1. The measures, functions and historical enlightenment of promoting agricultural development implemented by the central governments of past dynasties (especially the Han, Tang, Yuan, Ming and early Qing dynasties). (1) Spring and Autumn Period: Guan Zhong of Qi State reformed internal affairs and developed production; (2) Warring States Period: Shang Yang of Qin State rewarded farming wars, and those who produced more cotton and silk were exempted from corvee; the activities of industrial and commercial persons were restricted, and abandonment of agriculture and business was prohibited. (3) Western Han Dynasty: Liu Bang implemented a policy of recuperation and recuperation; Emperor Wen of the Han Dynasty reduced land rents, taxed one tax per thirty, and even stopped collecting land rents for more than ten years to encourage farming. (4) Eastern Han Dynasty: Emperor Guangwu issued orders nine times to release and prohibit the killing of slaves, reduce taxes, and restore land rent from ten taxes to one to thirty taxes to one in the Western Han Dynasty. (5) Three Kingdoms: Cao Wei implemented farming and attached great importance to the protection of agricultural mulberry; after the founding of the Wei Dynasty, it continued to attach importance to agriculture and the construction of water conservancy; Zhuge Liang of the Shu Han Dynasty implemented the policy of reducing taxes and rewarding farming.
The use of imagination and association in character evaluation is sometimes very prominent, such as:
"Shi Shuo·Rong Zhi Pian": "Ji Kang is seven feet eight inches long and has a graceful appearance. It's so beautiful. Those who saw it sighed and said: "It's so solemn and refreshing. It's as solemn as the wind under the pines."
"Shi Shuo·Praise and Reputation": Li Yuanli is as strong as the wind under the pines. "The same as in the previous chapter," the biography of the Li family said: "Uncle Zhu in Nanyang is like walking under the pines and cypresses."
The wind spirit of a person is like the wind under the pines. What does it matter? Panasonic wind or walking under the pines and cypresses is the feeling of a certain natural scenery, an aesthetic feeling. It connects the character's wind, spirit and bones with the aesthetic feeling of the natural scenery. It is purely an aesthetic association at work. Another example:
"Shishuo: Appreciation Chapter": "When Pei Linggong looked at Xia Hou Taichu, he was as solemn as entering a corridor temple. Instead of practicing respect, people respect themselves." One said: If you enter the ancestral temple, you will only see ritual instruments. Seeing Zhong Ziji is like looking at an arsenal, but seeing a halberd. Seeing Fu Langu, Jiang Jiaomi was incomparable. Seeing the huge source of the mountain is like climbing a mountain and coming down, it is quiet and far-reaching. "
The same chapter also contains: "Yan Zhongbi, the Crane of Jiugao, the White Colt of the Empty Valley. Gu Yanxian, the eight-note harp and the five-color dragon chapter. Zhang Weibo, the lush pines in the cold wind, the light in the dark night. Lu Shiheng and Shilong are like swans wandering around and hanging drums waiting for hammers. ”
When I see the bones of a person, I think of the sense of solemnity given by the ritual instruments in the temple, or the strictness of the weapons in the arsenal, or even the feeling of climbing down from a high place and feeling profound and profound. It is no longer just a feeling, but it is close to an artistic conception. Here, relying only on scientific accuracy and logical reasoning is not enough. Feeling, imagination, and aesthetic association are all. It plays an important role. Only with the help of imagination and aesthetic association can we connect a person's character, wind, spirit, and physical appearance with a certain beautiful realm in the outside world, and express it vividly, just like Surikov when he saw the snow. As for the crow, which triggers creative inspiration, it is the same as the artistic conception of "The Noblewoman Molozova". From here, we can see that there is a certain way of thinking in my country's traditional poetry style theory and character criticism. There are some similarities. "Articles are like people." Appreciating poetry is like criticizing people.
From the above, we can see that the theory of poetry is obviously influenced by personal criticism.
IV
The use of the concept of imagery in the theory of poetry style is not a unique phenomenon. It also exists in the theory of prose style. Some comments in "Classic Theory·Thesis" refer to both poetry and prose. . The style comments in "Wen Xin Diao Long" mainly refer to the eight basic styles proposed by Liu Xie: elegant, profound, concise, explicit, complicated, magnificent, novel, and frivolous. In terms of prose style, he summarized prose into eight basic styles, rather than referring to the writer's creative personality, and some of his explanations of these eight basic styles focused on content, some on structure, and some on literary talent. , rather than referring to the entire style of a certain writer's prose. There is also a development process in using the concept of imagery in prose to comment on the writer's style. Some later comments have the characteristics of the concept of imagery in poetry style theory. For example, Yao Nai commented on Gui Youguang's prose style: "The style is sparse and light. "Wu Dexuan commented on Gui Youguang's prose style as: "high and light"; on Lu Bin: "clear but able to be thin"; on Wang Yaofeng: "less severe and bold". He also made a review of "less severe and bold" Image description: “It’s like swimming in a pond without seeing the wall. ”
Not only in the theory of prose style, but also in the theory of traditional Chinese painting style, there is also the phenomenon of using the concept of imagery to comment on the artistic style of painters. For example:
Dong Qichang’s "Painting" Ni Yunlin was discussed in "Purpose" and said that he was "ancient, light and natural." "
Mo Shilong said about Zhao Danian in "Painting Theory" that he was "beautiful and natural." ”
In "Mo Lin Jin Hua", Jiang Baoling discussed Tang Yifen's landscape: "The bones and charm are green and elegant". On Dong Qi: "The mood is complicated but the writing is clear and free." "
Zhang Geng, a native of the Qing Dynasty, called Zou Yigui "the beauty of ancient times in the Qing Dynasty" in "The Continuation of the Painting Zheng". "
Zhang Geng's "Records of Calligraphy and Painting" calls Wang Yu, "In the ancient times, he always showed his beauty." "Using the concept of imagery to evaluate a painter's artistic style is obviously used to express the unique characteristics of beauty that exist in a painting and to express a type of beauty. It is also expressive and rich in aesthetic associations. And the meaning also lacks clear and strict regulations.
This phenomenon also exists in calligraphy style theory.
For example, Volume 35 of "Tang Huiyao":
Taizong of the Tang Dynasty commented after tasting the biography of King Youjun of the Jin Dynasty: "The cloth of Zhongshu is dense and dense, and the clouds are rolled by the clouds. . . . Although it has a strange style, it is unique and new, it is as sparse and thin as a dead tree in the winter, and it is as restrained as a hungry servant of the Yan family. Xiao Ziyun has no husband's spirit. It moves like a spring earthworm, and steps like a coiled autumn snake. The lying king is covered in paper, and Xu Ji is sitting under the pen. It is so beautiful that it is not an inappropriate name. Therefore, I carefully studied the past and present, studied the seal script, and made it perfect. Wang Yi Shaoju! Observe the craftsmanship of his point and drag, the cutting is wonderful, the smoke and mist form, the sharp points seem to be broken and then reconnected; the phoenix and the dragon are as straight as the wind, and you don’t feel tired after playing with it. Don’t know the truth, just pursue it with your mind, that’s all.”
Calligraphy is originally an art closer to abstraction, but imagination and aesthetic association also play an important role in the comments on calligraphy style. , its thinking process is very similar to that of poetry style theory.
Not only in style theory, but also in creation theory, theorists’ rich imagination, aesthetic associations, and even creative inspiration can often be clearly seen. Needless to say, there are well-known examples in the creative theories of Lu Ji and Liu Xie. Even the creative theories of calligraphy are full of examples of imagination flying and images coming one after another. Let's take Sun Qianli of the Tang Dynasty as an example on calligraphy creation:
Observe the difference in the husband's dangling needle, the strangeness of thunder and falling rocks, the terrifying posture of flying beasts, and the frightened state of luan dancing snake. The momentum of the slumping peaks on the bank, the shape of the haggard in the face of danger, may be as heavy as collapsing clouds, or as light as cicada wings. If you guide it, the spring will flow, if you pause, the mountain will be safe. It is as slender as the first moon rising from the horizon, and falling like a row of stars. Hehan, like the wonders of nature, cannot be achieved without force and luck.
This phenomenon tells us that when our ancient literary theorists studied and discussed literary and artistic phenomena, they not only had the analysis, reasoning, and judgment of theorists, but also often had rich imagination and aesthetic associations. Even creative inspiration. Their way of thinking is more suitable for grasping the special laws of literature and art, and is also better at revealing and expressing them vividly. Of course, our ancient literary and artistic theoretical criticism sometimes often shows a lack of scientific systematicness and rigor, and has its own weaknesses. But it does have its own fine traditions and its own characteristics. Starting from the actual heritage of our literary and artistic theoretical criticism, it is really an arduous task to study these characteristics and the reasons for the formation of these characteristics, and to summarize them realistically, rather than using a few modern concepts to cover them.
Notes:
(1) Volume 35 of "Seven Collections of Dongpo·Dongpo Collection".
(2) Volume 9 of "Seven Collections of Dongpo·Dongpo Collection".
(3) Volume 2 of "Jia Langxian Yangtze River Collection".
(4) Quoted from Huang Che's "{Gong Yan} Creek Poetry Talk".
(5) "Night Talk in Bed".
(6) "Yunyu Yangqiu".
(7) Volume 19 of the first volume of "Tiaoxi Yuyincong Talk".
(8) "Suihantang Poetry".
(9) "Poetic Talk in Seclusion".
(10) Volume 15 of "Poet Jade Chip" quotes "Sixty-One Poetry Talks". This article is not included in the current "Sixty-One Poetry Talks".
(11) "Poetry Mirror".
(12) "Poetic Hypothesis".
(13) "Wen Xin Diao Long", "Bian Sao" and "Talent" each chapter.
(14) "Shishuoxinyu·Rongzhi Chapter".