Zong Baihua: On Shi Shuo Xin Yu and the beauty of Jin people, walking from aesthetics.
The late Han Dynasty, Wei, Jin and Six Dynasties were the most chaotic times in China's politics and the most painful times in society. However, it was an era of great freedom, liberation, wisdom and enthusiasm in the spiritual history. Therefore, it is also the most artistic era. The words of Wang Xizhi's father and son, the paintings of Gu Kaizhi and Lu Tanwei, the sculptures of Dai Kui and Dai Yong, Ji Kang's Guangling San (Qin Qu), the poems of Cao Zhi, Ruan Ji, Tao Qian, Xie Lingyun, Bao Zhao and Xie Tiao, the landscapes of Li Daoyuan and Yang Xuanzhi, the magnificent statues of Yungang and Longmen, and the magnificent sculptures of Luoyang and Southern Dynasties.
Before this era-Han dynasty-it was too simple in art and mainly Confucianism in thought; After this era-the Tang Dynasty-it was too mature in art and dominated by Confucianism, Buddhism and Taoism in thought. Only these few hundred years have been a great liberation in spirit, a great freedom in thought and a great thinking in personality. Beauty and ugliness in people's hearts. Noble and cruel, holy and evil, also played to the extreme. This is also the second philosophical era after the philosophers of China, Zhou and Qin. Some philosophical geniuses of Buddhist master Zhuo Chao were also born in this era.
This is the most tragic romance in China's life history. The Rebellion of Eight Kings, the Rebellion of Five Kings, and the split of the Northern and Southern Dynasties led to the collapse of social order, the total collapse of old ethics, the freedom of thought and belief, and the explosion of artistic creativity, which reminded us of the "Renaissance" in Western Europe in the16th century. This is an era of intense, contradictory, enthusiastic and colorful life.
However, the beauty of western Renaissance art (architecture, painting and sculpture) is gloomy, luxurious and magnificent. Wei Jin people tend to be simple, mysterious and detached, and Jin people's calligraphy is the most concrete manifestation of this beauty.
The beauty of this golden man is the highest peak of this whole era. The secretary of Shi Shuo Xin Yu described it vividly. He can describe its mental outlook, the characters, the colors and breath of the times with concise pen and ink. The simplicity and mystery of words are particularly vivid. The writer was born in the late Jin Dynasty, and the annotator Liu Ye was human. At that time, the charm of Jin people still existed, and the content described, at least in spiritual transmission, was not far from the facts (Tang Xiujin's book was also based on this).
To study China people's aesthetic feeling and artistic spirit, Shi Shuo Xin Yu contains many important materials and inspirations, which can't be ignored. Today, I will briefly talk about my personal reading notes for readers' reference, but the detailed system will be developed later.
(1) Naturalism and individualism in the Wei and Jin Dynasties, under the rule of Confucianism in the Han Dynasty, got rid of the shackles of etiquette and law, which was first manifested in Cao Cao's super-moral view of political employment. Most intellectuals go beyond the concept of etiquette, appreciate the beauty of personality directly and respect the value of personality. Huan Wen asked david moses, "What do you like me? Yin replied, "It's been a long time since you dealt with me. I would rather be myself! "This kind of discovery and affirmation of self-worth has existed in the West since the Renaissance. Rong Zhi appreciates and describes the beauty of personality in the sixth, seventh, eighth, ninth and tenth chapters of Shi Shuo Xin Yu. Aesthetics, the so-called "algae flavor" is the object of "characters". "China's aesthetics is actually based on the aesthetics of' people and things'. The concept, category and adjectives of beauty originated from the appreciation of personality beauty. " A gentleman is better than jade ",China people's love for personality beauty originated very early, and the wind of tasting algae words has prevailed in the late Han Dynasty. To "Shi Shuo Xin Yu Times" is the pinnacle ("Shi Shuo" contains "Wen Tai is really a second-rate figure. Celebrities are the first to bear the brunt, and the temperature is often eclipsed. "That is to say, this shows the social power of human commodity seaweed at that time.
China's masterpieces of art and literary criticism, Sheikh's paintings, Yuan Ang's and Yu Jianwu's paintings, Zhong Rong's poems and Liu Xie's The Carving of Dragons are all produced in the atmosphere of these vivid characters. Later, Si Kongtu's Twenty-four Pins in the Tang Dynasty was a masterpiece of Chinese aesthetic consciousness.
(2) The beauty of landscape and the discovery of the artistic soul of Jin people. Shi Shuo contains Gu Kaizhi, a painter from the Eastern Jin Dynasty, who will come back from Ji Ji. People ask about the beauty of mountains and rivers. The ancient cloud said, "The beauty of a thousand rocks, the struggle of ten thousand valleys, is covered with vegetation. If the cloud is thriving, Xia Wei will appear. " Aren't these words a wonderful portrayal of the landscape paintings of Jing (Hao), Guan (Tong), Dong (Yuan) and Ju (Ran) in the Northern Song Dynasty in the Five Dynasties? The artistic conception of China's great landscape painting has been included in the discovery of natural beauty by Jin people! When entering China Garden in Shi Shuo, Gu said, "You don't have to stay away from your heart. If you are surrounded by forests and waters, you will have your own ideas. Birds, beasts, birds and fish all come to find their loved ones. " Isn't this another small landscape of Yuan people, the picturesque scenery of Huang Dachi, Qian Shunju and Wang Ruoshui? (The essence of China Nanzong School of Painting is to show a natural and unrestrained mind, which is also the charm of Jin people. )
People in Jin and Song Dynasties advocated landscape, from reality to emptiness, that is, from reality to emptiness, surpassing the metaphysical realm. Zong Bingyun, a painter at that time, said: "Mountain water is interesting." The poet Tao Yuanming's poem "Picking chrysanthemums under the hedge, leisurely seeing Nanshan", "This makes sense, I forgot what I wanted to say"; Xie Lingyun's "Rise without a clue, the virtual boat has surpassed"; And Yuan Yanbo's "Jiangshan Liaoluo, there is a trend of Wan Li." Climb up the smelting city with Dr. Xie, and Xie is far-sighted and ambitious. Lang Dengbei of Xunzhong looked at Haiyun: "Although I didn't see the three mountains, it made people feel the meaning of Lingyun." People in the Jin and Song Dynasties admire nature and have a lofty interest in "returning from watching the flood and playing five strings". This makes China's landscape painting a kind of "landscape in artistic conception" from the beginning. Zong Bing's landscape painting hung in the room. He said to it, "Father moved, you have to make all the mountains ring!" " Guo Jingchun has a poem saying: "There are no static trees in the forest, and there is no stopping flow in the river." Ruan Fu commented: "It's really sad. Every time I read this article, I feel that God is out of shape. " This profound philosophical meaning was deeply reflected in people's aesthetic feelings and natural appreciation at that time.
Jin people can understand nature with an empty mind and metaphysical meaning, but can be clear and empty, and establish the highest crystal clear artistic conception! In Si Kongtu's poems, the artistic mind was described as "an empty pool writes about spring scenery, and an ancient mirror shines on immortals".
Wang Xizhi said: "Walking up the mountain road is like swimming in a mirror!"
The bright mood makes the mountains and rivers reflect on the bright and clean body!
Wang Sizhou (spiritual practice) went to Athena Chu, Xing Wu, and sighed: "It not only makes people feel clean, but also feels the sun and the moon are bright!"
Sima Taifu (Daozi) sits in the middle of the night, and Tian Yue is bright and clean. A teacher sighed and thought it was better this way. Xie sat there and replied, "Ivey is not as gorgeous as Wei Yun." The teacher thanked me for entering the play and said, "Your intentions are not pure, but you want me to be too dirty and clean up my sins?"
Only in this way can China's noble spirit of loving nature come into being in the evolution of landscape painting. For example, Ni Yunlin in Yuan Dynasty, "Wash away all the dust and live alone", "Dive into nature and swim with the sky" and "swim against the cloud on the dust surface ■ (soil+cover) (all comments of Yunnan Tian on Nihua's language), created a kind of jade, pure and clear, as secluded as the universe. It is worth noting that Jin people's ideal of beauty is to pursue bright, fresh and clean images. They admire personal beauty adjectives, such as "Spring is like a willow", "Xuanxuan is like a morning glow", "Breeze and bright moon", "Yushan", "Yushu", "Colorful" and "Bright and clear", which are all vivid images. Even after Yin Zhong Kan's death, Yin Zhongwen called him "though he can't die in the Ming Dynasty, it is enough to reflect the tomb". Describe nature, such as: "Clear dew and morning flow, new tung is introduced at the beginning." The description of the building is like this: "From a distance, the mountains are stacked, and the Danlou is like a sunset." Isn't Zhuangzi's ideal personality the source of Jin people's beautiful image, that is, "she shoots immortals, is graceful, and her skin is like ice and snow"? Huan Wen said that Xie Shang "plays the piano under the window, so he has his own dreams". The real person in the sky is the ideal personality and beauty of Jin people.
Jin people are smart and don't indulge in things. This beautiful and free mind has found an art that is most suitable for expressing itself. This is a cursive script in calligraphy. The cursive art is purely a magical machine, and there is no way to do it. It all depends on the ease of painting when writing, the interest of each stroke, from beginning to end, in one go, like a free March. Another example is the will of the skilled, and God's actions are futile. This wonderful art can only complement each other and reach its peak if the Jin people's little three are detached. The characteristic of calligraphy in Wei and Jin dynasties is that it can show the true state of each word. Everything in Zhong You is different, and Xi's words are different. "Jin people knot words with reason, and they want reason without overstepping the rules." Zhang Tang commented on Wang Xianzhi's "Book Cloud" with a view of Book Theory: "The law of respecting children is neither grass nor action, and flowing is grass; Being in it, you don't need to follow the rules, and the constraint rules are better, which is quite natural and simple. Love is vertical, transcendent, excellent, adaptable to the situation, adaptable to the situation. When it is popular, the rain will disperse, and it will bloom when it is moved. The brushwork is the most romantic! Shao Yi grasps the importance of true practice, and Amethyst implements grass rights, the spirit of the Father and the God of the Son, which is unique in ancient and modern times. " His words not only convey the true meaning of cursive art, but also describe the free and chic artistic personality of Jin people to the fullest. China's unique artistic calligraphy-also the soul of China's painting art-originated from the charm of Jin people. Metaphysics in Wei and Jin Dynasties enabled Jin people to achieve unprecedented spiritual liberation, and their calligraphy was the most concrete and appropriate artistic expression of this free spiritual personality. This abstract musical art can express the ethereal metaphysical spirit and individualistic self-value of Jin people. Ouyang Yunxiu: "I like to see the remains of pen and ink since Wei and Jin Dynasties, but I miss the lofty aspirations of my predecessors!" " The so-called law posts are all about questions in illness, mutual stay and communication, which are applied between family and friends, but only a few lines. Covering it was not intentional at first, but it was fun, dripping, ugly or ugly. It is full of things, wearing curly letters, rotten in the eyes, so that it is amazing at first sight, and endless, so that future generations get it, think it is wonderful, and want to treat it as a person! "Discovering the value of individuality is the greatest contribution of The Times of New Stories, and the calligraphy of Jin people is the representative art of this individuality. In the Sui and Tang Dynasties, the "Shen Li" in the calligraphy art of Jin people was condensed into "Fa", so they were "skilled in wisdom and courage, but not surprised. "
(3) The high artistic attainments of Jin people are not only based on their surpassing interest, going deep into the mysterious realm, respecting individuality, being lively and active, but more importantly, their "devotion"! No matter for nature, for the pursuit of philosophy, for friendship, there are:
Prince Jing Yun said, "Walking up the mountain road, mountains and rivers set each other off, which is overwhelming. If it is autumn and winter, it is particularly difficult! "
Good sentence "autumn and winter are particularly difficult!"
Wei Jie asked Lingling's "dream" in the corner. Rhyme: "I think". Wei said, "Is it evil to dream without connection between form and spirit?" Music rhyme: "Because it is. I never dreamed that I would drive into a rat's nest and smash the iron pestle, but I didn't think about it for no reason. " Weiss is ill because he can't get through the day. I was very happy to hear that, so I ordered an analysis. Defense is a small task. Yue sighed: "This child will not be blind in ointment!"
Wei Jie is very beautiful and personable, but he is ill because he misses Hyunri. Isn't this Plato's "passion for wisdom"?
Although Jin people are superior, they can't forget their feelings. The so-called "the bell of love is ringing in our generation" (Wang Rongyu)! Whether it is sadness or joy, the customs are different. Especially the love for friends, full of admiration for the beauty of personality. There is a touching narrative about "Regret for the Past" in Shi Shuo Xin Yu. When Yu Liang died, he congratulated Yangzhou for burying the cloud: "Bury Yushu in the soil, what can human feelings do!" There is still a sense of mourning for the disillusionment of beauty in Regret for the Past.
Gu Kaizhi paid homage to Huan Wen's tomb and wrote a poem: "Where will the fish and birds go when the mountain collapses and the sea dries up?" People asked him, "Can you see that you are crying because you are loyal to Huaner?" Gu Yue said, "The nose is as wide as Mo Changfeng, and the eyes are like a river!"
Gu Yanxian was good at playing the piano all his life, and his family often put it on the spiritual bed. Zhang cried, so he went to bed, drummed and played the piano, and made some songs. He said, "Does Gu Yanxian appreciate this?" Because he was very scared, he went out without holding the hand of his dutiful son.
Every time Huan heard this clear song, he was helpless. He listened, thanked Gong and said, "Always affectionate."
When Wang Changshi climbed Maoshan, he cried and said, "Wang Boyu in nirvana in fire should die for love!"
Ruan Ji drove alone, not because of the path and tracks, but because of tears.
Those who are deeper than love can not only feel the deepest nameless sorrow for the life of the universe, but also expand and fill it, and become the compassion of Jesus and Sakyamuni; Even the happy experience is unforgettable and thrilling; Shallow fickle people, not only can't deeply mourn, also don't know the so-called real joy:
When Wang Youjun became an official, he liked to fish with people from the East. Tour the famous mountains and the sea, sighing: "I am so happy!" " "
Jin people are rich in this universal affection, so they have such unattainable artistic and literary achievements. Gu Kaizhi has three unique skills: painting, talent and infatuation. Its idiocy is beyond reach! Tao Yuanming's simplicity, innocence and chivalry also prevented future generations from going everywhere.
Jin people discover nature externally and deep feelings internally. Landscape is ethereal and emotional. Tao Yuanming and Xie Lingyun's landscape poems are so good because they have a deep and selfless interest in new discoveries of nature. What they write casually has become wonderful truth, and the situation and immortals are really irritating. Xie Lingyun's Spring Grass in the Pond is fresh and natural. However, expanding beauty and deepening the body can form a pantheistic world view as the basis of art and literature. Sun Chuo's "Tiantai Mountain Fu" said: "Speak freely and have fun all day. When you are silent, you will look at ghosts and stick to nature. " Another cloud said, "After a week's tour, I was quiet and carefree, and the horse has gone. Everything is donated, but the blade is empty and my eyes are incomplete. Miss the secluded rock and sing leisurely. " Under this profound natural experience, Wang Xizhi's Preface to the Lanting Pavilion, Bao Zhao's Letter to Sister on the Shore, Tao Hongjing and Wu Yun's Notes on Landscape and Li Daoyuan's Notes on Water Classics came into being. These are the most beautiful scenery in literature.
(4) I said that the spirit of people in Wei and Jin Dynasties was the most philosophical, because it was the most liberated and free. Zhi Daolin is a good crane. When he arrived at Tandong Mountain, someone left his two cranes behind. When I was a child, my wings grew and I wanted to fly. Cherish is cherish. He Xuan can't fly anymore, but he looks back and hangs his head, looking at it as if he regrets it. Lin Yue said, "If you have the attitude of heaven, why are you willing to be good friends?" Lift the order and let it fly away. Jin people love spiritual freedom, so they can push themselves and things, which is a big move. This spiritual freedom and liberation can spread our hearts like flowers, accept the panorama of the universe and life, understand its meaning and appreciate its deep situation. The so-called "life perception" and "cosmic consciousness" in modern philosophy germinated in the detached mind of Jin people (making it easy for this era to accept and understand the Mahayana thought of Buddhism). Wei Jie was in a bad mood when he first thought about crossing the river. He said: "I don't think there is much overlap when I see this vast place. If it is affectionate, who can send this? " Later, in the early Tang Dynasty, Chen Ziang wrote on the Youzhou rostrum: "Before me, where were those lost times? Behind me, where are the future generations? . I think of heaven and earth, there is no limit, there is no end, I am alone, tears fall! " Not from here? Wei Jie's infatuation is more heartbreaking, and his generosity is endless. (However, Confucius said in Sichuan, "The deceased is like a husband, not giving up day and night!" Then I feel more philosophical, detached and meteorological. )
Xie Taifu and Wang Youjun said, "When people reach middle age, they are both sad and happy. It will take several days to say goodbye to relatives and friends. "
When people reach middle age, they can deeply understand the meaning, responsibility and problems of life and reflect on the truth of life, so the sense of sadness and joy can be profound. Dante's Divine Comedy, which began in the Middle Ages, is meaningful.
Huan Wen's Northern Expedition passed through Jincheng. When he saw Langya, he was surrounded by willows. He said, "With all this wood, how can people be inferior?" Climb up the branch and cry.
Huan Wen military man, what a pity! Yu Zishan wrote Fu on Dead Trees, and quoted Fu Huan as saying at the end; "In the past, planting willows, Yi-Hannan; Today, every time it falls, it is sad for Hechi, and the tree is still like this. Why can people be inferior? " He deeply felt the sadness of Huan Wen's writing and wrote a lyric poem in four words.
However, Wang Xizhi's poem Lanting: "Look up at the blue sky and overlook the waterfront. The concept is unlimited, reasonable and self-evident. It's great to make chemicals. Everything is different. Although the group sounds are uneven, it is nothing more than fresh to me. " It truly represents the world view inspired by Jin people's pure heart and deep feelings. The sentence "Although there are many different voices, it is better for me than to be new", which can especially write that Jin people know the world with a fresh, lively and free heart, so that everything they contact reveals a new soul and a new life. Therefore, it is not a mechanical and stale principle, but a profound principle contained in the lively and splashing vitality of the universe. Wang Xizhi also has two poems: "It's none of my business to fight for the first place, so I forget to ask." "Still photos" are the starting point of all artistic and aesthetic life. Here, philosophical life and aesthetic life are consistent in source. The literature and art of Jin people are permeated with this fresh and lively philosophical spirit of "being quiet and forgetting to seek" and "adapting to me and being new". Tao Yuanming, a great poet, wrote "Cloudless sunset, gentle spring breeze", "There are many things to be happy about", "A beautiful day in a strange bosom", and this rich soul "touches the second to turn into gold".
(5) Jin people's "aestheticism of personality" and attaching importance to affection and righteousness have been cultivated into advanced social culture such as "bamboo forest tour and Lanting gathering momentum". Hyunri's debates and characters' tastes are the main contents of this social interaction. Therefore, the wording of the speech is unprecedented. The sentences in Jin people's letters and essays are natural and can be seen everywhere. The beauty of Tao Yuanming's poems and songs is also the bottom product of this "new era of talking about the world". Tao Yuanming's prose poems influenced the prose poetry school in Song Dynasty. Calligraphy of Su, Huang, Mi, Cai and others. Also strive to catch up with the style of Jin people's little three. But it is always too artificial and exaggerated, and there is no nature of Jin people.
(The room is not enough, change to the first floor)
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