Wang fuzhi. The word Nong, named Jiang Zhai and Xi Tang, was born in Hengyang County (now Hengyang, Hunan Province), the state capital of Huguang. He, Gu Yanwu and Huang Zongxi are also called the three great thinkers in the Ming and Qing Dynasties. His works include The Biography of Zhouyi, Huangshu, Shangshu Yinyi, A Record of Yongli, On the Spring and Autumn Period, Nightmare, On Reading as a Mirror, On the Song Dynasty, etc. Which dynasty did Wang Fuzhi come from? Please refer to it!
Wang Fuzhi studied with his father and brother since childhood. In his youth, Wang Fuzhi took an active part in the anti-Qing uprising. In his later years, Wang Fuzhi lived in seclusion in Shichuanshan, wrote a book and made a biography. Since then, scholars have called him Mr. Chuanshan. Which dynasty was Wang Fuzhi from
Late Ming and Early Qing Dynasty
Philosophical achievements
Wang Fuzhi's philosophical thoughts can be summarized in seven points:
First, he opposed asceticism and advocated that we can't talk about justice without human desires, and justice lies in human desires. Wang Fuzhi criticized Cheng Zhu's Neo-Confucianism's theory of "keeping heaven and destroying human desires" in his books, such as Zhouyi Biography and Shangshu Yinyi.
Secondly, the ideal of "ruling the world, opposing autocracy and patriotism". Wang Fuzhi pointed out in Reading as a Mirror and Song Theory that "those who level the world are just the same".
thirdly, the monism of qi. Wang Fuzhi thinks that qi is the only entity, not "nothing outside the heart". Wang Fuzhi also pointed out that everything that exists between heaven and earth is a concrete object, and the general principle exists in concrete things. It must not be said that concrete things depend on the general principle. Wang Fuzhi believes that although "metaphysics" and "metaphysics" have the name of upper and lower, it does not mean that there is a boundary between upper and lower. From the source of knowledge, principles and laws are derived from the abstraction of things. Therefore, there should be concrete shapes first, and then abstract ideas. Taoists and Buddhists regard nothingness as infinite and absolute, while "being" as finite and relative. Wang Fuzhi thinks that this reverses the relationship between relative and absolute. In his view, "being" is infinite and absolute, while "nothing" is limited and relative. Wang Fuzhi demonstrated this way: People usually talk about nothing, which is relative to being. It's like saying that a turtle has no hair relative to a dog and a rabbit has no horns relative to a deer. Therefore, talking about "nothing" is just talking about "nothing." Wang Fuzhi believes that waste is motionless and absolute silence is extinguished, which is not found in heaven and earth. Wang Fuzhi said, "moving and imaging are static", "those who are static are static, but they must not move", and "those who move tend to move, and those who move and stop are static". Wang Fuzhi's words show that stillness contains movement, and stillness is a temporary state in which movement tends to be stable locally and becomes an image, so what is still is not solidified, but vivid and flexible.
fourthly, the debate between mind and matter (knowing and doing)-opposing the transcendentalism of "being born with knowledge". Wang Fuzhi said, "The ears are bright, the eyes are bright, and the mind is sharp. The voice of entering the world studies its reason, and the way of people is also. Cleverness must be distinguished by sound, and clarity must be determined by color. You can get it by thinking, but you can't do it without thinking. Do you suddenly have a smell, but you can see it at a glance, but you don't want to think about it. The hole is bright, like a firefly. Go, then the life of the world knows, nothing is like an animal. " ("Reading Four Books, The Analects of Confucius and Ji's Chapter") It means that the way to know the world is to get into the sounds of all things in the world and explore the laws of knowing things. In other words, knowledge is acquired, and it is not born with knowledge.
fifthly, reveal the dialectical nature of "name", "ci" and "tui". Wang Fuzhi believes that true knowledge must be the unity of name and reality. "Knowing the truth but not knowing it, knowing the truth but not knowing it, knowing nothing." Whether the concept can faithfully describe the reality and whether the logical thinking can grasp the law of the development of the universe is a big problem in epistemology. Laozi talks about "namelessness", Zhuangzi talks about "sitting and forgetting" and Zen talks about "mindlessness". The similarities between * * * are that famous sayings and concepts are not enough to express the way of change, and only by getting rid of all appearances can we achieve unity with ontology. Wang Fuzhi put forward "thinking", which means that people can think correctly. Wang Fuzhi regards the concept as a process, which can neither be rigid by clinging to the concept, nor can the movement of the concept be regarded as an instant birth and death without leaving a trace.
sixth, the historical view of the unity of reason and potential. Wang Fuzhi put forward "the unity of reason and situation", and in his book "Reading as a Mirror", he comprehensively criticized and reflected on the historical forms such as "the view of restoring ancient ways" and "the view of recycling history" put forward by predecessors.
Seventh, the theory of human nature that sex is born day by day. Wang Fuzhi put forward that human nature is not static, but constantly developing and changing in his book "Four Books". At the same time, the formation of human nature is not all passive, and people can take the initiative to weigh and choose. He said: "at the beginning of life, people have no right and can't take it for themselves." ..... After being born, people have both the right and the ability to take it for themselves.
literary achievements
Wang Fuzhi thinks that writing and writing poems should be emotional, and he can't moan without illness.
Emotion is the basic requirement of Wang Fu for poetry. Poetry creation has developed from the peak of Tang poetry to Song and Ming dynasties, and there are many biases. In Wang Fuzhi's view, poetry, as an art form, takes emotion as its main feature, and can't replace emotion with theory, let alone replace poetry with other styles or knowledge. "The way of writing has its own merits" (comment on Gao Shi's "Returning from Ketone to the North"). "To cultivate one's temperament, it is necessary to have a unique purpose, and it is impossible to learn from classics, bamboo slips and exegesis." "Poetry with Tao temperament, Tao of love also. There are natural virtues, kingliness, deeds, righteousness, rites and music, and articles in sex, but they are assigned to Yi, Shu, Li and Chunqiu. They cannot represent the temperament of Poetry, nor can Poetry. Never break this boundary, since Du Fu. To hide the glory of sex by showing kindness to your nephew; Who is the culprit of elegance? " Wang Fuzhi doesn't admire the works of "history of poetry" that blur poetry and history books, especially in the selection of Tang poems.
Wang Fuzhi inherited and developed the fine tradition of expressing ambition and feelings in classical poetic theory, and proposed that "the original voice of the heart" should be used as a poem. Poetry is based on Taoism, and Taoism is also the way to speak. Wherever you are sad, you will find poetry. Where poetry goes, love comes. Emotion and poetry are inseparable: "Literature is born of emotion, and those with deep feelings are not shallow" (comment on Zhang Xun's "Smelling the flute"); "Affection is deep and civilized" (comment on Liu Zongyuan's "Bieshedi Zongyi"), but not all emotions can be poetic. Confucius said, "Poetry can flourish. You can watch, you can group, you can complain. " As an outstanding patriotic thinker, Wang Fuzhi attaches great importance to the social function of literature. After the poet's feelings are injected into his works, he should have the function of "moving people to enjoy the scenery and complain". At times, these four elements should be closely related and complementary, and "taking photos to enjoy the scenery and complain in a Shanghai" (comment on Du Fu's Wild Hope).
In the process of writing, the emotions that make poetry play the role of "enjoying the scenery" need to deal with two relationships: one is emotion and scenery, and the other is emotion and sound. As for the relationship between poetic scenes, Wang Fuzhi thinks that "those who are not emotional can't be used as scenic language". The relationship between emotion and scenery can't be as rigid as "crossing the Yangtze River" (comment on Ding Xianzhi's Crossing the Yangtze River), but only stick to "feeling in the scene" (comment on Liu Zongyuan's Yang Baihua). "There is affection in the scenery, and affection contains scenery, so it is said that the scenery is the scene of affection, and the affection of the scenery is also the scene of affection" (comment on Cen Can's "The first trip to the western suburbs of Wei in the spring is the main thin of Lantian Zhang Er"), and "it depends on the will", so as to achieve a seamless and seamless _ on the top. Regarding emotion and sound, Wang Fuzhi emphasized the aesthetic effect of music on poetry, and hoped that emotion and rhythm would be in harmony, and poetry rhythm would be in harmony with the poet's inner emotional rhythm. There is a cloud in Volume II of Introduction to Yongri in Xitang: "The Book of Music says:' Every sound starts from the heart'. It should be based on Muer's heart-to-heart. " Wang Fuzhi commented on Li Bai's poem "Su Wu": "When you sing and sigh, you will write the truth, and the listener will have his sorrows and joys." For those works that are divorced from poetic sentiment and stick to the rhythm, they are very exclusive. "Poetry can't be restrained by law" and they think that "it is the poet's behavior to get rid of the rhythm and get rid of it."
Historical achievements
Wang Fuzhi's historical view
First, induction. Wang Fuzhi is good at analyzing many historical facts and summarizing them, thus drawing enlightening conclusions. For example, he concluded that the reason for the demise of the Tang Dynasty was "the death of the Tang Dynasty, and the death of people scattered", that is, the important officials of the court were divided and fragmented, and they could not unite to work for the central government.
second, comparative method. Wang Fuzhi used this method to discuss the historical changes of ancient and modern times, the ups and downs of characters, from the outside to the inside, eliminating the false and retaining the true, and reached many innovative conclusions. For example, predecessors made many similarities and comparisons on the demise of Qin and Sui, and Wang Fuzhi pointed out that there were similarities and differences between the demise of Qin and Sui.
thirdly, the method of historicism. Wang Fuzhi's theory of history is magnificent. Although he has been in and out freely for more than a thousand years, he has never commented arbitrarily. Wang Fuzhi's theory of history fully considers the historical background and does not hold a general view. For example, when discussing the Western Regions, he thought that the different historical backgrounds of Han and Tang dynasties led to the differences in the status of the Western Regions in these two dynasties.