economy
The Song Dynasty began in 960, and Zhao Kuangyin took Tokyo as its capital, which lasted for more than 300 years. In the Song Dynasty, especially in the Southern Song Dynasty, due to the reduction of cultivated land and the blocking of the Silk Road, China was forced to turn to a commercial economic model, especially maritime trade. During this period, businessmen were liberated to the greatest extent, and finally the great prosperity of commercial economy was realized, and the early capitalist relations of production began to appear. At that time, the economic aggregate of the Southern Song Dynasty accounted for 50% of the world. In the Southern Song Dynasty, the population of Lin 'an, the largest city, had exceeded one million, while Europe was still living a miserable life under the dark rule of the Middle Ages. The invention of the compass in the Song Dynasty brought navigation technology into the ocean age. Ocean-going merchant ships have six masts, four decks and 12 large sails. They can carry more than 1000 people and sail all over the world, which amazed people all over the world. wen tianxiang
The demise of the Song Dynasty and the devastating impact of nomadic people on the advanced relations of production in the Song Dynasty made the advanced oriental civilization, which had been in the rising stage, gradually weaken and eventually fell behind the mainstream stage in the world. The Southern Song Dynasty regime and the Jin regime were opposed for a long time, and the north and the south were isolated. South-North culture has only conducted limited communication through narrow channels such as private market transactions on the border between the two sides and official exchange of envoys. Because the overall level of culture in the Southern Song Dynasty is higher than that in the North, this exchange is mainly manifested in the radiation of the Southern Song Dynasty culture to the North culture. Neo-Confucianism, literature and history in the north are all influenced by the culture of the Southern Song Dynasty.
tile-roofed house
Washe is a folk art performance place popular in Goulan, China in Song and Yuan Dynasties. It is an important cultural phenomenon in the history of China drama and has a unique position. According to various historical records, there were 24 tile houses in Lin 'an in the Southern Song Dynasty, which did not include "Dugou Lanwa City", that is, there was only one entertainment place in the tile house. Most tile houses have multiple hooks, and the number of hooks in each tile house is different. "Numerous Victory Records of Old People in West Lake" records: "Only the north tile is big, and there are thirteen goulan." In addition, Lin 'an also has the kind of "Dugou Lanwa Market, which is a little far away, doing night shows in tea shops". Each tick can accommodate different numbers of people. Volume II of Dream in Tokyo records that Bianjing "has the largest lotus shed, peony shed, Riwazi hag shed and elephant shed, which can accommodate thousands of people". And every performance of Goulan is from morning till night, from spring to winter, without rest all year round. As the old man of the West Lake in the Southern Song Dynasty said in "The Record of Invincible Victory", the citizens of Lin 'an "have no social fire in Leng Yue in the middle of winter, and the tile market enjoys itself". "Tokyo Dream Record" said: "Don't meet people with wind and rain, the shed is like this every day." Cans, cans and bottles
It is conceivable that there are about hundreds of goulan performances in more than 20 Vacherie in Lin 'an, and thousands or hundreds of spectators are watching the play in each goulan. Roughly speaking, there were 20,000 to 50,000 theater audiences in Hangzhou at that time, and the cumulative audience reached 7 million to 20 million a year.
Neo-Confucianism
The most influential culture in the north of the Southern Song Dynasty is the characteristic culture of the Southern Song Dynasty-Neo-Confucianism. Before and after the Jubilee of the Southern Song Dynasty, that is, before and after the Jin Dynasty moved its capital to Bianjing, Neo-Confucianism works were introduced to the north one after another, such as The Analects of Confucius, The Biography of the Spring and Autumn Period by Hu Anguo, The Analects of Confucius by Zhang Jiucheng, The Complete Interpretation of Shangshu by Lin, The Interpretation of Keshan Books by Xia and Zhu's Notes on Four Books. Zhao Bingwen and Ma Jiuchou even "call themselves Taoists ..." (Lingchuan Collection, Volume 26, Taiji Academy). Neo-Confucianism works in the Southern Song Dynasty directly promoted the rise and development of Neo-Confucianism in the North. On the one hand, the northern literati arranged and reprinted the works of Neo-Confucianism in the Southern Song Dynasty. For example, Fu Qi edited Zhang Jiucheng's The Analects of Confucius, Mencius, The Doctrine of the Mean and The Way of University, and compiled a book The Origin of Taoism, which was widely circulated. Zhao Bingwen and Wang Ruoxu introduced and prefaced the Origin of Taoism respectively. Zhao Bingwen himself wrote ten volumes of The Analects of Confucius and Mencius. On the other hand, some northern scholars began to write books about Neo-Confucianism, showing their own thinking. For example, Ma Jiuchou lived in seclusion in the western hills of Suiping, and devoted himself to the study of the Book of Changes and the Spring and Autumn Annals, which once enjoyed a high reputation. Zhao Bingwen wrote various works to illustrate his understanding of Tao, but unfortunately these works have been lost. Neo-Confucianism in the Southern Song Dynasty was popular in the north for a period of time because it adapted to the needs of Jin and Yuan dynasties. The interpretation of Confucian classics such as The Analects of Confucius and Mencius by Neo-Confucianists in the Southern Song Dynasty is relatively weak in political reality, which is basically consistent with the idea that rulers in the Jin and Yuan Dynasties respected and advocated Confucian classics. For example, Jin Shizong asked people to translate the Five Classics, so that jurchen could "know where virtue lies", while Jin Xizong himself "read The Analects of Confucius, Mencius, Shangshu and Chunqiu Zuozhuan". In this context, Neo-Confucianism in the Southern Song Dynasty was naturally unimpeded. It is worth noting that the northern scholars' comments on Neo-Confucianism in the Southern Song Dynasty are not simply following or echoing, but more thinking about Neo-Confucianism in the Southern Song Dynasty. During the Southern Song Dynasty, only Zheng Hou and others criticized Neo-Confucianism. His eclecticism rejected Mencius, and he was deviant, and was denounced as a "heresy" by Zhu and others (Volume 123). In the north, Li Chunfu preached the theory of Zheng Hou, claiming to be the descendant of Zheng Hou, claiming that "since Zhuang Zhou, there were only Wang Ji, Yuan Jie, Zheng Hou and me" (Volume I of Gui). He believed in Buddhism, and in order to criticize Neo-Confucianism, he wrote a book "Ming Dow Collection" specially for the Southern Song Dynasty. "What Yichuan, Hengqu and Huiweng earned was not borrowed by Shang Lue at all, but they hated each other at the same time" (Volume 4 of Zhongzhou Ji), so there are often some extreme theories. Apart from Li Chunfu, Wang Ruoxu is a man who challenges easily. His Five Classics, Analects of Confucius and Mencius are mainly aimed at Confucianism in the Song Dynasty, especially Neo-Confucianism in the Southern Song Dynasty. Zhang Jiucheng, Zhu, Hu Anguo, Ye Shi and others are all objects of his refutation. However, he is more orthodox than Zheng Hou and Li Chunfu, and his cross-examination is more pertinent and accurate. As for Zheng Hou, like most Song people, he criticized Zheng Hou for being biased and inappropriate: "Zheng Hou is a boy who dares to speak without fear. As far as Mencius is concerned, Tang Wu and Zhouyi are both wrong and even reviled. To the disciples of Xiaocao Pingbo, the ancestor of the Han nationality, they respectfully call them sages and eagerly call them. After that, they regarded Ou Gong's illness as a thin disease. What is the reason for killing their husbands? " Different from Song Confucianism, he was able to get rid of the unrealistic or far-fetched theories of Song people, re-examine Song Confucianism's views from the perspective of human nature, show a more pragmatic tendency, and achieved outstanding results. The Analects of Confucius and The Chapter of the Rural Party mainly record the daily life of Confucius, but Zhang Jiucheng's works such as The Analects of Confucius and The Interpretation of the Analects of Confucius dig their great significance and exaggerate them, thinking that the rural party can be compared with the Spring and Autumn Annals, and that "if you don't learn from the rural party, you don't know the use of the Spring and Autumn Annals; Without studying the Spring and Autumn Annals, we can't know the God of Bitter Hometown (The Theory of Bitter Hometown, Volume 4 of Hengpuji). Wang Ruoxu severely criticized him for being cunning and boastful. His criticism of Song Confucianism, as mentioned in the Summary of Siku, "is enough to break the imprisonment of Song people".
literature
The literature of the Southern Song Dynasty correspondingly promoted the development of the North. This is more obvious in novel and poetry criticism, because the political nature of novel and poetry criticism is relatively weak and readers are wide. Hong Mai's Jane Yizhi is mainly about ghosts and gods, which spread to the north earlier. In the thirteenth year of Xichun (1 186), Zhang Sen went to Jin State, and the North Ambassador asked with concern: "Since then, has it been continued?" (The Biography of Soldiers, Volume 8). This shows the great influence on the north. Under this psychological expectation, Yuan Haowen's sequel "Continued Records" came out. Hu Zai's "Tiao Xi Yu Yin Cong Hua" is one of the most important poems in the Southern Song Dynasty, which can be described as a poetry database. After the book was introduced to the north, it was welcomed and valued by people. Su Shinan Dialect, the most famous northern poem, is closely related to Tiaoxi Echoes. About one third of the materials in Su Hua come from Cong Hua. A considerable part of Wang Ruoxu's refutation is directed at people in the Southern Song Dynasty, including Hu Zaixiang. In other words, the Southern Song Dynasty poetry talk is an important background and premise for Anxun's poetry talk creation. In addition, the study of Du Fu's poems in the Southern Song Dynasty also had great repercussions in the north. Du Shi's research works such as Zhao Cigong's Du Shi Discrimination, Wu Ming's Du Shi Qian Zhu, Bao Biao's Du Shi Pu, Du Tian's Du Shi Correction and Xu Zhai's Shi Pin were first introduced to the north, which directly promoted the development of Du Shi's poetics in the north. It was under the impetus of Du's poetics in the Southern Song Dynasty that Yuan Haowen compiled Du's poetics and put forward the word "Du's poetics" first, thus opening a new chapter in the study of Du's poetics.
poetic sentiment
The Southern Song Dynasty made great achievements in poetry, and You, Yang, Fan and Lu were also called the four masters of Zhongxing. Among them, Fan Chengda once went to the north and wrote 72 famous quatrains on the way, but none of his poems mentioned the north. Yang Wanli is the only one of the four families who has a direct and reliable literature record, and his poems were introduced to the north. Chengzhai style takes nature as its object of expression, which is unique and deeply loved by Li Chunfu and others. Li Chunfu publicly praised the "liveliness and difficulty" of the residential style, but in Li Chunfu's existing poems, there is almost no shadow of the residential style. On the contrary, there are some scenery works similar to the residential style in Wang Tingjun's and Zhao Bingwen's earlier poems. With the national situation of the Jin Dynasty becoming more and more dangerous until it perished, the relaxed and lively house-building style became more and more unsuitable to the reality of the late Jin Dynasty and was doomed to be left out in the cold. Yuan Haowen said in the poem "Laughing and Laughing": "Poetry is close to wine, and bamboo is hidden in the South Lake. How much do you know about the new sentence in your sleeve? " According to Mr. Qian Zhongshu's explanation, Athena Chu and Nanhu refer to the poets Xu Sidao and Zhang Zi who admired and imitated Chengzhai style in the Southern Song Dynasty. This poem means that Xu Sidao and his ingenious poems are still worth mentioning in front of Su and Huang. Yuan Haowen's new creation of two famous artists, Su and Huang, crushed Xu and Zhang, and it was inevitable that he would give up everything and start over. Maybe he used them to crush the famous house behind him. In Yuan Haowen's poems, there is no sign of imitating the house style, which shows that the actual influence of the house style in the north is getting smaller and smaller. Besides sincere style, Lu You's poems are also likely to be introduced to the north. Weng Fanggang, a Qing Dynasty man, juxtaposed Lu You with Yuan Haowen, saying that "the sky is full of strange flowers and different angles", but apart from two similar poems in Qin Yi Lu by Qian Zhongshu, there is no other direct document to prove that Yuan Haowen has read Lu poems or been influenced by them. Restricted by the enemy regime, Lu You's poems are particularly political and cannot be accepted openly by northern literati. Generally speaking, the poems of the Southern Song Dynasty, which held high the banner of patriotism, seriously conflicted with the official consciousness of the Jin and Yuan Dynasties, and did not have much direct influence on the poems of the North.
Ancient vocabulary
Ci has always been regarded as a path because of its different nature from poetry, so it is relatively free. Xin Qiji's ci, which was born in the north, was loved by many people after being sent back to the north. In the second year after Kim's death, Liu Qi praised his literary works. Later, Yuan Haowen even held Xin Ci to a high position, saying that "Dongpo was the first in Yuefu and then in Xinjiaxuan". It should be said that Xin Ci had a substantial impact on the Ci circles at the end of Jin Dynasty headed by Yuan Haowen. Yuan Haowen's ci is considered as "enough to rival Jia Xuan" because of the irrigation of Jia Xuan's ci. In various styles, the achievements of prose in the Southern Song Dynasty are lower than those in the Northern Song Dynasty. In addition, it is difficult for northerners to accept the strong national sentiment in prose, so it has little influence in the north. Wang Ruoxu once mentioned Sun Bin's "Fu Xie Wen Fu Ge Waiting for Tabulation", and severely criticized it from the stylistic point of view, and based on this, he concluded that "prose was very harmful after crossing the river in Song Dynasty" (Collection of Southern Jiangsu, Volume 37). In terms of historiography, the works that Wang claimed to have introduced to the North in the Southern Song Dynasty include A Brief Introduction to the East, Hu Yin's Reading History, Lv Zuqian Memorabilia, and Lu's Family School as a Mirror, the last three of which are all as a mirror works, which shows the great influence of such works in the North. Cai Jue, Xiao Gong, Wan Yanhui and others in the north all like Tongzhi Jian very much, and each has his own expertise, which is convenient for people to pay attention to the study of Tongjian in the Southern Song Dynasty. Zhao Bingwen deeply regrets that Lv Zuqian failed to complete the memorabilia. He said in the poem, "It's sad that he wrote memorabilia and died before reading the Bible." (Ji Hydrology, Volume 9, Beauty of Yang Shangshu). After the death of Jin Dynasty, the study of northern Tongjian developed rapidly, and Yuan Haowen's theory appeared a popular phenomenon of "talking about it by military officers and reciting it", followed by Tongjian's works, such as Lu Tongjian's detailed sections and various sections.