The pioneering spirit of people in the rope pattern era was conceived and born in the unique geographical environment of the Japanese archipelago. The early Japanese ancestors developed from the outside to the inside, but the geographical environment faced by the rope-striped people was that the land bridge sank, the islands floated and isolated from the world. In this living environment, it is quite difficult to get through the channel with the mainland. Therefore, their only choice is to survive on the island first. In order to survive, we must explore mountains and oceans. This kind of development is in sharp contrast with the original development consciousness, and it is a kind of development from the inside of the islands to the outside of the ocean. In this process, the Japanese nation tamed fire boldly, and created the world-famous culture of pottery rope and island fishing and hunting culture. Since the formation of Tao Sheng cultural series from low to high, the primitive spirit of the Japanese nation, that is, the pioneering spirit, was formally born. It is in this era that the truly civilized sun of the Japanese archipelago rises in Ran Ran! With their hard work, the tattooed rope people declared to the world that the Paleolithic culture in prehistoric times and the pottery and fishing and hunting culture in the tattooed rope era are the fusion of Japanese national culture and constitute the first big stage of Japanese national culture-Japanese indigenous culture! The civilization of Japanese rope-pattern era is of great significance in the history of world civilization. It not only gave birth to an island country near the East Pacific, but also gave birth to a nation's primitive spirit-pioneering spirit!
The primitive national pioneering spirit determines the general trend of Japan's historical and cultural development, and also determines the future and destiny of Japan's country and nation. However, it is the Japanese people themselves who can really control the destiny of their country and nation, because the pioneering spirit was bred by the ancestors of the Japanese nation themselves after all. In this sense, in the extraordinary period at the turn of the century, the people of Fusang Islands should re-examine their own history and culture and calmly admit their original pioneering spirit, which is a brand-new topic facing the Japanese nation!
In fact, with the suspension of diplomatic envoys in Tang Dynasty, Japan immediately entered this stage of cultural reconstruction, from which national culture was born. As far as the characteristics of this culture are concerned, it originated from the political period of social relations. Prior to this, the dominant aristocratic class was dominated by tang style culture. However, after the suspension of the mission in Tang Dynasty, the national culture, like its own name, shifted its focus to the life and culture of the local people. Of course, this kind of culture is integrated into tang style culture, but it only emphasizes nationality. The effect of this cultural reconstruction is quite outstanding: one is the invention of Japanese characters. In this process of cultural reconstruction, Chinese characters with Japanese characteristics were created (a few of them were created by the Japanese people themselves, during which the "Six Books" system was borrowed) and special characters were combined with pseudonyms as written language units, creating the world-famous Collection of Ancient and Modern Harmony and Tosa Diary. At the same time, Japanese calligraphy works such as Trace of Harmony came into being. As far as the existing materials are concerned, Fujiwara Saori's Collection of Ancient and Modern Pen Names, Xiao Ye Feng Dao Qiu Zhang and Mo Bao Liu Luo Tie are not only flowing, but also have Wang Xizhi's calligraphy style, and because Chinese characters and pen names are integrated, they give people a unique sense of rhythm and line beauty. Secondly, it created the pure land teaching art with Japanese characteristics. In this respect, the Buddha statue of Amitabha in Pingting Phoenix Hall is the most typical. The Buddha statues created by Master Ding Chao not only show excellent craftsmanship in the aspects of back light, head light, body light, bun, spinning hair, white hair, three paths, dressing, printing, lotus seat, lotus seat, etc., but also realize mass production due to the creative method of "sending wood". Of course, the carrier of national culture is far more than these two aspects. For example, the modeling of the Phoenix Hall in Uji Byodoin Temple and the drawing of Welcome from the Holy People of Koyasan are all representative works of national culture. Limited to space, it is a bit redundant.