern Kingdom, the moral integrity promoted by Confucianism and the nonsense spread by Taoism are intertwined and displayed, floating, mixing and appearing in people's consciousness and ideas in parallel. in the art world. The living, the dead, immortals, ghosts, historical figures, real-life scenes and mythological fantasies are presented simultaneously. Primitive totems, Confucian teachings and prophecy superstitions are all placed together. As a result, this place is still a place where imagination is chaotic and rich, and emotions are warm and rough. romantic world.
5. The artistic style and aesthetic tone of the Han Dynasty are neither scary, intimidating, nor depressing, decadent, but rather cheerful, optimistic, positive and cheerful. The interest in human life is more lively and vigorous, making heaven also full of human pleasures, making this world of God so childish and innocent. It is not the conquest of God by man, but rather the conquest of man by God. God here does not yet serve as an alien object and power; rather, he is a direct extension of man.
6. This is a scene of horses galloping and cows running, birds flying and fish leaping, lions galloping and tigers roaring, phoenixes dancing and dragons lurking, people and gods mixed together, and everything intertwined. It is an extremely rich and full scene, full of extraordinary vitality and A world full of life and extremely lively. ...The art of the Han Dynasty reflects a positive and comprehensive concern for and affirmation of worldly life. Only by having enthusiasm and affirmation for worldly life, and hoping that this kind of life will continue to be continued and preserved, can it be possible for its art to embrace everything in reality. I have great interest in describing, appreciating, and expressing them so that they can be fully and comprehensively displayed.
7. In the art of the Han Dynasty, movement, power and momentum are its essence, and this momentum is often expressed as a sense of speed. ... Various fierce and tense battles and dramatic scenes and stories all show majestic momentum in a kind of fast movement and power. ...Behaviors, deeds, dynamics and dramatic plots have become the main themes and images here. The indomitable, unstoppable momentum, movement and power constitute the aesthetic style of Han Dynasty art.
8. The art of the Han Dynasty gives people a rich and simple artistic conception that cannot be replaced by the ethereal and exquisite art of future generations... It is not gorgeous but simple, and it is refined without details. ...If the art of the Tang Dynasty more expresses the blending of Chinese and foreign art, and thus has a "Hu style", then the art of the Han Dynasty more prominently presents China's native tonal tradition, the innocent and wild romanticism that comes from the Chu culture. , the beauty of the ancient clumsy momentum in the man's dazzling action conquest of the world.
Style of the Wei and Jin Dynasties
1. The theme of people
1. Without excessive rule constraints and no royal standards, the cultural and ideological fields at that time were relatively The atmosphere of free and open discussion and debate is quite popular. On this basis, different from the classics and literature of the Han Dynasty that eulogized merit and emphasized practicality, a truly speculative and rational pure philosophy emerged; a truly lyrical and perceptual pure literature and art emerged. These two constitute a leap in the history of Chinese thought. He Yan and Wang Bi in philosophy, San Cao, Ji, and Ruan in literature and art, Zhong, Wei, and Er Wang in calligraphy embody this leap. In various departments of ideology, A prominent representative who created a new era of truth, goodness and beauty.
2. In the Wei and Jin Dynasties, this emphasis on life and death, sadness, and lamentation about the short life, spread throughout the neutral space for a considerable period of time from Jian'an to the Jin and Song Dynasties, from the middle and lower classes to the royal aristocracy. Come and become the typical tone of the entire era. ... This core seems to be so decadent on the surface. What is hidden deep in the pessimistic and negative sighs is precisely its opposite, which is a strong desire and nostalgia for life, life, destiny, and life, and they are exactly the same. It was born on the basis of doubts and denials of the previously dominant ideology of slavery, from classics to fate, from superstition of ghosts to moral integrity. It is the doubt and denial of external authority that leads to the awakening and pursuit of inner personality.
3. "The days are short and the nights are long, so why not travel by candlelight." It's better to drink fine wine and be convinced of the simplicity. "Why not take advantage of the high-achieving students and seize the important road first." On the surface, it seems that he is shamelessly pursuing pleasure, corruption, and depravity. In fact, it is quite the opposite. Under the specific historical conditions at that time, he profoundly expressed his views on life and life. Pursue vigorously. Life is impermanent and life is easy to grow old. This is a universal proposition throughout the ages. The reason why the chanting of this eternal proposition in the Wei and Jin Dynasty poems has such touching aesthetic charm and has been praised through the ages is also related to the specific era content contained in this kind of thoughts and feelings. Not inseparable?
4. People are attracted by their inner talent, character, character, and spirit... People here are respected and worshiped mainly for their inner speculative spirit and spiritual state. It is people and personality themselves, rather than external things, that have increasingly become the center of philosophy and literature in this historical period.
5. The so-called "beautiful" means to reflect people's inner wisdom and character with an appearance as beautiful as natural scenery. For example, at that time, people looked at the king's right army, floating like clouds, and as powerful as a frightening dragon. Bright as the sun and the moon in one's arms, eyes sparkling like lightning on a rock, swaying like a willow in spring moon, soft as the wind under a pine tree... All these exaggerated descriptions and evaluations of character's appearance require beautiful external appearance to express a superb inner spirit. Personality was the aesthetic ideal and taste of this class at that time.
6. They indulged in pleasure and were full of philosophy, which constituted the so-called Wei and Jin style that seemed to be so free and unconventional, so detached and content, doing nothing but doing everything. Medicinal wine, appearance, discussions on Taoism, mysteries, and landscapes... have become the necessary sleeves and aura to set off this kind of demeanor.
7. The colorful world (active behavior) of the Han Dynasty gave way to the colorful personality (quiet fantasy) of the Wei and Jin Dynasties. In philosophy, ontology (the pursuit of inner entities) replaced the view of nature (external reality). Exploration in the World)
8. The so-called words cannot fully convey the meaning, which means that we must express something that cannot be conveyed exhaustively by conceptual words. He originally talked about philosophy. It requires that through limited and exhaustible external words, the image conveys the inner expression of a "sage" that is infinite, inexhaustible, and inaccessible to ordinary people, that is, through the five emotions of sorrow and joy that are the same as ordinary people. , to express the majesty of the gods that are beyond ordinary people.
9. The meaning cannot be conveyed through words, the spirit is vivid, and the spirit is expressed through form. These are the aesthetic principles of Chinese art that were established at that time and have had long-lasting influence.
2. Literary Consciousness
(Observe the past and present in a moment, caress the world in an instant)
1. Liu Xie's "The Literary Mind and the Carving of Dragons": Sun and Moon The walls are built in the shape of the sky, the mountains and rivers are beautiful, and they are paved with the shape of the ground. These are the words that cover the road. (Reciting temperament) And "Words and essays are the heart of heaven and earth", which links the origin of poems and essays to the Six Classics of Zhou and Confucius and elevates them to the philosophical level of the way of nature, which can represent the conscious aesthetic summary of essays in this historical period. .
2. The landscape poetry of the Wei, Jin and Six Dynasties uses nature as an externalization or expression of human speculation or appreciation. The subject and object are still in confrontation here. The former is in confrontation with achievements and actions, while the latter is in confrontation with appreciation and speculation. Unlike after the Song and Yuan Dynasties, it was integrated with the emotions of life.
3. Kant once said that lines are more aesthetic than colors. ...The calligraphy of the Wei and Jin Dynasties uses extremely beautiful lines to express various aspects of human beings, such as "emotional and spiritual, transcendent and leisurely", "powerful and powerful, eternal rhyme", "lively and full of expressions". "What is mainly expressed in calligraphy is the graceful and elegant Wei and Jin style.
3. Ruan Ji and Tao Qian
1. Art, economy and politics are often intertwined Unbalanced. Such a free and elegant Wei and Jin style was born in a society and era full of turmoil, chaos, disaster, and blood. Therefore, there are quite a few situations where people appear to be cool and elegant on the surface, but underneath they have great hiddenness.
2. Whether it is to adapt to the environment, save life, or to seek mountains and rivers, to rest in spirit, because there is always this kind of worry, fear, and emotional reality hidden in it. He was in an extremely contradictory and complicated state. Although he appeared to be contemptuous of world affairs and free and easy, he was more intensely attached to life and very painful. This constituted the profound side of Ruan Ji's style in the Wei and Jin Dynasties. Typical.
"Soaring into the sky, it is unparalleled. "How can we swim with the quails and swallows, even playing in the courtyard" "The oriole is sad, who can stop crying" "Who says that the same jade stone can't stop crying" expresses the pain and sorrow of cruel political persecution in a tortuous and strong way, probably No one has ever written something as profound and beautiful as Ruan Ji's.
3. Tao Qian resolutely withdrew from the politics of the upper class and placed his spiritual comfort in drinking, reading, and writing poetry in rural life. He did not have that. This kind of feeling of indifference towards the whole life and society by the scholar-bureaucrats in late feudal society. On the contrary, he is still very interested in life, life and society. He is still extremely persistent and concerned about the issues of life and death and the impermanence of life. He still has emotions such as "Nineteen Poems" "Such a sigh of life: "Life seems to be an illusion, and it will eventually end in nothingness. "I am not happy now. I wonder if there will be another year." ”
4. In Tao Qian’s writings, natural scenery is no longer an object of philosophical speculation or pictures for viewing, but has become a part of the poet’s life interests. ...Spring rain and winter snow, vast plains, various Ordinary and very ordinary scenery are full of life and affection here, and they appear so natural and simple.
5. In Shifu Ruins, people wearing grass are walking around without seeing each other. Miscellaneous words, but the mulberry trees are growing long; the mulberry trees have grown long, and my soil has become vast. I am often afraid of the frost coming, and they are scattered with the grass.
When planting beans at the foot of the southern mountain, the grass is full of beans and the bean sprouts are sparse, and they bloom in the morning. When I was cleaning up the wasteland, I returned home with a hoe. The road was narrow and the grass and trees were long, and the evening dew stained my clothes. I didn’t care about the stains on my clothes, but my wish was fulfilled.
The distant village is warm, and the smoke is lingering in the ruins. Dogs bark in the deep alleys, cocks crow on the tops of mulberry trees. There is no dust in the courtyard, and there is room for leisure. After being in a cage for a long time, I can return to nature.
This is the real, ordinary and unattainable beauty. Objective description of nature can only be achieved through the subjective character of highly conscious people.
The appearance of the Buddha
1. The miserable world
1. Dunhuang murals are the main example. It can be clearly seen that different eras such as the Northern Wei, Sui, Tang, Five Dynasties and Song Dynasties had different worlds of gods.
2. From the collapse of the Eastern Han Empire to the unification of the Li and Tang Dynasties 400. Although there was a brief period of peace and partial stability, the entire society was generally in a long period of endless wars, famines, plagues, and turmoil. Class and national oppression and exploitation took an extremely cruel and barbaric primitive form. , large-scale massacres became commonplace, and repeated and frequent killings and destruction between classes, ethnic groups, ruling groups, royal families, and clans pervaded this historical period.
…Real life is so miserable. Life is like morning dew. There is no protection for wealth, elusive destiny, and no attachment to life. Life is full of sorrow, misery, terror, and sacrifice. Things seem to have no fairness and reasonableness at all. What normal cause and effect and laws should be followed? Since there is nothing fair or reasonable in the real world, we place our cause and effect on reincarnation and our reasonableness on the afterlife and heaven.
3. Buddhist monks and laymen have no choice but to regard religious grottoes as flower beds of real life and holy places of human suffering, where all the wonderful wishes, countless sad sighs, comforting paper flowers, and gentle dreams are stored here. Let go and try to forget that everything in reality is unfair and unreasonable. As a result, they become more submissive, resigned, and more self-sacrificing in order to obtain God's grace.
4. The sculptures of the Northern Wei Dynasty range from the majestic and solemn ones in Yungang in the early period to those in Longmen and Dunhuang, especially those in Maijishan in the mature period with delicate bones, long faces and thin necks, and complex and fluttering pleats. The expression is full of energy, elegance and contentment, and the demeanor seems to have exhausted all the fireworks in the world, forming the pinnacle of ideal beauty of Chinese sculpture art.
5. A certain morbidly thin body, an indescribably meaningful smile, a look of wisdom that understands philosophy, and a chic demeanor that escapes the world are all the highest standards of beauty that this class has pursued and aspired to since the Wei and Jin Dynasties.
2. Odes of Illusions
1. In contrast to the long-term divisions and continuous wars between the Northern and Southern Dynasties, there was the unification of the Sui and Tang Dynasties and a relatively long period of peace and stability.
(P117-126 to be added)
The Voice of the Prosperous Tang Dynasty
1. Youth, Li Bai
1. A tyrannical and arrogant person, Even the heroic demeanor with a bit of rogueness still comes out vividly on the page. This is by no means a weak scholar or a humble gentleman like after the Song Dynasty.
2. Introduce and absorb without fear and scruple, create and innovate without restraint and nostalgia. Breaking through the framework and tradition, this is the social atmosphere and ideological basis that produced the so-called "sound of the prosperous Tang Dynasty" in literature and art... The Tang Dynasty was the affirmation and feeling, longing and persistence of the human reality of flesh and blood. A kind of full, youthful enthusiasm and imagination permeated the literature and art of the prosperous Tang Dynasty. Even hedonism, decadence, melancholy and sadness still sparkled with youth, freedom and joy. This is the art of the prosperous Tang Dynasty, its typical representative It’s Tang poetry.
3. Professor Qian Zhongshu's "Talking about Art" once summarized that Tang poetry is mostly good at expressing emotions and charm, while Song poetry is mostly good at thinking and reasoning. ...You prefer Tang music when you are young, and you prefer Song tune when you are old. This kind of variation of personal mood and preference over time is a symbolic reproduction of the late traditional Chinese society and its protagonists, secular landlords and intellectuals, who changed from young to old and from vigorous to vigorous. The historical journey from vigorous and indulgent life to contented decadence and retreat from reality.
4. Wen Yiduo, a poet and scholar, very keenly described the transition from the Six Dynasties palace system to the early Tang Dynasty. He proposed Lu Zhaolin’s “vigorous rhythm like a dragon and tiger” and King Luo Bin’s “vigor to the end.” And there is a thriving mood in the lingering melody." He pointed out that in the hands of Lu and Luo, palace-style poetry moved from the palace to the market, while in the era of Wang and Yang, Wulu moved from Taige to Jiangshan and Saimo. With the changes of the times, from the palace to life, the melodious sounds of the palace ladies of the Six Dynasties became the fresh singing of young people.
5. Zhang Ruoxu's "Moonlight Night on the Spring River": A deeper, more slender and more tranquil realm. In front of the magical eternity, the author only has astonishment, no longing, and no sadness. What he gets seems to be a more peaceful state. The mysterious and more humorous smile made him even more confused, but also satisfied. ...In fact, this poem contains longing and sadness, but it is a kind of longing and sadness of boyhood, a kind of longing and sadness of "alone on a tall building, looking at the end of the world", which is similar to the longing and sadness of people in the Wei and Jin Dynasties. This heavy elegiac song is completely different from Du Fu's style of describing the sorrow of suffering reality. It shows the inexplicable smoke-like melancholy and sadness that I felt in my youth when I was looking forward to life for the first time. ...Although he speaks sentimentally, he is a young man who doesn't know the feeling of sorrow, and he still speaks charmingly, briskly and sweetly.
6. The ethereal sentimentality of a young man who has not yet experienced the world has turned into a concrete song full of ambition and demanding to achieve success: I heard a wanderer singing a song of departure in the morning. Last night, there was a slight frost and I first crossed the river. The geese could not bear to listen to it in sorrow. The mountain conditions are like those experienced by a guest. The color of the trees in Guancheng is getting colder, and the sound of anvils in the imperial garden is getting louder in the evening. Don't see Chang'an as a place of happiness, it will make the years easy to be wasted. He became more practical and mature, and began to truly move towards social life and human reality.
7. When I sleep in spring, I don’t realize the dawn. I hear birds singing everywhere, the sound of wind and rain comes at night, and I don’t know how many flowers have fallen. Although spring is cherished and flowers are cherished, what is shown is still a happy and beautiful picture of the Spring City. It is fresh and lively without being low and sad. This is the sound of the prosperous Tang Dynasty. In addition, it is like "Thousands of miles of yellow clouds are shining in the white sun, and the north wind is blowing the wild geese and the snow is falling. Don't There is no one in the world who doesn't know you." "The luminous cup of grape wine, I want to drink the pipa immediately. Don't laugh when you are lying drunk on the battlefield. How many people have fought in ancient times." He is brave and courageous, and he is magnificent even in difficult battles. , even when going on an expedition, it is cheerful and lively.
8. The magnificent and turbulent side is the beautiful and tranquil side of the Frontier Poetry School, while the so-called Pastoral Poetry School wrote, especially Wang Wei’s famous line from Wangchuan: "The people are idle, the osmanthus flowers are falling, the night is quiet, the spring mountains are empty and the moon is empty." The frightened mountain birds are chirping in the spring stream. Hibiscus flowers are blooming in the mountains, and there are no people in the stream. They bloom and fall one after another. "It is faithful and objective, so simple and seamless yet philosophically profound, so quiet and yet. It is full of life and interest, and the writing of nature is so beautiful... It is beautiful, clear, healthy, and also a typical sound of the prosperous Tang Dynasty.
9. "I will smash the Yellow Crane Tower for you, and you will also knock down the Parrot Island for me. The struggle for supremacy at Red Cliff is like a dream, and you must sing and dance to escape your worries." "Lanling fine wine, tulips, jade The bowl contains amber light, but it makes the host drunk and does not know where he is."... Although the reasons of the times made Li Bai lack Zhuang Zhou's thinking power and Qu Yuan's deep feelings, Zhuang's elegance and Qu Yuan's magnificence were in Li Bai's eyes. In his works of genius, they are combined into one, reaching the pinnacle of symphonic poetry in ancient Chinese romantic literature.
2. The beauty of music
1. Feng Chengsu, Yu Shinan, Chu Suiliang, Lu Jianzhi and various Lanting copies are typical of the beauty of calligraphy in this period, so light and gorgeous , graceful and graceful, or the spring beauty of the beauty, the clouds and mist, or the wind and dust, the spirit is free, isn't this the kind of romantic and graceful person who "was young and springy and the mountains were thin" in the Spring River Moonlight Night?
2. The expressive arts of quatrains, cursive script, music, and dance were integrated into one, forming the crown of beauty in the kingdom of poetry and calligraphy at that time. He pushed the traditional Chinese line art that emphasizes melody and emotion to a new level. stage, reflecting the spirit of the times during the rising stage of secular intellectuals. The so-called voice of the prosperous Tang Dynasty is not his, that's what it is called.
3. Du Shiyan’s Chinese calligraphy
1. Dongpo said that Wu’s paintings “create new ideas in the law, and express wonderful principles in boldness.”… “I once heard that Bihaisha Whale, the divine power is vast and the luck is too weak. The ancient and modern three tripods are full of energy, Du Shi, Han pen and Yan Shu."
2. In the fifty-six words, the meaning is like a pearl, and the words are like a jade. The beads running through it are like luminous disks, without losing the beauty of twists and turns. The combination of the jade is like a jade box with a lid, and there is absolutely no trace of unevenness or twisting. ...The bright hall of a clear temple is solemn, calm like the Nine Cauldrons, high and bright like the bright moon and stars, majestic like the Mount Tai and Qiaoyue, round and smooth like the flowing water and clouds, and changing like the wind and rain. In one article, if all the necessary things are included, it is said to be perfect. Therefore, it has been difficult for celebrities and philosophers to do so since ancient times.
3. (Du Fu’s poems) are melancholy, profound and tragic, and their majestic momentum is strictly regulated in the neat rhythmic confrontation. They are indeed two different styles from the Li Bai poems we cited above. Two artistic conceptions, two styles, two forms? In terms of aesthetic properties, as pointed out before, the former is genius beauty, natural beauty without standards, and does not need to be carved; the latter is artificial beauty, worldly beauty with strict standards, which is left to one's own discretion.
Beyond rhymes
1. Literature and Art of the Mid-Tang Dynasty
1. After the Anshi Rebellion, the society of the Tang Dynasty did not go downhill... In the era of increasing numbers of people, Scholars and scholars, with their beautiful words and clever wit, became increasingly immersed in the sounds, songs, music, dance and writing of the bustling city. There is no longer the yearning for military glory in the frontier fortress, but only the competition between servants and horses. There is no longer the roar of "the road is like the blue sky, I can't get it alone", but only the gorgeous comfort of "as for the end of Zhenyuan, the romance is unrestrained". ... It was not the prosperous Tang Dynasty that truly unfolded the brilliant picture of literature and art, and generally reached high achievements in various artistic departments of poetry, calligraphy and painting, but rather the middle and late Tang Dynasty.
2. The joyful intimacy and pastoral tranquility between man and nature have become his basic tone.