In the seventeenth year of Qianlong (1752), he was born in Tie Bao. In the twenty-seventh year of Qianlong (1762), Tie Bao began to study at the age of ten and entered imperial academy for further study at the age of sixteen. When he was a teenager, faced with the question of whether his father wanted to study martial arts or prose in the future, he clearly expressed his willingness to study prose, specializing in the Four Books and Five Classics, in order to be admitted. In the thirty-seventh year of Qianlong (1772), Tie Bao, 2 1 year-old, was admitted as a scholar and awarded the title of official minister. Because of his honest and frank personality, he was appreciated and recommended by Agui, a college student in Wuyingdian, who manages the official department. Tie Bao was promoted to be a doctor, a foreign minister, a bachelor of lectures, a bachelor of reading and a bachelor of cabinet.
In the fifty-third year of Qianlong (1788), Tie Bao was summoned by the emperor Qianlong, and in the fifty-fourth year of Qianlong (1789), he was promoted to assistant minister of does, presiding over the imperial examination and having obtained the provincial examinations in Shandong and Shuntian.
In the fourth year of Jiaqing (1799), Tie Bao Xian was demoted to Shengjing (Shenyang) for impeaching officials. Soon, the assistant minister of the official department became the governor of grain transportation. When he was governor of grain transportation, he formulated eleven articles of association to reform grain transportation.
At the end of the seventh year of Jiaqing (1802), when Tie Bao added the Governor of Guangdong and Guangxi, he also engraved 22 administrative experiences over the years on the wall of the hall, instructing him to take office in the future.
In the eighth year of Jiaqing (1803), he was transferred to the governor of Shandong. This year, the Yellow River burst in Hengjialou, fengqiu county, Henan, and flooded Zhangqiu 19 counties in Shandong. Jiaqing ordered Tie Bao to go to Henan to direct disaster relief and plug the gap. In the ninth year of Jiaqing (1804), in March, the grain was transported smoothly, and Tie Bao and the Prince were spared. Soon, due to the unfavorable canal transportation, he was dismissed and retained.
In the 10th year of Jiaqing (1805), Tie Bao was appointed Governor of Liangjiang, and the court ordered him to interrogate Zhang Dayou, a soldier from Shouzhou, Anhui Province, who killed his nephew due to accidental poisoning. Zhou Hua, the magistrate of Suzhou, took bribes and perverted the law, while Peng Ling, the then governor of Anhui, strictly enforced the law and found out the reasons. Tie Bao was even stripped of his official rank, reduced to a second-class hat, and was reinstated soon. In the twelfth year of Jiaqing (1807), the official asked the Eight Banners to exchange money with rice instead of salary, and the court sent a letter to reprimand them for modifying the regulations without authorization and dismissed them. He discussed the affairs of river regulation one after another, demanding that Wang Ying be rebuilt to reduce dams, build dams to stop water, the earth slopes behind mountain dikes and river embankments, and repair the gates of ladders. The court sent ministers to discuss his suggestions and adopted them before implementation.
In the 14th year of Jiaqing (1809), Shanyang County ordered Wang to meet, killed the Commissioner, and was also dismissed and exiled to Xinjiang. After returning to Beijing, he was promoted to the Ministry of Ritual and Official Affairs. During the Linqing Incident, he was dismissed and exiled to Jilin because he tried his best to trace the eunuch who was a bandit. Tie Bao is superior to literature, good at calligraphy and beautiful words. The rich period of his calligraphy works was when he served as governor of grain transportation and governor of two rivers. Most of the works included in Wei Fa Tie are works of this period.
Tie Bao loves calligraphy very much. It can be seen from one of his poems: "I finally got rid of the habit of smearing for half my life, but I was laughed at by others. My children and grandchildren searched for paintings every day, leaving behind books instead of gold coins." Although he has been in a high position for a long time, he just wants to leave his calligraphy to future generations. Tie Bao's calligraphy is based on regular script and he is good at cursive script.
Tie Bao's regular script takes Yan Zhenqing's weight, and he has accomplished himself with many teachers; He is very good at absorbing beneficial calligraphy nutrition from famous artists in Jin and Tang Dynasties. In addition to imitating Huai Su and others, cursive script is admired and imitated by Zhang Xu. It is precisely because of learning the calligraphy posts of famous artists in Jin and Tang Dynasties that they formed their own unique calligraphy characteristics. Tie Bao himself is a very typical northern national poet. His works are good at depicting scenes of national life, and such works are often full of vitality. One of the songs on the bunker wrote: "Carving a bow and a white horse leads Changchun, and General Ban often goes hunting." The ape's arm flies suddenly, and the plain fights for archers. "The second wrote:" The plateau alfalfa is full of flowers, and the autumn wind starts to pile up the grass. Strange athletes are driving horses and singing "Big Sword Head" in chorus. He often writes some poems showing heroism and masculinity, which fully shows his romantic and wild temperament as a minority poet.
Even though he was relegated, his works were full of the life rhythm of the strong, and he could not hear the slightest concession to bad luck: "Wan Li went to Wan Li Road and stayed outside Yumenguan for a long time." Saishan is not as good as Fujian, only to see that the autumn wind is bald. In the process of living in the western regions, Tie Bao also described and recorded the local customs and social conditions of many ethnic groups with vivid poems. The banquet danced when drunk, the red makeup and gold ornaments were dazzling, and the posture and wings were swaying "("Guina Qu ") conveyed the wonderful charm of Uygur folk dance; "Three hundred and sixty days, like a boat, began in the month of the year, and the heart of worship is the most sincere in the boudoir, and the purpose of sipping is to admire the new moon, which reproduces the unique customs and habits of the Muslim people to celebrate the jubilee. With the common cultural bearing of Manchu literati, the poet expressed his sincere respect and closeness to the colorful traditional cultural events of all ethnic groups in Xinjiang. In Tie Bao's time, there were recognized poets in the Central Plains literary world, including Shen Deqian, who pioneered the theory of mode, Weng Fanggang, who advocated the theory of texture, and Yuan Mei, who expounded the theory of soul. As a Manchu writer, Tie Bao did not blindly follow this principle. He disagreed with the archaization tendency of Shen and Weng's poetics, and pointed out: "After thousands of ancient people gathered together, if you want to bring forth the new in one or two languages, you can only record it at any time and place because of the natural luck of heaven and earth, and nourish the wave of articles with the strange changes of nature. The words are different, and the more true the better. If we are not like the ancients, the ancients can't catch my spirit. There is no good way to say poetry today. "(preface to copying Mei 'an's poems)"
Tie Bao maintains that only by expressing his "temperament" can he succeed in poetry creation. His emphasis on "temperament" and Yuan Mei's emphasis on "theory of spiritual nature" have similarities and differences in pointing out that literary creation should emphasize personal temperament. The theory of "spirit of nature" focuses on the agility of poetic interest, and sometimes it is inevitable to jump out of the void, while Tie Bao's understanding is more in line with the artistic law that life is the source of creation. He once said: "Yu Zeng said that poetry is full of gas, not thicker than gas, although he tried his best to carve it." Some people say that poetry is expensive. To tell the truth, there were more than 100 ancient poets and tens of thousands of poems. If you are perfunctory, you will fall into the trap of your predecessor. Desires are different, but that's all there is to it. Things are unpredictable, and new ideas are born with the environment at any time. Different realms lead to different interests. If I can tell what I see in the book, then the arrangement of nature is the wave of my poetry. Different times, different environments, different people, although there are thousands of ancient people in Qian Qian, they can't hide me! Tie Bao's poetic theory, together with those of Nalan Xingde and Kangxi Emperor, constitutes the basic framework of Manchu classical poetic theory, and also contributes to enriching China's multi-ethnic literary theory.