Bide is the Confucian view that nature is more moral than human beings, and later scholars endowed natural images with self-personality. Cao Xueqin used Bede in shaping the image of Lin Daiyu. This paper focuses on the fate of Xiaoxiang Cuizhu and Daiyu from three aspects: bamboo events, bamboo knots and bamboo gathering.
In the pre-Qin period, Qu Yuan was the most typical person who created the artistic image of natural objects with the aesthetic view of "virtue". Qu Yuan's Li Sao inherited the tradition of "Bi Xing" in the Book of Songs, and in order to express his noble personality and resentment, he carried out extensive metaphors and developed rich associations. For example, decorative herbs are metaphors of personal virtue and versatility: "I have both inner beauty and self-cultivation." Hu Qiang left Bi and thought she was admirable. "Compare the dying vegetation and the beauty's twilight with the love and anxiety of serving the country:" The sun and the moon do not drown, but take their place in the Spring and Autumn Period. However, the vegetation is scattered, and I am afraid that the beauty will come late. "On the other hand, his ode to oranges compares its noble feelings and independent spirit with the orange tree. The article said: "After the Emperor, the trees are beautiful and the oranges are attractive. I was ordered not to move. I was born in the south. It is difficult to move, but more ambitious ... Su Shi is independent and horizontal. If you are closed to the outside world and cautious, you will not lose your heart. Bingde is selfless and lofty. "It can be said that every sentence is more than morality, and the whole poem is more than morality. The artistic image of citrus reticulata with noble character is the objectification of Qu Yuan's own moral sentiment.
In the pre-Qin era, the sages had begun to think rationally about "Bide". According to the existing aesthetic data, Guan Zhong should be the first person to explain "Bide" in theory in the aesthetic history of China. There is such a statement in Guanzi Shuidi: "The husband is weak in water, good at sprinkling people's evil, and benevolent; See it as black and white, yes; Quantity is impossible until it is full, and it is also right; Only no flow, until peace, righteousness also; Everyone struggles upwards, but he struggles downwards. Humble, the room of the Tao, the instrument of the king. " He also said: "There are nine virtues for Fu Yu's precious people: Fu Yu is gentle and kind; Reasonable neighbors all know; Strong but not wrinkled, righteous; Cheap but not embarrassing, ok; Fresh but not dirty, clean; Brave and unyielding; All defects are suitable, and the essence is also; Hua Mao is glorious, but it is smooth and graceful. Knock it, its voice is clear and profound, pure without killing, and it is also a kind of speech. It is people-oriented, hiding as a treasure, cutting as a blessing, and showing nine virtues. " There has been a theoretical summary of water and jade. Guan Zi Xiao Wen directly put forward the theoretical proposition of "what is the virtue of a gentleman". Its moire says: "Huan Gong lets spring and March go to the wild. Duke Huan said,' What is the virtue of a gentleman?' Peng Ji said to him,' Fu Su has a place in the armor, with a city in the city and weapons outside the city. He dare not rely on himself, calling himself Sue. Is this comparable to the virtue of a gentleman? Guan Zhong said,' There were several seedlings at first, and there were several children. To its strong, strong is almost a gentleman; How can you be a gentleman if you avoid its success? When the world is safe, it is uneasy and dangerous, so it is called food. Here the author borrows Guan Zhong's words, which is comparable to the virtue of a gentleman. "Qi Huangong said,' good! Here, the author points out that the beauty of natural images can be compared with the virtue of a gentleman. People can feel the beauty of "harmony" as a personality from the aesthetic object of Miao nationality.
Yan Ying, Lao Zi and Zhuangzi also commented on "Bide". The natural aesthetic of "Bide" is more fully, diversified and theoretical in Confucian speeches and works. One of the most representative is Confucius. Confucius talked a lot about "virtue", which was not recorded in later generations. Only the Analects of Confucius used or talked about "virtue" in many places. From the theme of "Bide", it involves many contents, such as mountain Bide, water Bide, jade Bide, pine and cypress Bide, earth Bide and Lan Zhi Bide. Confucius' thought of "Virtue" has a great and far-reaching influence on later generations because of its prominent fame and position.
Xunzi is the main interpreter of the Confucian thought of "virtue" in the pre-Qin period. He not only artistically expressed the natural aesthetic view of "Bide" in literary and artistic works, but also directly explained the aesthetic phenomenon of "Bide" in Zuo Zuo, General Outline, Faxing and Wen Yao, which enriched the thoughts of sages and Confucius on "Bide". For example, "Xunzi Outline" wrote: "A gentleman is determined to be poor. Although the emperor has three questions, it is clear from right and wrong. A gentleman is poor without loss, tired without demanding, and in troubled times, he does not forget his fine words. If you are not cold, you will know pine and cypress, and if you are not cold, you will know that gentlemen are everywhere. " This can be said to be the exact annotation of Confucius that "the pine and cypress wither only when the cold comes and the summer goes". Another example is recorded in Xunzi Faxing: "Zi Gong asked Confucius:' What is the reason why a gentleman is expensive and expensive? There is so little jade, what is precious?' Confucius said:' Evil! Here! What is this? How cheap a gentleman is, how expensive a villain is! Rich as jade, a gentleman is better than virtue. Warm and gentle, benevolent; Zhen Li and the reason, know also; Firm and unyielding, righteous words; Cheap but not embarrassing, ok; Brave and unyielding; See both defects and suitability, love also; When you buckle it, its sound is clear and profound, stop. So although there are precious carvings, they are not like jade seals. "Poetry" says that a gentleman is as warm as jade. This is also called. Here, the author points out from the mouth of Confucius that "jade is more valuable than jade", and people can refer to ethical beauty such as benevolence, wisdom and courage from jade as an aesthetic object. This is in line with Guan Zhong's "Jade shows nine virtues", and it is the first time to use "Bi" and "Virtue" together, and put forward the proposition that "Jade is the virtue of a gentleman" completely, which completed the construction of the word "Virtue" in the pre-Qin period and basically represented the highest understanding of the natural aesthetic view of virtue in the pre-Qin period.
The Han Dynasty carried forward Bede's aesthetic view, which was not only reflected in literary and artistic creation, but also in theoretical discussion. Generally speaking, the aesthetic view of "Bide" in Han Dynasty has been developed in the following three aspects.
First of all, the scope has expanded and the degree has deepened. As far as the scope is concerned, it is as big as the universe, the sun, the moon and the stars, mountains and rivers, and as small as bamboo willows, cicadas and beautiful fruits; There are birds, parrots, peacocks, cranes, horses, deer and other animals, as well as willow, hibiscus, pine and cypress, mulberry orange, solitary bamboo and other plants. It can be said that, just as the aesthetic cultural and artistic themes in the Qin and Han Dynasties were dazzling and almost all-encompassing, the application of the natural aesthetic mode of "Bide" in the Han Dynasty was almost everywhere. As long as we can find a comparable relationship between natural things and people's ethical sentiment and spiritual character, Han Dynasty brought it into the aesthetic vision of "Bide", thus expanding its scope unprecedentedly. As far as the degree is concerned, the content of "Bide" in Han Dynasty is richer, more delicate and more profound. For example, the guiding ideology of Mi Fei's Parrot Fu is the conscious concept of "virtue": "Beauty is like a phoenix, not as beautiful as many birds." The whole article uses a metaphor to symbolize the image. At first glance, all descriptions of parrots are closely related to the characteristics of parrots, but in fact, each sentence compares the author's own situation according to the parrot's own situation and the parrot's fate. In the overall comprehensive analogy, the author profoundly and fully expressed his many feelings and extremely complicated mentality of being born in troubled times.
Bide is the Confucian view that nature is more moral than human beings, and later scholars endowed natural images with self-personality. Cao Xueqin used Bede in shaping the image of Lin Daiyu. This paper focuses on the fate of Xiaoxiang Cuizhu and Daiyu from three aspects: bamboo events, bamboo knots and bamboo gathering.
The ideas of "a gentleman is superior to virtue" and "the unity of man and nature" are the basic spirits of China traditional culture. It is this cultural spirit that opens up the simple beauty of traditional art in advocating nature and pursuing natural taste, and also has a far-reaching impact on the life spirit and aesthetic taste of China garden art.
The theory of "Bide" is a natural beauty that appeared in the Spring and Autumn Period and the Warring States Period. The basic meaning is that the beauty of natural images lies in that they can be compared with aesthetic subjects as aesthetic objects, that is, they can feel or imply some kind of personality beauty. The "virtue" of "virtue" here refers to ethics or spiritual morality; Than means symbol or analogy. "The basic feature of Bede's theory is to attach some characteristics of natural objects to certain moral sentiments of people, so that the natural attributes of natural objects are personalized and people's moral qualities are objective. Its essence is that the moral and ethical character attached to natural beauty, the beauty and ugliness of natural objects and their degree are not determined by its own value, but by the value of moral sentiment attached to it.