Qian, Wu and Wang Shizhen were the first poets in the early Qing Dynasty. In the middle and late Kangxi period, Wang, Wu Tingzhen, Gong, Xu Angfa, Qian, Zhang Dashou, Guan Qian, Wu, Gu, Li, Jiang Tingxi, Miao Yuan, Wang Youguan, Xu Yongxuan and Guo appeared in the south of the Yangtze River. During the Qianlong period, Yuan Mei, Jiang Shiquan and Zhao Yi were also known as the Three Masters of Jiang Zuo, while Huang Jingren and Zheng Banqiao were also famous for their poems. During Jiaqing and Daoguang years, literati formed poetry clubs, and the atmosphere in Beijing and Yangzhou was the most prosperous, the most famous of which was the Quhan Poetry Club. Representative figures are Gu Mao, Xia Xiushu, Cheng Enze, Tao Shu, Zhu Dai, Wu Chun, Pan Zengyi, Hu, Li and Liu. The poetry reform movement, known as the "poetry revolution", originated from the Reform Movement, and its representative is Huang Zunxian's social poems that reflect the times with words. Others, such as Tan Sitong, Tang, Kang Youwei, You, Qiu and Xia Zengyou, have their works spread all over the world. At the end of the Qing Dynasty, Tongguang was developed, and the representative writers were Chen, Shen and so on, which continued to this day after the Revolution of 1911. Poetry theory in Qing Dynasty can be divided into Shen Deqian's mode theory, Wang Shizhen's verve theory, Yuan Mei's soul theory and Weng Fanggang's texture theory. Other important poets are Gui Zhuang, Du Jun, Wu Jiaji, Yan, Qian Chengzhi, Qu Dajun and Chen Gongyin. The important theme of adherents' poems is to reflect ethnic contradictions and express patriotic thoughts; Yan, Qian Chengzhi and Wu Jiaji reflected the social and class contradictions at that time. In style, they also have their own characteristics.
Qian and Wu were famous poets and two important writers in the early Qing Dynasty. Their identities are different from those of adherents, but the contents of their works are similar.
Money has profound knowledge and magnificent writing spirit. Before Huang, Gu and Wang, he began to change the pattern of prose in the late Ming Dynasty and expand its scale. His poetry master of Tang and Song Dynasties, after entering Qing Dynasty, is also good at writing the sense of rise and fall, in order to "never forget the old country".
Most of Wu's poems are historical events in the late Ming and early Qing dynasties. His seven-character poems are full of beautiful words, sentimental feelings and harmonious syllables, which have strong appeal. Famous essayists include Wei, Wang Wan and others.
Wei is a adherent, and his works have strong national feelings and strong images. Hou Fangyu's writing style is unrestrained. Wang's words are fluent and concise. Influenced by Qian, Gu and others, the literati in the early Qing Dynasty read a lot of books and were rich in ancient books, and they were also good at writing parallel prose, especially the parallel prose.
In the late Kangxi period, the rule was consolidated, and most scholars grew up in the Qing Dynasty, and their life experiences were different from those of the adherents of the Ming Dynasty. Poetry in this period no longer pays attention to the expression of national contradictions and class contradictions, but is devoted to the pursuit of artistic skills. The content is mainly lyrical and depicting landscapes. Peking Opera is the quintessence of China, with a history of 200 years. Originated from Kunqu Opera and Peking Opera in Ming Dynasty, it was formed in Qianlong and Jiaqing years. It has a history of 200 years.
The name of Peking Opera first appeared in Shenbao in the second year of Guangxu reign in Qing Dynasty (1876). Historically, it was called Pi Huang, Huang Er, Huang Qiang, Peking Opera, Peking Opera, Pingju Opera and National Opera. In the fifty-five years of Qianlong (1790), four Hui classes went to Beijing, and after fifty or sixty years, they merged with Kunqu Opera, Han Opera, Yiyang Opera and Luantan Opera in Beijing, which became the largest drama in China. Its rich repertoire, the number of performing artists, the number of troupes, the number of audiences and the profound influence are the highest in the country. Peking Opera is a comprehensive performing art, which integrates singing (singing), chanting (reciting), acting (acting), fighting (martial arts) and dancing (dancing). It tells stories, depicts characters and expresses the thoughts and feelings of "happiness, anger, sadness, joy, surprise, fear and sadness" through programmed performance means. Roles can be divided into four categories: raw (male), Dan (female), pure (male) and ugly (both male and female). Characters are divided into loyalty, ugliness, good and evil. Vivid and lifelike. Due to the evolution of literature itself, the development of urban life, the growth of the civil class and other reasons, the status of emerging operas and novels in the history of literature has gradually surpassed that of poetry at that time since the Yuan and Ming Dynasties. Literature in the Qing Dynasty also continued this trend, with outstanding achievements in operas and novels. The operas in the early Qing Dynasty, such as Wu's "Moling Spring" and Li Yu's "Niutoushan", expressed the pain of the country's decline and were tortuous projections of ethnic contradictions at that time.
Li Yu and others cooperated in the Spring Festival, which exposed the darkness of eunuch's ruling and put the struggle of citizens on the stage. The concentration of plot characters has reduced the trouble of complex clues in the legendary operas of the Ming Dynasty, and the content and form are worthy of recognition.
Zhu Guan's Fifteen Passes and Ye's Amber Spoon also have some merits. Then there are two outstanding legends, The Palace of Immortality by Hong Sheng and Peach Blossom Fan by Kong.
The Palace of Eternal Life, with the background of An Shi Rebellion, describes the love tragedy between Tang Dynasty and Yang Guifei, criticizes feudal politics and the decadent aspects of Li and Yang's life, and reflects a wide range of social contradictions. While praising sincere love, he paid close attention to the author's ideal. Although there are contradictions in the handling of the theme and the protagonist's character, this plot is touching, with a strong lyrical atmosphere, and the achievements are still very high.
"Peach Blossom Fan" takes the love with Li as the main line, expressing the feelings of the rise and fall of Nanming Fu and even the fall of the Ming Dynasty for 300 years, and realizing a more successful combination of historical truth and artistic truth. Writing the historical events before and after the Qing soldiers entered the customs directly is closer to the real struggle than the Palace of Eternal Life. The structure of the whole play is compact, which shows Li's noble character in being insulted and oppressed, and creates a patriotic female image who adheres to national integrity. Its main limitation is its hostility to the peasant uprising army in the late Ming Dynasty. Compared with previous generations, the architecture of Qing Dynasty has not changed much. In addition to its large scale, the bucket arch, as one of the architectural features of China, has become more and more vain and almost lost its original purpose. There are many large colored masonry buildings in the Forbidden City in Beijing. There were no tombs in the past dynasties, and there have been Ming Tombs since Ming Taizu. In the Qing Dynasty, there were three tombs in Shengjing, Shenyang, Liaoning, Dongling, Zunhua, Hebei and Qingxiling, Yixian, Hebei. The garden art of Qing Dynasty, represented by Yuanmingyuan, combines the beautiful scenery of famous gardens in the south of the Yangtze River with Italian architectural gardens in Europe, and is praised by foreign missionaries as "the garden of ten thousand gardens". The Qing Dynasty advocated Tibetan Buddhism and built Dalai Lama temples in Fengtian, Beijing and Wutai Mountain respectively. Emperor Kangxi also modeled himself on the Potala Palace in Tibet and built the chengde mountain resort in Chengde, Jehol, as a hunting and summer shelter.
Summer Palace: The Summer Palace is famous for its ingenious combination of artificial architecture and natural landscape. The concept of "Three Fairy Mountains on the Sea" in China's ancient mythology is the representative of the peak of China's garden art, a huge royal garden and a palace of the Qing Dynasty. Built in Qianlong period of Qing Dynasty and rebuilt in Guangxu period, it once belonged to one of the three mountains and five gardens in the western suburbs of Beijing in Qing Dynasty. 1998 was awarded the World Cultural Heritage.
Forbidden City: It is the palace of twenty-four emperors in Ming and Qing Dynasties. The Forbidden City is the largest palace in the world. 1987 The Forbidden City was registered as a world cultural heritage.