In the first year of Tang Xizong Guangming (880), the Huang Chao Uprising Army invaded Chang 'an. Si Kongtu's younger brother had a slave named Zhang Duan who participated in the Huang Chao Uprising. He enthusiastically publicized the benefits of the rebels to him and advised him to meet them. He refused and went back to his hometown by the river. Later, I heard that Nuozong lived in Fengxiang, so I went to visit him and was made an imperial edict, a calligrapher in China. In the second year of Guangming, Nuozong fled to Chengdu, but failed to catch up and returned to the river. From then until his death for more than 20 years, Si Kongtu basically lived a passive seclusion life, and most of his poems and poetics were written during this period. Si Kongtu was born in a bureaucratic landlord class family, in the era of Huang Chao Uprising and the imminent collapse of the Tang Dynasty. In the great historical turmoil, he didn't have the courage to face the reality, so he adopted a secluded life attitude. After returning to his hometown, he didn't communicate with the people or contact with the government. But "a pot of idle sun and moon, Long song goes deep into Wuling River" ("Ding Wei returns to Wangguan Valley"). "The Nong family has its own Kirin Pavilion, and the first fame is only poetry." ("Five Villages in Li Jishan Watching Apricot Blossoms") At that time, Wang Chongrong's brothers were all guarding Hanzhong and admired his reputation. He often gives more gifts, but he refuses to accept them. Later, he was tricked into making an inscription and gave thousands of silks. Si Kongtu piled them up in Yuxiang City for everyone to use. Later, he settled in the ancestral home of Wangguan Valley in Zhongtiaoshan Mountain. In this "Xanadu", there is a "Spring Stone Forest Pavilion, which is quite called the interest of seclusion", singing with eminent monks and celebrities every day. Tang Zhaozong acceded to the throne and called him into the DPRK several times, worshiping Scheeren, assisting doctors, assistant ministers of the Ministry of Finance and the Ministry of War, but he refused to accept his resignation on the grounds of an old illness. To this end, he specially built a pavilion in Wangguangu Manor, named "Xiu Xiu Pavilion", and wrote an article "Xiu Xiu Pavilion" to clarify his ambition: "Xiu Mei is also beautiful. Have a rest. It's beautiful. Call it a gift, and it is also appropriate to take a break; There are points, and it is appropriate to rest; If you are in a barren land, you should rest on three occasions. But being lazy, long and efficient, old and pedantic are not used to save time, so take a proper rest. " He also named himself "bosom friend" and "endure humiliation", and wrote a poem "endure humiliation", repeatedly chanting "take a break, Momo Momo" to express his intention of "living better".
His family has 7400 books, many of which are Taoist scriptures and Buddhist scriptures. His poem said: "The farmer has its own Kirin Pavilion, and when he first became famous, he only wrote poems." Its "Kirin Pavilion" should be its library. Most of Si Kongtu's poems show seclusion of mountains and rivers, and the content is very indifferent. He also wrote a poem to express his confession: "If there are concerns in the poem, it is not unfair to the poem to abstain." In the history of literature, he is mainly known for his poetics. His "Twenty-four Poems" is a theoretical reflection of the high development of Tang poetry art and a masterpiece of pure poetry art at that time. "Twenty-four Poems" divides the artistic expression of poetry into twenty-four styles, such as vigorous, implicit, strange, natural and refined. Each style is a product, and each product is illustrated by twelve vivid four-character rhymes. It had a far-reaching influence on later literary criticism and creation.
Si Kongtu's theories on the development of poetry are Yin Kun and Jiao Ran, which pay attention to implicit verve and mellow artistic conception of Qingyuan, and advocate "meaning is beyond taste" and "near but not floating, far and inexhaustible" (Talking about Poetry with Li Sheng); Pay attention to "the image outside the image, the scene outside the scene" ("Ji Pushu"). He highly praised Wang Wei and Wei's poetic style, but criticized Yuan Zhen and Bai Juyi for being "vigorous and furious". He also praised Li Bai's and Du Fu's works and Han Yu's songs and poems, which are magnificent, but they are not exclusive. In a collection of poems about Li Sheng, he once quoted some poems that he was proud of, such as early spring, mountains and rivers, Jiangnan, Xiaxia, funeral, Taoist temple, summer scenery, Buddhist temple, suburban garden, Yuefu, loneliness, ease, etc. Most of them expressed leisure and preferred quiet beauty. Some of his works, such as, Wang driving xiaoyi to visit Chongyang, crazy titles, accidental books, the feeling of Hehuang, etc. , also reveals his unique sad hug.
Twenty-four Poems is his poetry monograph, which is called Poems for short. Among them, the artistic style and artistic conception of poetry are divided into 24 kinds: vigorous, diluted, slim, calm, lofty, elegant, refined, vigorous, beautiful, natural, subtle, bold, smart, meticulous, wild, strange, tortuous, realistic, sad, descriptive, super-conceptual, elegant, broad-minded and flowing. It is different from Zhong Rong's Shi Pin, which focuses on evaluating the source of the writer's works.
Poetry has a wide influence in creating the form of literary criticism. In the Qing Dynasty, there were Yuan Mei's continued poems and supplementary poems, as well as Ma Rongzu's Ode to Literature, Xu Fengen's Literary Works, Wei's Twenty-four Poems and Ci Pin. Si Kongtu's aesthetic thought contains many levels. In his aesthetic masterpiece "Twenty-four Poems", there are not only explanations of various styles, but also explorations of creative methods, and more fans of the poet's own cultivation. These also have a strong guiding role and reference significance for contemporary aesthetics.
Si Kongtu's "Twenty-four Poems" expounds the twenty-four styles of poetry with twenty-four artistic conceptions, which are undoubtedly fine and exquisite. However, after in-depth thinking, these twenty-four styles also contain Si Kongtu's consistent aesthetic thoughts, such as the pursuit of nature and the weakening of aesthetic interest based on Lao Zi and Zhuang Zi's thoughts; Si Kongtu's aesthetic theories, such as "the intention is beyond the taste" and "the image is beyond the image", are also vividly reflected in Twenty-four Poems. "Nature" is the highest ideal aesthetic realm of China's ancient literary creation, and its philosophical and aesthetic basis is that Laozi and Zhuangzi advocate letting nature take its course and oppose man-made. Liu Xie said in the article Wen Xin Diao Long: "Clouds are more beautiful than painters; Flowers and trees are flourishing, and brocade craftsmen are not surprised; Husband adorns natural ears. " So the first two sentences of this product say: "Watch, don't talk about your neighbors." It means that the really beautiful poetic scene is for yourself, so you don't have to look for it deliberately, so the next two sentences go on to say: "All roads lead to Rome, and spring is blooming." "All Roads" and "Zhuangzi"; Fu Bao: "Tao can be carried, and it is also." Tao refers to nature. If we can live in harmony with nature, we can start and become spring, and we don't need to try our best to pursue it. Further development of this idea, such as flowering, such as Chinese New Year, is a natural phenomenon, not produced by manpower. The "truth" of "truth without taking it" refers to the natural truth and giving it to it. These two sentences say that those who give nature will not lose nature, and those who want to rely on human strength will lose nature. The last four sentences say that "you people" live in an empty mountain, not against the cat's wishes. After the rain, they took a walk and occasionally picked up apple grass at will, not intentionally. "Shu Yan" in the two sentences of Shu Yan Gan is an auxiliary word. For example, the Book of Songs says, "Choose words." "Affection", affection and sex refer to the nature of nature. "heavenly army" refers to the free operation and endless cycle of heaven. "Zhuangzi" says: "It is a saint who makes trouble and rests on the sky." Heaven, don't be equal to heaven. Cheng Yue: "If heaven is equal, nature is equal." This means letting everything run in a natural balance. These two sentences mean to understand the free change of everything with the nature of nature. Li Bai's "Emei Mountain Moon Song" says: "Emei Mountain falls on the Pingqiang River in the autumn of half a month. Qingxi went to the Three Gorges at night, and the four gentlemen did not see Yuzhou. " Sailing in the river on a moonlit night, the boat is integrated with the landscape, such as the appearance of nature, without a trace of artificial axe chisel.
Si Kongtu's artistic style embodies various styles of beauty developed from two basic styles of masculinity and femininity. The summary of Four Treasures of the Study's General Catalogue says that it "lists all the styles, but does not focus on the whole", and Xu Yinfang also said in the postscript that "its teacher is poetry, with a wide range of portals and eclecticism". The greatest contribution of Shi Pin to the theory of artistic style is to study the artistic style of literature from the general discussion of literary language style. In the Tang Dynasty, the theory of poetry and prose began to divide, and the style theory in poetry theory gradually turned to the artistic conception style of poetry, which can be clearly seen in Jiao Ran's 19-character style theory, while Shi Pin is a pure poetic artistic conception style theory. This is very different from Liu Xie. There are many disputes about the authenticity of Si Kongtu's Poems, but from the research progress, there is no definite evidence to prove that it was not written by Si Kongtu. However, an in-depth analysis of Si Kongtu's life thoughts and poems shows that Shi Pin is probably written by Si Kongtu. It is very obvious that poetry embodies the characteristics of "thinking and environment" and "image outside the image, scenery outside the scene" From this perspective, we can understand its literary and aesthetic characteristics. This paper analyzes the significance of Si Kongtu's Twenty-four Poems, and quotes Guo Shaoyu's Poems and Sun Changxi's and Liu Gan's Si Kongtu.
Twenty-four Poems is mainly a summary of the creative experience of Tao and Wang. It can be clearly seen from Si Kongtu's poetry works that when he commented on the development of Tang poetry, he particularly highlighted the important position of Wang and Wei and gave a high evaluation. His own poetry creation also belongs to this school. The thought of "poetry" mainly reflects the spiritual sentiment of recluse literati, which is completely consistent with the pastoral poetry school represented by Tao and Wang. Some main aesthetic concepts embodied in poetry, such as overall beauty, natural beauty, implicit beauty, vivid beauty and dynamic beauty, are mostly summarized from landscape pastoral poems. Although these aesthetic concepts are extensive, they are not only embodied in pastoral poems, but also in the form of natural scenery and pastoral scenery. Xu Yinfang, a Qing Dynasty man, said in the postscript of On Poetry with Li Sheng: "Poetry speaks of saints, both sour and salty. Take Friendship City and Suzhou as examples. This is the poet Gog, who is not good at learning and easy to fail. " Advocating "verve", its spirit is consistent with poetry, so Li and Du are not recorded in Samadhi Collection of Tang Xian, but "only the following families are pushed for the purpose of Samadhi", "Gai mainly devotes himself to running, regardless of distance, and is unwilling to take Gong Aobo as the Sect" (Weng Fanggang's Seven-character Poem Samadhi Example)
The importance and far-reaching influence of Twenty-four Poems are also reflected in its imitation by later generations, and many sequels have been produced in past dynasties, which are not limited to the scope of poetry theory. For example, Yuan Mei continued poems, supplemented poems, painted 24 poems, ci poems, continued poems by Yang Kuisheng, 20 poems by Jiang Shunyi, 24 poems by Wei Fu, and 24 poems by Yu Yongsen and Zhu.