learned and versatile
Liang Wudi is a versatile and knowledgeable scholar. His political and military abilities were among the best in the Southern Dynasties. His achievements in academic research and literary creation are more outstanding. History books call him: "six arts are idle, chess is in one product, yin and yang are waiting, divination is decisive, and knowledge is good." ..... riding and shooting a bow and horse, wonderful. " He is very studious and has been educated by orthodox Confucianism since childhood. "When I was young, I studied Kong Zhou, but I was weak in the crown and poor in the six classics." After he acceded to the throne, "although he was busy with many tasks, he kept rubbing his hands and lighting candles until midnight." This hard-working spirit laid a solid foundation for his academic research.
Classics and history books
Academically, Liang Wudi is famous for his study of Confucian classics and history. In the study of Confucian classics, Liang Wudi cursive.
[4] He wrote more than 200 volumes, such as The Book of Changes, Answers to Questions in the Spring and Autumn Period and Confucius' Renyi, but most of them have not been handed down. In the 11th year of Tian Jian's prison (AD 5 12), five rites, namely, auspicious, fierce, military, guest and fine, were made, with more than a thousand volumes and 80 19 articles, which were promulgated and implemented. In historiography, he was dissatisfied with the writing methods of dynastic history such as Hanshu, thinking that it cut off history, so he presided over the compilation of 600 volumes of general history, "bowing to the front." He was quite conceited about this book, and once his opponent said, "I made up a general history." If this book is successful, all history can be abolished. " It's a pity that this book was lost in the Song Dynasty, which is really a pity.
Buddhist attainments
He also devoted a lot of energy to the study of Buddhism, and wrote hundreds of Buddhist works such as Nirvana, Masterpiece, Jingming and Sanhui. He is also very good at Taoism. On this basis, he combined the Confucian "rites", the Taoist "nothingness" and the Buddhist "karma" and founded the "theory of the homology of three religions", which occupied an extremely important position in the history of ancient China thought.
Poetic talent
Liang Wudi's literary talent in poetry and Fu is also outstanding. Emperor Wu of Qi will be the founder of Gong and Dharma in the following year (AD 484).
In 493 AD, the atmosphere of poetry creation flourished, and many literati gathered around Jingling Wangxiao to show their talents in poetry creation. Among these scholars, there are eight famous scholars such as Xie Tiao, Shen Yue, Ren Tai and Fan Li, who are called "Eight Friends of Jingling". Xiao Yan is also one of the "Eight Friends of Jingling". Many of his poems were written during this period. After Liang Jian proclaimed himself emperor, he never lost his elements. He often recruits talented people and takes poetry as his pleasure. His literary creation promoted the prosperity of literary atmosphere in Liang Dynasty. There are more than 80 poems in Liang Wudi, which can be roughly divided into four categories according to their contents and themes: love poems, Zen poems, banquet poems and object-chanting poems. Liang Wudi's love poems are concentrated in the new Yuefu poems, also known as quasi-Yuefu poems, accounting for almost half of all his poems. Yuefu was the official department in charge of music in ancient times. According to scholars' research, there was a Yueguan in the Zhou Dynasty at the latest, named Dasile, and Yuefu was named Yueguan in Qin Dynasty. Huidi had the post of Yuefu Order in Han Dynasty. During the period of Emperor Wu of the Han Dynasty, the nature and scale of Yuefu were quite different from before. At that time, Yuefu not only made music movements and trained musicians, but also widely collected folk songs and sang them with music. All the songs produced and collected by Yuefu institutions and poems written by scholars with Yuefu as their theme are called Yuefu poems in later generations. Among them, folk songs are the most vivid part of Yuefu poems. During the Wei and Jin Dynasties, Yuefu stopped collecting folk songs, and Yuefu poems at that time also showed an increasingly elegant tendency. In the Southern Dynasties, the new folk songs with different styles in the south of the Yangtze River once again attracted the attention of the upper class. Through the adoption and singing of Yuefu institutions, it has had a great influence on literati's poetry creation. Because the theme, content and exquisite style of Jiangnan folk songs adapted to the ruling class's love for melody and sound at that time, they were widely simulated. When ZSZSZSZ was appointed as the secretariat of Yongzhou, he lived in Xiangyang and loved local folk songs very much. Many of his quasi-Yuefu poems, such as Fang Shu, Thinking and Lingaotai, were written at this time. Even after he proclaimed himself emperor, Xiao Yan's interest in Yuefu poetry remained unchanged. In the 11th year of Tian Jian (5 12), he personally changed to western music (Yuefu folk songs in the Southern Dynasties were divided into Wu Ge and western music). The former was born in Jiankang area, which is named Wudi, so its folk songs are called Wu Ge. The latter originated in Jing, Ying, Fan, Deng and other places in the Hanshui River Basin. It is the military center and economic and cultural center of the western part of the Southern Dynasties, so its folk songs are called Xiqu), with 14 pieces of "Jiangnan Music" and seven pieces of "Jiangnan Agriculture", which shows its addiction. Like Yuefu folk songs, Yuefu in Xiao Yan is also a love song, mainly written for women. Most of his poems describe women's yearning for love, feelings of parting from lovesickness, lingering feelings, aesthetic style, plain language and strong flavor of Jiangnan folk songs. For example, "One year will be over, and Wan Li people have not returned. Your ambition is innate, but I am driven by nothingness. " A song at four o'clock in the morning. Winter song "); "The grass tree is not fragrant, and there are hundreds of colors of flowers and leaves. Send a message to an old lover until I remember it in my heart. "("Xiangyang Hugh ") and so on. Mr Zheng Zhenduo thinks that "Xiao Yan's new Yuefu poems are the most charming and lovely". There is some truth in this statement. What deserves special attention is Liang Wudi's seven-character poem. There are more than ten seven-character poems written by Liang Wudi, such as Song of the River, Jiangnan Lane and Song of Shrike Flying East. One of the most famous songs is "Flying East to Shrike": "Flying East to Shrike and Flying West to Swallow, the oriole meets the Weaver Girl. Whose daughter lives across the hall and has a bright face. Lights are hung in the south window and the curtain is fragrant. This year, the woman will be fifteen or sixteen years old, slim, beautiful, white and beautiful. In the third spring, the flowers have gone with the wind, and who is left with pity? The creation of seven-character poems began with Cao Pi, whose Ge Yanxing is the oldest and most complete seven-character poem for literati. Since then, Bao Zhao, Tang Huilin, Shi and others in the Song and Qi Dynasties have occasionally published such works, but the impact is not great. Seven-character poems have been further developed in Liang Wudi. Although Cao Pi's Ge Yanxing is a pioneering work, the whole poem rhymes sentence by sentence, which is monotonous and lacks the interest of intonation. Liang Wudi's seven-character poems are original and have a staggered sound and rhyme. Since then, imitators have appeared everywhere. His sons Xiao Gang (Emperor Wen) and Liang, the minister and Wu Yun all wrote seven-character poems. By the time of Chen, the sentence pattern and structure of seven-character poems were more perfect and the rhythm was more harmonious. Later, in the Tang Dynasty, Li Bai, Du Fu, Gao Shi and others creatively used this poetic style and wrote many magnificent poems, especially the seven-character poems. The pioneering work of Liang Wudi and others is undeniable. Liang Wudi's Zen poems are second only to his Yuefu poems. He believed in Buddhism in his early years and became a Buddhist in his later years. His Zen poems are self-portraits of his belief in Buddhism. Like the proverbs of religious philosophy, these poems are very boring and have no art at all. Liang Wudi's third kind of poems is the banquet and reply poems, which are more complicated than the first two kinds. There are works that show religious philosophy, promote Buddhist thought and persuade ministers to believe in Buddhism, such as "Love Temple in Zhongshan" and "Feeling New Ideas for Jiangge". There are travel notes and landscape works such as Poems of Early Summer in Pan-Tianchi Lake, Traveling to North Gu Lou, and Park Tree Hall in Tianan Temple. There are farewell poems, such as "Ren Dianzong's Poems in the Book of Wang Zhongshu". There are many excellent poems of this kind, such as "the boat exchanges guests, and the algae and apples move forward." "Bichi Honglian, white sand and green ripples; Sina tide blows old stones, and residual flowers fall on old branches; Soft leaves are easy to come out, but dense grass roads are difficult to cover. Thin tour Zhu Mingjie, general Tianyuan pool. " ("Early Summer Pan-Tianchi Poetry") This poem is beautiful and colorful, and it is quite charming to read. Another example is: "Blue Flower doesn't talk about it, he is proud, leaving something on his mind ... He keeps talking about it, and his feelings are attached to it." (Poem by Wang Zhongshu in the archives room of Zhongren Hall) It is also a masterpiece in farewell poems to write about the deep and sincere attachment of friends when they leave. Liang Wudi's fourth kind of poems are poems about objects, such as dancing poems, candle poems and pen poems. Although this kind of poetry is struggling to catch up with the new, its content is shallow and few people can praise it. His "Giving Yimin Eleven": "If there are trees in the mountains, there is no disloyalty. Birds sing in the forest. Birds have different voices. You Jiang fish, for example, have ups and downs. Rocky Mountain is high and deep. The deeds are easy to see, but the truth is hard to find. " This poem explains the nature and laws of everything in the world, and it is really hard to be found by some incredible things, such as the falsehood of trees, the strange sounds of birds, the ups and downs of fish, and the depth of mountains. The evaluation of Liang Shi by later scholars is generally not high, and most of them think that he is "mocking romantic and gardening" (Bai Juyi's language) and "less romantic and more affectionate". The poets in Qi and Liang Dynasties lack the lofty ideal of saving the world and a serious sense of social responsibility, and there are few works that reflect social reality and express their heartfelt feelings. At that time, the literary world was full of poems describing landscapes, chanting things and eroticism. Liang Wudi's poems, regardless of subject matter, content or style, all reflect the characteristics of Qi Liang's poems without exception. This is of course related to the long and rich aristocratic living environment before he ascended the throne. Although he was the king of founding a country and starting a business, he had been in a high position before he ascended the throne, pampering himself and not being hit too much; It only took more than a year to destroy Qi Liangjian, and it was very smooth. Therefore, it is not surprising that Liang Wudi's poems are full of "be immersed in love with children" and "immortal spirit", but lack of "Fengyun spirit" and works with lofty aspirations. Besides academic research and literary creation, Liang Wudi also studied music, and he wrote many new songs. Sui Shu Musical Records said: Liang Wudi was "good at clock rhythm and learned about the past in detail, so he made his own rituals and music". For example, "Chong, Song and Qi used Chinese songs, and the court was full of sixteen songs", "It is to go to four songs, stay twelve, and combine the four seasons. Create more songs to describe merits. " Liang Wudi wrote many songs praising Buddhism, such as "Creating Benevolence, Great Joy, Great Joy, Avenue, Fairy Road, King of God, Dragon King, Eliminating Evil, Eliminating love the water, Breaking Bitter Bricks" and so on. They are all called Zhengle, and they all describe Buddhism. "
Music painting
Liang Wudi attaches great importance to rites and music. He is good at clock rhythm and created four kinds of quasi-tones, which are called "Tong". Pass three strings to push the moon at a time. He also made twelve flutes, corresponding to twelve laws. Each piece is equipped with chimes and chimes, which enriches the expressive force of China traditional instrumental music. He likes painting very much, especially flowers, birds and animals. Zhang Sengyou, a great painter, is good at writing landscapes and is highly appreciated by Liang Wudi. At that time, philosophers in Liang Wudi were out of town, and Liang Wudi often missed them, so he ordered Zhang Sengyou to go to various counties to paint portraits of philosophers and hang them in his bedroom. When Liang Wudi saw this photo, he saw his son, and his thoughts diminished. Liang Wudi believes in Buddhism. During his reign, he built many Buddhist temples and pagodas and ordered Zhang Sengyou to paint.
Superb chess skills
Liang Wudi likes Go very much, and his chess skills are superb. When he was an official in Qi State, he often stayed up all night and played chess with others in his spare time. After he proclaimed himself emperor, his interest continued unabated. Ministers yi zhu, Andrew West and Daoshui were his chess friends, and the famous Chen Qingzhi often played chess with Emperor Wu when he was originally a follower. Every time the mood is high, there will be no difference between the monarch and the minister. On one occasion, Liang Wudi made an appointment to spend the whole night in irrigation. When I got to the irrigation place, I couldn't stand it. I bowed my head and fell asleep before the game was over. Liang Wudi laughed when he saw it, so he wrote a poem mocking him: "Like a lost dog, like a hammer." When I woke up, I was embarrassed. When I heard Liang Wudi's poems, I smiled again. The monarch and the minister parted happily. Liang Wudi loves Go so much that sometimes he gets into trouble. When he became a monk in his later years, there was a monk named Daitoushi, who respected him very much. One day, Liang Wudi called the master to the palace to discuss Buddhism. When the master entered the palace, Liang Wudi was playing chess with someone and wanted to kill each other's pieces, so he casually said, "Kill!" The left and right attendants misunderstood, thinking that Liang Wudi was going to kill Guan Tou, so they jumped in and beheaded Guan Tou. After playing chess, Liang Wudi ordered the master to be summoned, and the left and right attendants replied, "I have ordered this man to be killed." Liang Wudi listened and regretted it.
spirit of the times
Because of Liang Wudi's elegant poems, ministers have followed suit, and even a brave warrior can occasionally sing a few good poems. In the sixth year of AD (507), Liang defeated Cao and Wei Jun in Xuzhou. After Banshi returned to Korea, he held a banquet in the hall to celebrate. During the dinner, the monarch and his subjects recited poems in succession. In view of Cao's incompetence in poetry and prose, he was afraid that he would be embarrassed if he could not give rhyme, so the minister in charge of arranging rhyme shot him if he didn't give him rhyme. Cao was deeply wronged and insisted on using rhyming poems. Liang Wudi had long known Cao Jingzong's unwilling character, so he comforted him and said, "The general is an outstanding talent, so why care about writing a poem!" By this time, Cao had some drunkenness, so he asked for it again and again. Liang Wudi didn't want to spoil his fun, so he ordered Shen Yue to give him poems. At this time, the rhyme has almost been divided, leaving only the words "competition" and "illness". Under this restriction, it is difficult for poetry to rhyme. However, Cao only thought about it for a moment, and then he wrote another poem: "My daughter went to be sad and came back to have a competition." Ask passers-by, how is Huo Qubing? " The poem is written naturally and smoothly, which is very suitable for the reality of triumph in front of us. As soon as this poem came out, the language was astounded, and the literati were amazed. Even Liang Wudi lamented it, and the historian was included in the national history. Under the influence and advocacy of Liang Wudi, the development of cultural undertakings in the Liang Dynasty reached the most prosperous stage since the Eastern Jin Dynasty. Li yanshou, the author of Southern History, commented: "It has been more than 200 years since Jiangzuo, and the prosperity of cultural relics is unique." This sentence can quite reflect the reality at that time.
Calligraphy attainments
Liang Wudi also had profound attainments in calligraphy, and he was among the best emperors who were good at calligraphy in ancient times. Even if we abandon the imperial status, judging the handwriting of a calligrapher in the relevant portrait (17) has its own considerable points. At that time, Liang Wudi often discussed the topic of calligraphy with Tao Hongjing, and Tao Hongjing was good at cursive writing, studying under Zhong You and Wang Xizhi. The dialogue between them was compiled into On Books with Liang Wudi, which was handed down to later generations and became one of the classic works in the history of calligraphy. At the same time, Liang Wudi was the first emperor in history to highly praise Wang Xizhi's calligraphy achievements, but before that, Wang Xizhi's reputation was often covered by his son Wang Xianzhi. Because of his admiration, the first wave of learning Wang's calligraphy rose from the Liang Dynasty at that time. At the same time, he also left four works by calligraphy theory, Twelve Meanings of Zhong You's Calligraphy, Cursive Script, Tao's Seclusion and Comments on the Merits and Disadvantages of Ancient and Modern Calligraphers, all of which are excellent works in calligraphy theory's ancient books. Looking at Zhong You's calligraphy, the twelve meanings mean "horizontal". Straight means vertical. It is said that it is also between. Secret means international. Feng refers to Ge Ye. Force is the body. Say your bend is light. It's definitely called la. Make up for the deficiency. Loss means more. This is a clever way of saying layout. Appellation size also. Flat refers to the strange outside the word, and the text is not written. Scholars in the world lived in two kings, and Chang Yuan escaped. He was never above me. Xihe has a strange theory, and the afterlife is similar. Yuan often called it ancient fat and called it thin today. Since ancient times, they have all been pearls, and fat and thin are quite the opposite, such as introspection and dissent. Zhang Zhihe Zhongyou is clever and interesting. Fat and thin, ancient and modern, it is easy to pay tribute. Although there are not many original works, they can be obtained and pushed. If you run away, you will learn from it, which will be clever and dense, unique and unique, and slow down. For example, Chu sounds like a summer breeze, and you can't live without Chu. It's not awkward to talk too much, nor is it a theory. The other son did not hesitate to respect it, and it was not uncommon for him to escape. Students respect others like tigers. Those who often learn yuan are as picturesque as dragons. Although I don't learn, I can see its truth occasionally. If I don't learn, I will admire it. Tell me, remember, and make up for it. It is better to understand things clearly than to show them. If there is all thinking, thinking is half full. A cursive disease is like a frightened snake, as late as swimming. Masayuki is slow, magpie is urgent, smoking like a pheasant pecking and ordering like a rabbit throwing. At first, at first, it was stationed, and you could do whatever you wanted. Thick or thin, with the strange state, gather water and disperse, and the wind flies back. Its success is also thick and muscular, like the spread of Pupu, like the entanglement of women, like the entanglement of Ze and Jiao, like the struggle between mountains and bears. If you raise your wings and don't fly, you want to go and stop. There are mysterious jade in Yunshan and stars in Hehan. It is difficult for a knight to be poor, but his class is more tolerant. Jiongna is like a weak willow, and she is like a curly pine. Jumping, the phoenix becomes a dragon. Vertical and horizontal like knots, connected like ropes, displaced like embroidery, standing like a mausoleum, swaying like leaves, playing like a ball, lying down like a bump, standing obliquely and upright, broken and connected. If the white water swims in groups, the forest is full of apes; Animals flee from the original land, and birds play in sunny days; Purple fog comes out of Hengshan Mountain, like a dark cloud. If the rock is like a ridge, the pulse is like a spring, and the text does not thank the waves, the righteousness is clear. A: Tao is reclusive. Calligraphers hate to use pens without awning corners. The width of the pen makes the book slow and weak, the pen is short and bloated, the pen is long and detached, and the painting is horizontal and the painting is sparse and slow. If you catch it, you will lack potential, and if you let it go, you will have less potential; Pure bone is not flattering, pure meat is weak, less ink is floating and astringent, and more ink is dull, all the same. Let it be. If you are depressed, do nothing; The numerical pen is broken and the contact potential is low; It is logical to raise twists and turns; Simply better, thicker and better organized; Fat and thin blend, bone strength is commensurate. Wan Wan is warm, not enough; Scared, often angry, suitable for eyes and heart, is a family. Advantages and disadvantages of ancient and modern scholars; Zhong You's book is like a cloud, playing in the sea in the upper reaches of the sky, with dense lines, which is also sad. Wang Xizhi's calligraphy is like a dragon, and the tiger lies in the phoenix, so it has been treasured for generations and always wants to practice calligraphy. Cai Yong's books are full of vigor and vitality. Wei's "Birthday Book" is like "Vibration of the Tiger", and the tension is tense. Xiao Ziyun's book covers the sky like a dangerous peak, and it is lonely and loose. Jing Ke takes a sword, a strong man bends a bow, and a male hunts tigers. His mind is fierce and his blade is hard to understand. Yang Xin's book, like a maid as a wife, is not in office, but shy in expression, and finally it is not true. Xiao Si's books are like a dancer with a low waist and a fairy whistling at a tree. Li Zhendong's books are like hibiscus, and his literary talent is gilded. Wang Xianzhi's books are better than others' and no one can imitate them. For example, the teenagers in Heshuo are full of joy and unbearable. Suo Jing's books are like floating in the wind. Birds fly first. My new book, my new book, and Xie's Children are all incorrect and full of romantic spirit. Cheng Guangping's books fly like swans with clumsy wings. Like a light cloud suddenly dispersed, at first sight. Li Yanzhi's books are like Jin Suyue's, and Qu Yu takes photos of himself. Uncle Wu is like the father in the new pavilion. When he looks at Yangzhou people, the language of * * * comes out. Yan Zhuan's books are like the fruits of poor families, but they are just as lovely. Ruan Yanshu is like a noble who has lost his taste and no longer rejects sages. Wang Bao's book is sad and romantic, but it is not good, and its meaning is profound and shallow. Shi's books, like other books, are all dead. Tao's book of seclusion is like a child. Although their shape has not increased, their bones are very steep and fast. Zhong Shuhui has twelve meanings, which is unexpected and wonderful. Although Shu has a family style, his romantic tendency is thin, just like, elegant, and the same. Wang Bin's book is indulgent and quick, and the pen is flowing. Fan Huaiyue's true book is powerful, but the grass and thread are useless, so it is not easy to know Jane. I'm familiar with this book, but it's hard to get the best out of it, to evacuate the atmosphere and to be elegant. Liu Yun's books have a remarkable effect, but they are unprepared. Geng Shouyi's books are afraid of convergence and self-sufficiency. Ruan's view is not refined, so he went to Xiao and Cai Yuan. Kong Lin's books, like flowers scattered in the air, are full of complacency. Xu Huainan's book is like a scholar-bureaucrat in Nangang, but it is still on the track, neither supercilious nor supercilious. Yuan Shuji is like a Taoist priest in the mountains. He wants to flinch when he sees people. Zhang is like a debater. In his own words, he is not sleepy and can do whatever he wants. Shao Bo's book is as lovely as a dragon swimming in the air.