Volume 5 of Shen Deqian's "The Source of Ancient Poems" says: "Meng De's poems are still in Chinese pronunciation, and below Zihuan, they are pure Wei Xiang." Volume 5 of Chen Zuoming's "Selected Ancient Poems of Caishutang" also says: "Xin Judging from the style, Meng De is all Chinese pronunciation, and Pi and Zhi are mostly Wei Xiang." The so-called "Han pronunciation" and "Wei Xiang" refer to the two different development stages of Jian'an poetry. "Han Yin" is a generous and tragic song, simple and profound; "Wei Xiang" is touching with emotion, gorgeous and powerful. These are two different manifestations of "Jian'an style". Generally speaking, Qizi's poems are neither "all Chinese sound" like Cao Cao, nor "purely Wei Xiang" like Cao Pi and Cao Zhi, but they are the bridge between "Han sound" and "Wei Xiang".
From reflecting the turbulent social reality to expressing personal inner emotions, it is an important part of the transformation from "Han Yin" to "Wei Xiang". Liu Xie's "Wen Xin Diao Long·Ming Poems" said that the Jian'an poets were "generous with their ambitions and upright with their talents." The so-called "generousness" refers to the emotion of sadness and sadness; the so-called "renqi" refers to the flourishing literary spirit and strong character. Reflecting reality and Kang's sadness are important features of "Chinese pronunciation". As a man of insight who dared to face reality, Qizi inherited and carried forward this tradition. Their poems are rich in content, strongly echoing the realist spirit rich in the "Hanyin" stage, and showing deep sympathy for the people. One of Wang Can's "Seven Poems of Sorrow" depicts a picture of refugees in exile. "You can't see anything when you go out, but the plains are covered with bones" is a high-level summary of the turbulent reality in the late Han Dynasty, and the scene of the hungry woman abandoning her son is a close-up shot carefully taken by the author from many scenes of refugee life. "The pain of troubled times, the words "It's so real" (Volume 7 of Chen Zuoming's "Selected Ancient Poems of Caishutang"), which gives readers a concrete and real feeling for the people's suffering and shocks people's hearts. The fifth part of "Poetry on the Military" specifically describes the huge damage caused to the country by the war: "There are no fireworks in all directions, but forests and hills. Hazelthorns grow in the city walls, and the paths are nowhere to be found." There are few people, overgrown with weeds, and the home and country Broken, this is a true portrayal of a turbulent society. Ruan Yu's "Poetry of Resentment" expresses his deep sympathy for the serious disasters that the real society has brought to the people. "The people's livelihood is destined by fate, and they float like dust in the river. Although they are called a hundred years old, who can live up to this life? They are still suffering from the misfortune of infants, and they live in constant hardship." In the poet's view, the real society is like a sinful road that devours people's lives. The river, and the people at the bottom of society are just a grain of dust in the river, unable to control their own destiny. Disasters are like shackles around the necks of the people, from which they cannot break free. This poem expresses the common feelings of people in the society at that time, and expresses the grievances of thousands of people who are suffering at the bottom of society. In addition, Chen Lin's "Drinking Horses on a Journey to the Great Wall Cave" describes the hardships of military service and corvee service, Ruan Yu's "Driving Out of Beiguo Gate" describes the tragic experience of orphans, and Ying Jian's "Farewell Poems" describes the homesickness of living in another country. etc., all reflect the turbulent social reality from different aspects, and all of them are full of generosity and sadness. It can be said that these touching songs of Qizi are the product of the social reality at that time and the sound of the times.
Qizi has many works that reflect reality, but more of his works express personal inner emotions. Most of these works have a rich lyrical atmosphere and sincere and moving emotions. It is neither a song of praise nor a satirical admonishment, but a bold expression of the author's personal thoughts and feelings. It should be said that the artistic characteristics of moving people with emotion embody the inherent characteristics of the "Wei Xiang" new style. Previous comments have noticed this: Chen Zuoming said that Wang Can's "Seven Sorrows Poems" "works with love first", Ying Jun's "Farewell Poems" "naturally enters into love", and Liu Zhen's "Gift to the Master of the Five Senses" "The feelings are sincere" (Volume 7 of "Selected Ancient Poems of Caishutang"), and Shen Deqian said that Xu Wei's "Shisi" is "extremely profound" (Volume 6 of "The Source of Ancient Poems"). These comments are very insightful.
Liu Xie's "The Literary Mind and the Carving of Dragons·Chronology" said: "Looking at the literature of the time, it is elegant and generous, good things are caused by the chaos of the world, the decline of customs and resentment, and the ambition is deep and the writing is long, so it is concise." Too angry. "The Seven Sons lived in an era of frequent wars. People left their hometowns and their relatives were scattered. Therefore, expressing the emotions of separation has become one of the important themes of the Seven Sons' poems. The second part of Wang Can's "Poems about Joining the Army": "If a husband is pregnant with relatives, who can be without love? Jin leans on the boat and Qiang, and his family members miss Ye City. "This kind of uncontrollable sorrow is exactly what the Seventh Son felt at that time. Another example is Xu Wei's "Reflections on the Chamber" Wei "The good meeting has not been scheduled, and the heart is broken and hurt"; Ruan Yu's "Seven Sorrow Poems": "When I go out to look at my hometown, I only see wormwood and grass"; Ying Jue's "Farewell Poems": "I am nostalgic for the land when I am traveling, and I feel sad beyond words";... They are all sad and sad, although this sentimental mood makes people sad. However, they are not depressed or depressed because of this, but they often have a positive and enterprising spirit in their lamentations. This is prominently reflected in Qizi's poems: "Although there is no lead knife to use, the common people are still struggling to survive" ( Wang Can's "Poems about Congjun" Part 4); "I never tire of my heart, and my wings are soaring with the purple atmosphere" (Liu Zhen's "Gift to Congdi" Part 3); "If Lu Wang is not hopeful, how can Yi Qi be admired" (Kong Rong's Miscellaneous "Poetry" Part 1); "When the common people are here and the king is here, their virtues will bring fame" (Chen Lin's "Excursion" Part 2); "If you want to meet the clouds and rain, you will climb the high ladder of the Yiling Mausoleum" (Ying Jian's "Serving the Five Senses Zhonglang General Jianzhang") "Taiji Poems"), etc., are all filled with heroic feelings of taking advantage of the times to make achievements. Of course, there are also laments about the ups and downs, and laments about the passage of time and the difficulty of achieving ambitions. But whether it is the pursuit of ideals or the melancholy when frustrated, They are all expressions of the author's true feelings.
From these works, we can feel the deep sorrow that the turbulent reality aroused in the poet's soul, and we can also see the resulting strong desire to save the world and the people and make contributions. Paying attention to lyricism and always running with a high-spirited tone can be said to be the basic characteristics of the new style of "Wei Xiang". Qizi's poetry reflects the transition from "Hanyin" to "Weixiang" from reflecting social reality to expressing feelings of saving the world and making contributions.
From simple and vigorous to gorgeous and flowing, it is an important symbol of the transformation from "Han Yin" to "Wei Xiang". Generally speaking, Qizi's songs are relatively simple, especially the Yuefu poems they created, which still retain the characteristics of folk songs and popularization. But they have begun to pursue the beauty of language and form, and gradually embarked on the road of gorgeousness and growth. Mr. Lu Xun once said that Qizi's poetry "is nothing more than 'generous' and 'gorgeous'" ("The Relationship between Style and Articles, Medicine and Wine in the Wei and Jin Dynasties"), which indeed captured this new characteristic of Qizi's poetry.
Predecessors said that the poetry of the Han and Wei dynasties was chaotic and difficult to extract. This statement is not accurate. In fact, Qizi has noticed the important role of tempering words and sentences in improving the expressiveness of poetry language. Chen Zuoming once said that Gongwen's poems are "meaningful in writing and good at crafting sentences", his great poems are "ingenious in making words", and Yuan Yu's poems "have strange words in them" (Volume 7 of "Selected Ancient Poems of Caishutang"). Wu Qi also said that Zhongxuan's two sentences, "The wind and clouds dispersed, the farewell was like rain" ("Poetry to Cai Zidu") were "refined to perfection" ("The Conclusion of Selected Poems of the Six Dynasties", Volume 6). Famous lines that have been passed down through the ages, such as "Climb to the bank of Ba Ling in the south and look back at Chang'an", "Thinking of the king is like running water, how can there be no end", "Isn't it cold, pines and cypresses have their own nature" and other famous lines that have been passed down through the ages, are all carefully refined. of. These sentences are not only rich in connotation, but also have a strong sense of beauty, implicitness and endless aftertaste. Even the choice of words shows considerable refinement. The word "ting" in "The flowers are blooming" and the word "overflow" in "The flowers overflow the golden pond" not only describe the luxuriance of flowers, but also give people a dynamic beauty. And Xu Wei's good use of virtual characters was even more praised by later generations: "In sentences, many virtual characters are used to make strong, and it is not possible for people from the Wei Dynasty to do so. He uses the empty characters as transition words, and each sentence is dynamic and strong." (Volume 7 of Chen Zuoming's "Selected Ancient Poems of Caishutang") Especially the sentence "Since the King came out" in "Shisi" has been greatly appreciated and imitated by later generations. Of course, Qizi's refining of words and sentences is not as deliberate as Cao Zhi's, but it still retains its natural character. Qizi not only attaches great importance to the refinement of language, but also pays great attention to the creation of artistic conception. The third part of Wang Can's "Poetry on Joining the Army" is a poem expressing one's ambitions. The author first describes the desolate autumn scenery he saw on the way to Wu: the afterglow of the setting sun, the cry of crickets, the soaring of solitary birds, and the cold dew of grass. These characteristic scenery are organically woven together to form a typical picture. "The Sad Autumn Picture" effectively highlights Zhengfu's desolate, lonely and miserable feelings. The emotions and scenery blend together to create a rich artistic atmosphere. But this is not the author's true creative intention. The author uses this to set off the He has a strong desire to make achievements: "When you are serving in the war, how can you have any selfish ambitions? Even if you are ordered to do so, you must not violate it!" This poem not only has a rich artistic conception, but also exudes a high-spirited and enterprising spirit. They are sincere and have strong appeal. In addition, Chen Lin's two poems "Travel" and Liu Zhen's "Gift to Xu Wei" are also excellent in the creation of artistic conception to a certain extent. It already has the characteristics of gorgeous beauty and craftsmanship, as Xu Xueyi said: "The five words of the Han people are naturally wonderful, and Zijian, Gong Ao, and Zhong Xuan first showed signs of their effect. " (Volume 4 of "Poetry Sources and Styles") The emphasis on the refinement of language and the beauty of form can be said to be an important symbol of the new style of "Wei Xiang". The transformation of Qizi's poems from simple and vigorous to gorgeous and powerful embodies the "Chinese pronunciation" "The transition from "Han Yin" to "Wei Xiang".
In the transition trajectory from "Han Yin" to "Wei Xiang", we can clearly see that the two are exactly the "Jian'an style" in the front and back. There are differences and connections between them, and Qizi’s poetry is the link between them.
Expansion
< p> The Jian'an style of "Three Cao" and "Seven Sons of Jian'an""Jian'an" is the fifth reign title of Emperor Xian of the Han Dynasty at the end of the Eastern Han Dynasty, from January of the first year of Jian'an (AD 196) to the second year of Jian'an March of the fifteenth year (AD 220). During this period, the power of the Eastern Han Dynasty was mainly in the hands of Cao Cao. Therefore, later generations tended to use the term "hero" when commenting on Cao Cao, who "took the emperor to control the princes".
Putting aside politics and power, Cao Cao's literary achievements were astonishing, and he was extremely brilliant at the time, especially those led by him and his sons Cao Pi and Cao Zhi, who also admired Cao Cao. The seven sons of Jian'an worked together to create the peak of Jian'an literature.
In the ninth year of Jian'an (204), after Cao Cao occupied Yecheng, he created a relatively stable political situation in northern China with Yecheng as the center. . Those scribes who had suffered from the war unanimously defected to Yecheng and joined the Cao family. As a result, a huge Ye literati group was formed, with "Three Cao" as the leader and "Seven Sons" as the representatives. Speaking of the literary circle.
As the first literary group in the history of our country, Jian'an Literature took the lead in proposing a literary genre of contemporary significance. These people gathered together and followed the army during the war, brushing against life and death every day. . After returning, he wrote poems based on his feelings, or wrote about the hardships of the war, or described the social chaos, or missed his hometown and relatives, and the Jian'an character was formed accordingly.
What is "Jian'an style"? In fact, they are the "Three Caos" (Cao Cao, Cao Pi, Cao Zhi), the "Seven Sons of Jian'an" (Kong Rong of Lu State, Chen Lin and Kong Zhang of Guangling, Wang Can Zhongxuan of Shanyang, Xu Qianweichang of Beihai, Chen Liu, Ruan Yu Yuanyu, and Runan Yingjuan). De Lian, Dongping Liu Zhen Gongqian) and others had a generous and sad poetic style when they wrote poems. Because the "Seven Sons of Jian'an" once lived together in Yezhong, the capital of Wei, they were also called the "Seven Sons of Yezhong". Interestingly, except for Kong Rong and Cao Cao who had different political views among the seven, the other six could be described as "happy to meet each other late" with Cao Cao.
These main forces of Jian'an literature got rid of the shackles of Confucianism. Their works focused on lyricism and impassioned thoughts. They generally adopted the five-character form, especially poetry, and were famous for their strong character and generosity. The sad masculinity is what people often call the "Jian'an style".
Although they all express their political ambitions and chaotic social scenes in poetry, expressing their desire to unify the world and their pursuit of an ideal life, each of them has a different style. not exactly.
Cao Cao’s poems are deep, generous and powerful. “Dan Ge Xing” and “Guan Cang Hai” are the most familiar to the world; Cao Pi’s poems are graceful and graceful, and most of them are about the theme of a wanderer missing his wife, such as “Nineteen Ancient Poems” "Song" and "Yan Ge Xing"; Cao Zhi is rich in literary talent, gorgeous in rhetoric, and good at using metaphors. He is known as the "Jian'an Hero". The eternal famous "Luo Shen Fu" is his representative work.
The poetry creations of the Seven Sons of Jian'an are even more unique in their personality and style. According to historical data, Wang Can was the most accomplished person among the "Seven Sons". He was an all-rounder, proficient in poetry, fu, and prose. He was known as "good at both". His works were highly lyrical, and his representative work "Seven Sorrows Poems" was written by Han Dynasty. A true portrayal of the chaos and turmoil at the end of the war. Kong Rong was good at essays and essays, and his works were of sublime style. Liu Zhen is good at poetry, and his works are majestic and desolate. Chen Lin and Ruan Ji were famous as Zhangbiao secretaries at that time, and both had some achievements in poetry. The difference in their styles is that Chen Lin is more vigorous and powerful, while Ruan Ji is more natural and smooth. Xu Qian is capable of both poetry and fu, with delicate writing style and soothing body energy. Ying Yang can also write poems and rhymes, and his works are harmonious and full of literary talent.
"Looking at the literature of that time, it is elegant and generous, good things are accumulated in the world, and the customs are declining. The ambition is deep and the writing is long, so it is concise and full of energy." Liu Xie said in "Wen Xin Diao" What is said in "Dragon" Chronology" is the most appropriate description of the literary creation style and characteristics of the times in Jian'an.
In addition to Sancao and the Seventh Son of Jian'an, the famous female poet Cai Wenji during the Han and Wei dynasties is also an indispensable person in Jian'an literature. She was the daughter of Cai Yong, a famous scholar in the late Han Dynasty. She had been well educated since she was a child. She was erudite, talented in eloquence, and good at music. Such a talented, naturally beautiful, emotional and bold woman went through many hardships and was captured by the Qiang and Hu troops and stayed there for 12 years.
In the eighth year of Jian'an (AD 203), Cao Cao redeemed her, married her to Dong Si, and asked her to organize more than 400 books left by Cai Yong. This is the story of "Wen Ji Returning to the Han Dynasty" that has been passed down through the ages as a legend.
The five-character "Poetry of Sorrow and Indignation" she wrote has a total length of 540 words. The whole poem has twists and turns in its narrative and is as lyrical as crying and complaining. It is extremely contagious and is a priceless and unparalleled piece of Jian'an literature. The poet Shen Deqian of the Qing Dynasty praised him in "The Source of Ancient Poems" as "passionate and poignant, which makes people vibrate with fear and make sand fly away. Among the people of the Eastern Han Dynasty, he has the greatest power." And the writer and historian Guo Moruo did not hesitate to praise him. , he praised: "This is really a long lyric poem that is most worth appreciating since Qu Yuan's "Li Sao".", "It is a scream uttered with the whole soul."
As a literary genre, the influence of Jian'an literature on later generations of literati and literature needs no introduction. "The Jian'an period was a glorious period in the history of Chinese literature. 'Brilliant talents flourished, writers emerged in large numbers,' and various literary styles developed. It was a golden age in the history of Chinese literature." From the historian, thinker, and educator Qian Mu in "China You can read the comments in "History of Literature".
Hua Xilou: a "play" of Shanxi merchant culture and Huizhou merchant culture
Bozhou is the birthplace of Jian'an literature. If you think this is all its cultural foundation ,Then you are wrong. It also has the Flower Theater Building, which is a model of the combination of Shanxi architecture and Huizhou architecture, and the essence of the combination of Shanxi merchant culture and Huizhou merchant culture.
The Flower Theater is not a theater, nor is it a place dedicated to opera. It is named "Flower Theater" because the brick carvings, wood carvings and paintings of the theater are mostly based on local operas and zigzag operas.
In fact, it is the former site of Shanshan Guild Hall, formerly known as Daguandi Temple. It was first built in the 13th year of Shunzhi in the Qing Dynasty (1656). The gate is a three-story archway with imitation wood structure. The water-milled brick wall is inlaid with brick carvings of figures, carriages and horses, cities, mountains, forests, flowers, animals, etc. Every sculpture is ingenious and lifelike.
Brick carvings, wood carvings and iron flagpoles are the three unique features of Huaxi Building. The tour guide said that the iron flagpole is 16 meters high and weighs 24,000 pounds. It is beautifully cast and cleverly conceived. The exquisite and clear brick carvings on the Great Guandi Temple were carved, carved, and polished by workers using various craftsmanship, including 115 figures, 33 birds, and 67 animals. The scene is grand and beautiful.
"The Picture of Guo Ziyi's Birthday" is a masterpiece among brick carvings. It clearly depicts the scene when General Guo Ziyi of the Tang Dynasty celebrated his sixtieth birthday.
The longevity star sits in the middle, with a big word "longevity" engraved on his back. Surrounding him are seven sons and eight sons-in-law, hundreds of civil and military officials, family members, young and old, a total of 42 figures, which is the most figures among brick sculptures. The people who came to celebrate their birthdays have different identities and expressions. The brick carvings depict them vividly, making the viewer feel as if they are actually there.
In addition to this masterpiece of Chinese brick carving art, there are also many small brick carvings based on folk proverbs and idioms, such as: One horse leads the way, three Yangs bring prosperity, and five generations have prosperity. , everything goes well, etc., symbolizing good luck and happy life.
The so-called morning bell and evening drum are well known to the world and have existed since ancient times. They correspond to the traditional Chinese building - Bell and Drum Tower. It is the collective name of Bell Tower and Drum Tower. In ancient times, it was mainly used to tell the time. There are two types of bell and drum towers, one is built in the palace and the other is built in the center of the city. Most of them are two-story buildings. Huaxi Tower is no exception and has its own Bell and Drum Tower.
The bell tower on the left is engraved with Daliang City and the Legend of the White Snake, while the drum tower on the right is engraved with the famous story of "Three Visits to the Thatched Cottage" and the story of Empress Li living in the cold kiln (also known as the civet cat for the prince). After zooming in with a large telephoto lens, you can deeply feel the skill and charm of ancient brick-burning art and hollow carving.
Since it is commonly known as the Flower Theater, a stage is naturally indispensable. The most amazing thing about it is that not a single nail was used in the construction of the stage. It was all made of tenons, and the pigments on the outside were all refined from pure plants or mineral extracts. become. The entire stage is engraved with 18 Three Kingdoms dramas and more than 600 characters, including the Burning of Sima Yi in the Shangfang Valley, the Seven Captures of Meng Huo, and the Empty City Strategy. It’s hard to imagine how the craftsmen at that time did it. It was simply cheating.
From Jian’an literature to brick carvings and wood carvings, these words and techniques passed down by the ancients bear witness to the historical heritage and cultural imprint of Bozhou, the ancient capital of three dynasties. No matter what happened, it was the most appropriate experience. As teacher Yu Qiuyu said in "Walker Without Borders": "History is the ups and downs, history is the darkness, history is the spinning terror, history is the hidden luxury, history is the mud in the heavy rain, history is the abandonment on the cliff.
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