First, Confucianism and Taoism complement each other

1. The so-called "pre-Qin" generally refers to the Spring and Autumn Period and the Warring States Period. ..... It is the link between the past and the future. On the one hand, it got rid of the traditional concept of primitive witchcraft religion, on the other hand, it began to lay the cultural and psychological structure of the Han nationality. As far as the field of ideological literature is concerned, this is mainly manifested in Confucianism, represented by Confucius, and Taoism, represented by Zhuangzi, made his opposition and supplement. The complementation of Confucianism and Taoism is a basic clue of China's thought for two thousand years.

2. Whether it is good or bad, whether it is criticism or inheritance, the historical position of Confucius in shaping China's national character and cultural psychological structure is an undeniable objective fact.

? Confucius' historical position is inseparable from his reinterpretation of ancient primitive culture with rationalism. He put primitive culture under the control of practical reason, which means guiding and implementing reason in daily real life, ethical feelings and political concepts, rather than abstract meditation.

? The basic characteristics of this line are a skeptical or atheistic world outlook and a positive outlook on life in real life.

3. Based on the consanguinity between parents and children, Confucius guided and dispelled people's feelings, concepts and rituals in world relations and real life ... and expressed and satisfied their psychological ethics in daily social life, which is also an important feature of China's art and aesthetics. China attached great importance to the combination of reason and emotion. The balance between reason and emotion is a kind of psychological feeling and satisfaction of social ethics, not abstinence, functional depression or intellectual pleasure, not to mention mysterious emotional ecstasy (Plato) or spiritual evolution (Aristotle).

4. Anyone who sounds ordinary. People who are born with a heart are also moved by emotions, so they are shaped by sounds. When the sound is written, it means the sound. It is the voice of ruling the world to enjoy its politics. The voice of troubled times resents its good governance, while the voice of national subjugation mourns its people's difficulties. The way of speaking is associated with politics. (Ji Le Leben)

5. Consistent with China's philosophy, China's aesthetics pays more attention to function, relationship and rhythm than to objects and entities. From yin and yang (and the existence of offspring, form and spirit, virtual reality and so on. ) ... As a contradictory structure, they emphasize the infiltration and coordination between opposites ... As a reflection, they emphasize the expression of the opposite sex in their inner life ... As an effect, they emphasize the combination of reason and reason, and wisdom is hidden in emotions to achieve harmony and satisfaction in real life ... As an image, they emphasize emotional beauty (femininity) and grandeur (. -the principle of neutralization in China's classical aesthetics. ?

6.

Second, the principle of prosperity

1. The folk love songs in The Book of Songs and the hymns of some clan nobles laid the foundation of China's poetry and its lyrical basic aesthetic characteristics. ..... The sincere feelings of joy or pain they conveyed, the vivid and true artistic images they created, the language form of singing and sighing repeatedly and the profound implication of euphemism are still touching.

2. China literature is better than lyricism ... Subjective feelings must be objectified and combined with specific imagination and understanding to form works of art with certain universal inevitability, and have corresponding infection effects. The so-called "comparison" and "xing" are just concrete ways to objectify emotion and imagination.

? Wang Fuzhi said that Xiaoya heming's poems are about comparison, without revealing a word. Silence has always been one of the important standards of China's aesthetics.

? "Holding something to express feelings" and "flying with excitement" are better than "straightforward" because the latter is easy to become a mere formality in conceptual understanding. Even a straightforward emotional statement can often become a conceptual understanding without being infected. "Oh, how sad I am" is not a poem but a concept. The direct expression of emotion also needs to be compared to have aesthetic effect. Therefore, later generations have the so-called theories of "bonding feelings with scenery", "writing mourning with scenery, mourning with scenery and Syaraku, and multiplying grief and joy", all of which are developed along this clue.

3. Mongolian tries its best to enhance the emotional color and strength in its logical reasoning in a fairly neat parallelism form, thus making its reasoning irresistible. Wen Zhuang takes strange and exaggerated imagination as the main line and scattered and complete syntax as the form, so that logical argument is dissolved in concrete images, and his reasoning has a lofty and admirable "elegance". Aren't they all the cooperation or combination of emotional understanding and imagination factors in different proportions? Isn't it because the words are full of emotion and imagination, reasoning and debate that they finally become prose literature? Isn't it the national aesthetic characteristics of China's poems mentioned above?

Third, architectural art.

1. The organic group of China architecture has actually transformed the spatial consciousness into a time process. The plane depth space of China architecture makes people wander slowly in the continuous process of a complex and diverse exhibition hall, feel the comfort of life and harmony with the environment, feel the huge space grasped intuitively in an instant, and feel the time course of roaming here for a long time. Realistic, WTO-entry, rational and historical factors have obvious advantages here.

Chu-Han romanticism

First, Qu Sao tradition

1. Due to more preservation and remnants of primitive clan social structure, southern China still strongly maintains and develops splendid ancient traditions. From The Songs of the South to The Classic of Mountains and Seas, from Zhuang Zhou to the Southern Power of "forgiving and teaching with gentleness but not reporting", there is still a totem of strange imagination and fiery emotion in all fields of ideology-the mythical world, which is manifested in the field of literary aesthetics.

2. Qu Yuan's works represent a deep-rooted cultural system. This is the cultural system of witchcraft, a southern myth full of romantic passion and retaining ancient traditions.

3. Li Sao perfectly combines the most vivid and colorful romantic imagination that can only appear in primitive mythology with the warmest and deepest individual personality and sentiment that can only exist at the moment of rational awakening. Therefore, it created the truly brilliant starting point and unparalleled model of China's lyric poetry. Since 2000, only the prose literature A Dream of Red Mansions can match it in artistic level. ..... Primitive vitality, unconstrained thoughts and unconstrained imagination are more free and full here. ..... It is the ancestor of Fu literature in Han Dynasty.

3. Chu-Han Romanticism is another great artistic tradition in ancient China, which complements the rational spirit in pre-Qin. It is the aesthetic trend of thought that dominates the art of Han Dynasty.

4. Chu's myths and fantasies interweave with the historical stories of the northland, the moral integrity advocated by Confucianism and the barren talk spread by Taoism, and float, mix and appear in people's consciousness and artistic world in parallel. The living, the dead, immortals, ghosts, historical figures, secular scenes and myths and fantasies coexist at the same time, and primitive totems, Confucian teachings and prophetic superstitions are integrated in one place, so it is still a romantic world with chaotic and rich imagination and warm and generous emotions.

5. The artistic style and aesthetic tone of the Han Dynasty are neither scary nor intimidating, nor depressing nor decadent, but cheerful, optimistic, positive and cheerful. The interest in human life is more vigorous and full of vitality, which makes the sky full of human fun and makes this God's world so naive. It is not God's conquest of man, but man's conquest of God. God is not the object and power of dissidents here, but the direct extension of human beings.

6. This is a very rich and lively world of horse ponds, where cows go, birds fly and fish jump, lions roar at tigers, phoenix dances in Long Qian, people and gods are mixed, and everything is intertwined. ..... The art of the Han Dynasty reflects a positive overall concern and affirmation of world life. Only when he is full of enthusiasm and affirmation for the world life, and hopes that this life can be continued and preserved, can his art have great interest in describing, appreciating and expressing everything in reality, so that they can be fully and fully displayed.

7. In the art of the Han Dynasty, the essence is movement, strength and momentum, and this momentum is often manifested as a sense of speed. ..... intense battles and dramatic scenes and stories all show great momentum in rapid movement and strength. ..... Behavior, deeds, dynamic and dramatic plots become the main theme and image here, and the overwhelming momentum movement and strength constitute the aesthetic style of Han art..

8. The art of the Han Dynasty gives people a plump and simple artistic conception, which cannot be replaced by the ethereal and exquisite art of later generations ... He is not gorgeous, but simple, and he has a temper without details. ..... If the art of the Tang Dynasty shows more the blending of Chinese and foreign art, which is quite "Hu Qi", then the art of the Han Dynasty more prominently presents the naive and wild romanticism of China native timbre tradition from Chu culture, and the dazzling action conquers the beauty of the world's ancient momentum.

Wei and Jin demeanor

First, the theme of people.

1. At that time, the field of culture and thought was relatively free and open, the atmosphere of discussion and debate was quite popular, and there were not many rules and royal standards. On this basis, a pure philosophy of real speculative rationality emerged, which is different from Confucian classics and literature and art in Han Dynasty, advocating merit and emphasizing practicality. A truly lyrical and emotional pure literature and art came into being. These two forms are a leap in the history of China's thought. Philosophically, Wang Bi, three Cao, Ji and Ruan in literature and art, and Zhong, Wei and Er Wang in calligraphy are all outstanding representatives of this leap, creating a new era of truth, goodness and beauty in various ideological departments.

2. During the Wei and Jin Dynasties, this emphasis on life and death, the short-lived sadness, emotion and lament about life, from Jian 'an to Jin and Song Dynasties, from the middle and lower classes to the royal family, spread in space for quite a period of time and became a typical tone of the whole era. ..... On the surface, this core seems so decadent. What is hidden in the pessimistic and negative sigh is precisely its opposite, which is a strong desire and nostalgia for life, life, destiny and life. They are based on the suspicion and denial of the original dominant slavery ideology, from classics to destiny, from superstition to moral integrity. It is the doubt and denial of external authority that leads to the awakening and pursuit of internal personality.

3. "The days are short and the nights are long. Why not travel by candlelight? " Why don't you drink some wine and wear tens of thousands of sous? "Why don't you ambitious, according to Jin Lu first. On the surface, it seems that he is shameless, hedonistic and corrupt. In fact, on the contrary, he profoundly demonstrated his pursuit of life and life under the specific historical conditions at that time. Life is impermanent, and life is easy to get old, which is a universal proposition throughout the ages. The eternal proposition in Wei-Jin poetry has such a touching aesthetic charm that it has been praised through the ages, and it is also inseparable from the specific content of the times contained in this kind of thoughts and feelings?

4. People are attracted by that kind of inner talent, sexy appearance, personality and Shen Feng ... People here are respected and respected mainly because of their inner speculative Shen Feng and mental state. It is people and personality itself rather than external things, which has increasingly become the center of philosophy and literature and art in this historical period.

The so-called "beauty" is to show people's inner wisdom and character with a beautiful appearance like natural scenery. For example, when people look at Wang Youjun, he floats like a cloud and is as agile as a dragon. Lang Lang is like the sun and the moon in his arms, his eyes shining like electricity under rocks, like willow trees in spring, like golden pines in the wind ... All these exaggerated descriptions and comments on the character's style need a beautiful external style to express his superb internal personality, which is the aesthetic ideal and interest of this class at that time.

6. Both of them are addicted to pleasure and full of philosophy, which constitutes the so-called Wei and Jin demeanor that looks so chic and so detached. Medicinal liquor, body appearance, talking about Tao, talking about mystery, landscapes ... have all become the necessary sleeves and gas fields to set off this kind of demeanor.

7. The world of flowers and flowers in Han Dynasty (dynamic behavior) gave way to the personality of flowers and flowers in Wei and Jin Dynasties (static illusion). In philosophy, ontology (the pursuit of internal entities) replaces the view of nature (the exploration of the external world)

8. The so-called words are not full of meaning, that is, what conceptual words can't convey exhaustively must be expressed. He used to talk about philosophy, Hyunri. The image is required to convey the inner expression of an infinite and inexhaustible "saint" through limited and infinite external words, that is, to express the extraordinary gods through the same five kinds of joys and sorrows as ordinary people.

9. The principles of China's artistic aesthetics, which were established at that time and had far-reaching influence, were: words are not enough, charm is vivid, and form is vivid.

Second, the awareness of the text

Look at the past and present in an instant, and caress the whole world in an instant.

1. Liu Xie's "Wen Xin Diao Long": The sun and the moon build walls to hang the beautiful sky, the mountains and rivers are shining, the ground is paved, and roads are also built. (Chanting temperament) and "Speaking is also the heart of heaven and earth" link the origin of poetry to the philosophical height of Kong Zhou's Six Classics, which can represent the conscious aesthetic summary of literature in this historical period.

2. The landscape poems of Wei, Jin and Six Dynasties regard nature as the externalization or expression of people's speculation or appreciation. Subject and object are still opposites here. The former is faced with achievements and actions, while the latter is faced with appreciation and speculation, unlike the integration with life emotions after the Song and Yuan Dynasties.

Kant once said that lines are more beautiful than colors. ...... Wei and Jin calligraphy shows people's various charms in the form of extremely beautiful lines. "Love can swim freely without restraint", full of charm and eternal charm, "dripping and swaying". "Calligraphy mainly shows the Wei and Jin demeanor of Fei Shuai.

Third, Ruan Ji and Tao Qian.

1. Art is often unbalanced with economy and politics. Such a chic and elegant Wei and Jin demeanor was born in a society and era full of turmoil, chaos, disaster and blood. So there are quite a few cases, which seem chic and romantic on the surface, but there are great pains, fears and worries hidden in their bones.

2. Whether it is to adapt to the environment, save one's life, or to seek the spirit of mountains and rivers and rest in peace, emotions are actually in an extremely contradictory and complicated state because of the fear and terror of life. Although the appearance is decorated with how to look down on the world, free and easy, but the heart is more strongly attached to life, very painful, which constitutes the inner profound side of Wei and Jin demeanor. Ruan Ji is a typical example of this kind.

"Soaring, the world is silent. Do you swim with quail or even play in the atrium? " Who can stop crying when birds cry blindly? ""cloud as jade, who can not cry? "The pain and sorrow of cruel political persecution are expressed in a tortuous and intense way. Probably no one has ever written so profoundly and beautifully as Ruan Ji.

3. Tao Qian resolutely retired from the politics of the upper class and pinned his spiritual comfort on drinking, reading and writing poems in rural life. He didn't feel that the literati in the late feudal society were indifferent to the whole life society. On the contrary, he still has a high interest in life, life and society. He is still very persistent and concerned about life and death and the impermanence of life. He also has a life sigh like Nineteen Poems: "Life is like this." I am not happy today. I wonder if there will be another year. "

4. In Tao Qian's works, natural scenery is no longer the object of philosophical speculation or appreciation, but a part of the poet's life interest. ..... Spring rain and winter snow, the vast Ye Ping, all kinds of ordinary and very general scenery, here are full of life and affection, the performance is so natural and simple.

5. When the market is full of grass, there is nothing miscellaneous when I meet you, but Sang Ma is long; The days in Sang Ma are long, but those in our country are wide. I am often afraid that first frost will come, and I will be scattered with the grass.

Planting beans in Shannan, the grass is full of bean seedlings, and the morning is deserted, taking Yuelian home; The road is narrow and the vegetation is long, and the evening dew is stained with clothes; It's not a pity to get wet, but I hope it won't be against my will.

In yiyi market, a distant village, smoke dogs bark, chickens crow and mulberry trees jump in a deep alley. The house is clean and messy, and the empty room is idle. After staying in a cage for a long time, you will return to nature.

This is the true, ordinary and unattainable beauty. This objective description of nature can only be achieved through a highly conscious person's subjective character.

Buddha's face

I. Les Miserables

1. Taking Dunhuang murals as the main example, it can be clearly seen that there are different spiritual worlds in different times such as Northern Wei, Sui, Tang, Five Dynasties and Song Dynasty.

2. During the 400 years from the disintegration of the Eastern Han Empire to the reunification of Li Tang, despite the temporary peace and partial stability, the whole society was in an endless period of war, famine, plague and turmoil. The oppression and exploitation of classes and nationalities have taken extremely cruel and barbaric primitive forms, mass killings are commonplace, and killing and destruction continue to occur between classes, nationalities and ruling groups. ..... Real life is so miserable, life is like the morning dew, a person's fortune is not guaranteed, a person's fate is unpredictable, a person's life is full of sadness, pain, terror and sacrifice, things don't seem fair and reasonable at all, and they don't follow any normal causal laws. Since the real world is unfair and unreasonable at all, we should put cause and effect on reincarnation and entrust reason to the afterlife and the kingdom of heaven.

Buddhists and Buddhists have to regard religious grottoes as flower beds of real life and sacred places of human suffering, and put all good hopes, countless sad sighs, comforting paper flowers and soft dreams here, trying to forget everything unfair and unreasonable in reality. In this way, it will become more sad and obedient, resigned to fate, and more self-sacrificing to gain God's grace.

4. The sculptures in the Northern Wei Dynasty, from the solemnity of Yungang in the early days to Longmen Dunhuang in the mature period, especially the beauty of Maiji Mountain, are all long faces and thin necks, with complicated folds and high spirits. That elegant and self-satisfied expression seems to have reached the extreme, forming the peak of the ideal beauty of China's sculpture art.

5. A morbid and emaciated body, an unspeakable deep smile, a wise expression of insight into philosophy, and getting rid of secular chic are the highest standards of beauty that this class has been pursuing since Wei and Jin Dynasties.

Second, the illusory ode

1. Compared with the Northern and Southern Dynasties, which were divided for a long time and were constantly in war, it was the unity and long-term stability of Sui and Tang Dynasties.

(to be supplemented P 1 17- 126)

Voice of the prosperous Tang dynasty

I. Youth and Li Bai

1. A bold look, even a little rogue, is still on the paper. This is by no means a weak scholar or a modest gentleman after the Song Dynasty.

2. fearless introduction and absorption, creative and innovative. Breaking the box and breaking through the tradition is the social atmosphere and ideological basis of the so-called "Voice of the Prosperous Tang Dynasty" in literature and art. The Prosperous Tang Dynasty is the affirmation, feeling, longing and persistence of the reality of human beings. Literature and art in the prosperous Tang Dynasty were full of youthful enthusiasm and imagination. Even if you are happy, depressed and sad, you still shine with the light of youth, freedom and joy. This is the art in the prosperous Tang Dynasty, and the typical representative is Tang poetry.

3. Professor Qian Zhongshu's "Talking about Art" once outlined that Tang poetry is good at expressing meaning and rhyme, while Song poetry is good at reasoning with bones and muscles. ..... don't like Yune very much, but prefer the Song tune. The variation of this personal mood hobby over time symbolically reproduces the historical journey of China's late traditional society and its protagonist, the secular landlord intellectuals, from a youthful and indulgent life to a decadent and retired reality.

4. Wen Yiduo, a poet and scholar, has a very keen description of the transition from palace-style poetry in the Six Dynasties to palace-style poetry in the early Tang Dynasty. He put forward Lu's "vigorous rhythm" and Luo's "lingering sound", pointing out that the palace-style poetry in Lu and Luo's hands moved from palace-style poetry to market, and the era from the Five Laws to Wang and Yang moved from Taige to Jiangshan.

5. Zhang's Moonlit Night on the Spring River: a deeper, wider and quieter realm. In the face of magical eternity, the author has only consternation, no longing and no sadness. He seems to get a more mysterious and humorous smile. He is more confused but also satisfied. ..... This poem is actually full of longing and sadness, but it is a kind of childhood longing and sadness, a kind of longing and sadness of "climbing the roof alone and looking at the horizon", which is completely different from the heavy life lament and Du Fu-style misery in the Wei and Jin Dynasties. It shows the inexplicably melancholy and sadness as light smoke that I felt in my first life prospect when I was a child. ..... Although the mouth is sentimental, but I don't know the taste of sorrow, it is still charming, light and sweet.

6. This sentimental feeling of youth that is still wet behind the ears has turned into a specific singing method with lofty aspirations and full of requirements for making achievements: singing a farewell song with the smell of wanderers, crossing the frosty river at the beginning of last night, and the crying of geese hurt my sad heart and was bound by the darkness of a cloudy mountain. In the morning of Tongguan, the cold was urged to approach the capital, and the sound of changing lanes in late autumn reached a later evening. Please don't think Chang 'an is a place of enjoyment, lest you waste precious time. He became more real and mature, and began to really move towards social life and human reality.

7. This spring morning, I woke up easily, and birds were singing everywhere, but now I remember that night, that storm, and I don't know how many flowers were broken. Although it hurts spring to cherish flowers, it still shows a happy and beautiful picture of the spring city. It is fresh and lively, but not low and sad. This is the voice of the prosperous Tang Dynasty. In addition, just like "Huang Yun, thousands of miles away, the north wind blows geese and snow." Mochow has no confidant in the road ahead, and no one in the world knows you. ""Grape wine luminous cup, want to drink pipa immediately rush. Drunk in the battlefield, you don't laugh. Since ancient times, you have fought for several people. "You are brave and indomitable. Even the arduous war is magnificent, and even the defense in the distance is bright and lively.

8. The magnificent side is that the Frontier Poetry School occupies a beautiful and quiet side, and the so-called pastoral poetry school wrote a famous sentence, especially Wang Wei's: "People are idle with osmanthus flowers, and the night is quiet and the spring mountains are empty, and birds are surprised." Hibiscus flowers end, mountain red calyx, households are lonely, flowers bloom and fall. " Loyal, objective, concise, so seamless and philosophical, so quiet and full of interest, writing about nature is so beautiful ... beautiful, clear and healthy, and it is also a typical voice of the prosperous Tang Dynasty.

9. "I play the Yellow Crane Tower for you, and you also play Nautilus Island for me. Chibi is like a dream, and you have to sing and dance widely." "lanling wine tulip, jade bowl full of amber light, the owner can be drunk, I don't know where" ... Although Li Bai lacks Zhuang Zhou's speculative power and Qu Yuan's deep affection because of the times, Zhuang's elegance and Qu Yuan are integrated in Li Bai's genius works.

Second, the beauty of music.

1. Feng Chengsu, Yu Shinan, Chu Suiliang, Lu Jianzhi and various manuscripts of Preface to Lanting Collection are typical representatives of calligraphy beauty in this period. They are so light, gorgeous and graceful, or charming in spring, light in clouds and light in wind, or lofty and dusty, with scattered souls. Isn't this the romantic chic of the "young and thin" literati in "Moonlit Night on a Spring River"?

2. The combination of quatrains, cursive script, music, dance and other expressive arts constituted the crown of the beauty of the kingdom of poetry and calligraphy at that time. He pushed China's traditional art of emphasizing melody and emotion to a new stage, reflecting the spirit of the times in the rising stage of secular intellectuals. The so-called voice of the prosperous Tang dynasty is not his, that is, it is also called this.

Third, Du Zihan

1. Dongpo said that Wu's paintings are "innovative, unrestrained and ingenious" ... "I heard that whale hunting in the blue sea is a magical space. Between ancient and modern times, DUZH pen and Yan Shu. "

2.56 words, meaning like a pearl, words like a combination. Its pearl penetration is also like a night light, without losing its twists and turns. Its combination is also like a jade box with a cover, without uneven peristalsis. ..... solemn Zeqing temple hall, silence is omnipotent, Gao Hua is full of stars, big is Mount Tai and Qiao Yue, the circle is flowing, and it is stormy. There is an article called America, so it is difficult for celebrities to be philosophers since ancient times.

3. (Du Fu's poems) are gloomy, profound and tragic, but the majestic momentum is strictly regulated in the neat and rhythmic confrontation. Isn't it just two kinds of manners, two kinds of artistic conception, two kinds of styles and two kinds of forms with Li Bai's poems quoted earlier? From the aesthetic essence, as pointed out earlier, the former is the beauty of genius, natural beauty and unpretentious carving beauty; The latter is strictly defined artificial beauty and secular beauty, and it is self-critical.

Implication beyond rhyme

I. Literature and Art in the Middle Tang Dynasty

1. After the Anshi Rebellion, the society of the Tang Dynasty did not go downhill ... With the increasing number of scholars, scholars who are good at Chinese and American characters and tricks are increasingly immersed in the music, dance and words of the bustling city. There is no yearning for border defense, only the servant and Ma Su. There is no roar of "the sea is vast and the sky is and heaven remains our neighbourhood", only the gorgeous comfort of "As for the end of the town, the wind is unrestrained". ..... It was not the prosperous Tang Dynasty that really showed the brilliant picture of literature and art and generally achieved high achievements in various artistic categories of poetry, calligraphy and painting, but the middle and late Tang Dynasty.

2. Joy, kindness and idyllic tranquility between man and nature became his basic tone.