What is cabinet style?

A Brief Introduction to the Definition of Poetry Style in Ming Dynasty: From the Yongle period of Ming Dynasty, a so-called "Taige Style" poetry appeared. Its sponsors are called "Three Yang", namely Yang Shiqi, Yang Rong and Yang Pu, all of whom are "Taige ministers", so they call their poems "Taige style". Its appearance is a retrogression in poetry creation, because it only pursues the so-called "elegance" and is full of praise and flattery to the emperor. It is not innovative and lifeless, and its influence is not as good as the "Kunxi style" in the Song Dynasty. The "Taige Style" formed from Yongle to Chenghua embodies the spiritual outlook and aesthetic taste of the upper-level bureaucrats for a long time after Hongwu, and has widely influenced the literary world as a model. Its main figures are "Sanyang": Yang Shiqi, Yang Rong and Yang Pu, all of whom worked as officials to university students. At the same time, the creations of most senior bureaucrats can be classified into this school. Its form is mainly poetry, which can also include prose. The emergence and development of Taige style are generally related to several factors: First, it is closely combined with the official ideology, that is, Zhu Cheng Neo-Confucianism, so its thoughts and feelings are "elegant and peaceful" and have a strong Taoist spirit; The second is to reflect the life content of the upper-level bureaucrats, so there are a lot of works to be produced and sung; Thirdly, corresponding to the situation of political calm and stable personnel structure at that time (especially after Yongle), it showed a carefree mentality (for example, money was called "Taiping Prime Minister's demeanor" in Poems of Past Dynasties). They asked Wen to play the role of "managing education and adapting to temperament", and the content should be "praising morality, implementing imperial edicts and acting according to orders" (preface for Wen Min Ji), expressing his feelings should be "adapting to temperament" and expressing the thought of "loving relatives and being loyal to the monarch, blaming oneself and mourning". In a word, this is a kind of literature based on repressed morality and mediocre personality, lacking in self-inner feelings, attention to social life and enthusiasm for artistic creation. Most taige-style literati admire the style of Song people, as Dong Qichang said: "From Yang Wenzhen down, they all follow the example of Europe and Zeng." However, this admiration is more based on Zhu Cheng's Neo-Confucianism, which is far from the literary achievements of the Song people. Because of their high social status, these literati have great influence. If we follow this direction, it will undoubtedly lead literature to despair. However, in the later stage of development, some changes have taken place gradually. For example, the poems of cabinet ministers Xu Youzhen and Qin Wang, who were born in the south of the Yangtze River, show more complicated life feelings than "Sanyang". Li Dongyang (1447— 15 16) is known as the leader of Chaling Poetry School, and he presided over the poetry circle as the minister of Taige during Chenghua and Hongzhi years, and his poetic style belongs to Taige style. But as for poetry, he emphasized patriarchal Du Fu and the art of poetic language more than his predecessors. In his Poem of Huailvtang, this paper analyzes the melody, tone, structure and words of the poem in detail. This seemingly trivial discussion is actually very useful for restoring the lyric function of poetry. He proposed that "Song poetry was deep, but he went to Yuan Tang; Yuan poetry is shallow, but it is close to Tang poetry, and it also shows dissatisfaction with Song poetry. Taige Style-a style of calligraphy in Ming Dynasty. In the early Ming Dynasty, Yuan Zhang and Di both strongly advocated calligraphy because of their personal preferences, and calligraphy flourished for a while. Cheng Zu wrote a letter to domestic scholars who are good at writing, inviting them to imperial academy, and received double preferential treatment. In the Ming dynasty, when choosing subjects, they all answered questions in regular script to ensure cleanliness. Those who write poorly, even if they are knowledgeable, will fall into Sun Shan. This had a great influence on the artistic style of calligraphy at that time. Therefore, when writing, the literati only want to be correct, respectful, horizontal, vertical and neat, and write like a woodcut, thus forming the "Taige Style" of the Ming Dynasty. Taige originally referred to Shangshu (an official who assisted the emperor in handling government affairs in ancient times). Because Shangshutai is in the palace building, it is called this, and later it was extended to the representative name of the government. Taige style is an official style in Ming Dynasty. Its characteristic is that the font is square, bright and clean, black and even in size. The direct reason for the appearance of Taige style is that the imperial court entered the palace to write imperial edicts, imperial edicts, jade tablets, plaques, etc. for the need of writing internal imperial edicts and external imperial edicts (imperial edicts written by China calligraphy institutions). , especially those who wrote internal work system, were even awarded the title of China Calligraphy. During the Yongle period of Ming Dynasty, the demand for China calligraphers increased from 10 to 40 due to the compilation of Yongle Dadian, and the writing became more strict. Taige calligraphy is a special phenomenon in the history of calligraphy art, which is undoubtedly an invisible constraint on the talent and temperament of calligraphers, but it also promotes the development of iron calligraphy because of the need and promotion of imperial power, and still has its positive contribution to this day. In the early Ming Dynasty, the rulers strengthened centralization and autocratic rule. At this time, Taige calligraphy came into being and reached its peak in Yongle period, which influenced the whole book circle in the ruling and opposition circles and became the main form of calligraphy art at that time. Tiger calligraphy occupied a dominant position in the book world for more than 30 years during Yongle and Xuande years, and declined during Chenghua and Hongzhi years. Most of the famous calligraphers in the Taige style are China court calligraphers, and the representative figures are Shen's brothers, his son and Jiang Ligang, also known as "Er Shen". Shen Du (1357 to 1434), the most typical founder of Tiger calligraphy style, was born in Huating, Songjiang, Ming Dynasty (now Songjiang, Shanghai). According to historical records, Shen Du is stocky, with little machinery and knowledge. When Yongle was forty-eight years old (1404), he was called into imperial academy by Zhu Di, the founding emperor of Ming Dynasty, as a bachelor lecturer (imperial academy was in charge of teaching the history of Confucian classics in Ming Dynasty). He is good at official script, running script, especially regular script, elegant and decent, with a temple atmosphere. He was one of the "Er Shen" in the early Ming Dynasty. Jiang Ligang, the last representative of the Tiger School, was born in Rui 'an, Zhejiang Province, and his date of birth and death is unknown. According to the author's research, only Jiang Ligang's chronological works are pages of two poems written by Zhu Heyong Yi in the 16th year of Ming Chenghua (1480), and the original works are now in Nanjing Museum. Therefore, the author thinks that Jiang Ligang lived in Jingtai to Chenghua in Ming Dynasty. According to historical records, he was very clever since he was a child. He was able to write a book at the age of seven and was appointed as a scholar in imperial academy. Tomorrow, I will be awarded the Chinese Book Sheren, an official and a teenager. Gong is good at calligraphy and painting, good at regular script and running script, especially regular script, and has a family. His works handed down from generation to generation are few. According to the author's investigation, there are only four museums in China. According to the author's recent investigation of the two-volume Catalogue of Ancient Paintings and Calligraphy in China compiled by the China Ancient Paintings and Calligraphy Appraisal Group, it is very rare to find the representative works of Taige calligraphy by Shen Du and Jiang Ligang. 1. Shen Du's Poems in Regular Script is one of Nie Danian's poems in Regular Script. Paper book, length 22 cm, width 12 cm. The original is now in Jinan Museum. 2. Dong Ming in Regular Script written by Jiang Ligang is a paper book with a length of 28.7 cm and a width of 14.8 cm. The original is now in the Palace Museum in Beijing. These two regular script works are full of exquisite brushwork, round pen in the middle, vigorous and harmonious, beautiful and neat, criss-crossing, harmonious and dignified distribution. The font is neat, flat and symmetrical. The pen is smooth and round, chic and elegant. The elegant and generous structure embodies the style of Taige calligraphy in Ming Dynasty and is a model of Taige calligraphy. Therefore, the author thinks it should be the masterpiece of Taige calligraphy by two calligraphers. These two calligraphy works provide very important historical materials for us to study Taige's calligraphy creation, and also provide a basis for Shen Shu and Jiang Shu to distinguish forgeries. Appraised by experts from the ancient calligraphy and painting appraisal group in China, National Cultural Heritage Administration, the above-mentioned two Tiger calligraphy works are original works of Shen Du and Jiang Ligang 1984 and 1988 respectively. Now they are all national second-class cultural relics.