Differences in writing styles between the Northern Song Dynasty and the Southern Song Dynasty

1. The difference between the Northern Song Dynasty and the Southern Song Dynasty

Song Dynasty (960-1279): The regime established by Zhao Kuangyin was divided into the Northern Song Dynasty and the Southern Song Dynasty, so it was also called the Two Song Dynasty. Because the monarch's surname was Zhao, and it was different from the Liu Song Dynasty in the Southern and Northern Dynasties, it was also called Zhao Song. And because the Five Virtues are said to be the beginning and end of the Song Dynasty, the Song Dynasty was called the Fire Virtue, so it was also called the "Fire Song" and the "Yan Song".

Later Zhou general Zhao Kuangyin launched a mutiny, usurped the Zhou Dynasty and established the Song Dynasty. After the end of the Song Dynasty and the end of the Tang Dynasty, China entered the split of the Five Dynasties and Ten Kingdoms and unified the country. Emperors Taizu Zhao Kuangyin and Taizong Zhao Guangyi launched the only few rounds of Northern Expeditions in the Song Dynasty, and the territory of the early and middle Song Dynasty was roughly finalized. Since then, the Song Dynasty has been adopting a passive defensive strategy that emphasizes internal affairs over external affairs, and rarely initiates war against the North. At the beginning of the founding of the People's Republic of China, Zhao Kuangyin, in order to avoid repeating the tragedy caused by the separatist rule of vassal towns and frequent interference of eunuchs in politics in the late Tang Dynasty, returned military power to the central government, adopted a national policy of advocating civility and suppressing military force, and adopted a general command system. The impact of this national policy was far-reaching: on the one hand, the Song Dynasty had few powerful courtiers who disrupted the government, the economy, science and technology were developed, and the culture was extremely prosperous; on the other hand, it also caused the Northern Song Dynasty to have weak military equipment since its establishment, and was frequently defeated by foreign invaders from the north. , Khitan's military use was repeatedly defeated. The Jingkang Disaster occurred in the Song Dynasty from 1126 to 1127. Both the Hui and Qin emperors were kidnapped by the Jin people. The Song Dynasty was forced to move south to Lin'an (now Hangzhou, Zhejiang), and the invading Jin State had the Huai River and the Dashan Pass as its borders. Jie was called the Southern Song Dynasty in history, and the Song Dynasty during the period when Bianliang was the capital was called the Northern Song Dynasty. In 1276, the capital Lin'an fell, and the Southern Song Dynasty fell to the Yuan Empire established by the Mongolian Khan Kublai Khan. 2. Among Song Ci, what is the difference between Northern Song Ci and Southern Song Ci?

Discussion on Ci Ci Studies Related to Jiang Wu Dianya Ci School in the Southern Song Dynasty Chapter 5 discusses the distinction between the Southern and Northern Song Dynasties in the history of Ci Ci .

Summarizing various opinions, "Southern Song Dynasty" and "Northern Song Dynasty" words can respectively represent two different styles: one is natural inspiration, and the other is human ingenuity; the Northern Song Dynasty is full of meaning, and the Southern Song Dynasty is deep and beautiful. , each has its own merits. The so-called "density and craftsmanship are more than enough, but the high emotion and far-reachingness are slightly reduced" can sum up the strengths and weaknesses of the elegant school of poetry in the Southern Song Dynasty.

Finally, to summarize the full text, I believe that the design of this article, from the style of writing, emotion and style to style, takes into account the form and content, individual schools and the style of the times, etc., and is closely tied to the "Southern Song Dynasty" ”, “Jiang Wu”, “elegant” and other concepts not only clarify the theoretical level of various related theories, but also specifically reflect the stylistic characteristics and contemporary significance of the Jiang Wu elegant school of poetry in the Southern Song Dynasty. 1. The different characteristics of the Northern and Southern Song Dynasty Ci By the time "History of Northern Song Ci Ci" was written to the end, the creations of the Southern Song Ci poets were already vaguely visible.

Here we should make a review and summary of the different characteristics of Northern and Southern Song Ci, as a transition to reading "History of Southern Song Ci". First of all, the difference between Northern and Southern Song lyrics comes from the evolution of music.

Ci, in its essence, is a kind of music literature, and many changes in Ci are closely related to the evolution of music. In ancient society, there was a lack of scientific methods for recording music scores, and the teaching or teaching of music was also very arbitrary. Many beautiful tunes relied on oral transmission by geishas and musicians.

As a result, the constant emergence of new music scores and tunes will inevitably submerge a large number of old tunes. Many popular music that were popular at that time will eventually disappear in the river of history. Although many lyrics in the Southern Song Dynasty can still be sung together with music, "the old music scores are scattered and one cannot sing by relying on the sound" has become an irreversible trend.

Zhang Yan, a poet in the late Southern Song Dynasty, said in "Guoxiang · Preface": "Shen Meijiao is also a prostitute in Hangzhou. I suddenly saw her in Kyoto and drank wine with her.

Still able to sing Zhou Qingzhen The two songs "Unforgettable" and "Taicheng Road" were written by Luo Pa because of his instructions. Those who can sing a few songs are rare. "Poetry always borrows the appropriate rhythm from the song first, and directly inherits its lyrical character.

After adapting to this rhythm, the poem and the song enter a state of ambivalence, and finally become Poetry that is recited without singing. "Poetry writers in the Northern Song Dynasty often responded to the request of singers during banquets and wrote lyrics to be sung at banquets.

Lyrics written by poets of the Northern Song Dynasty were casual entertainment, amateur entertainment, drama, a true description of private life, and an unconcealed expression of temperament. The lyrics of the Southern Song Dynasty were increasingly separated from the fetters of music, embarked on the path of independent development, and gradually became elegant literature on the desks of literati.

On the other hand, the huge changes in the social environment of the Southern Song Dynasty forced lyric creation to step out of the ivory tower and focus on the broader social reality. The lyrics of the Southern Song Dynasty were often the result of literati and poets singing to each other or forming a poetry club to entertain each other. Sometimes they were also a clarion call for the War of Resistance and a tool that served reality.

The writing of lyrics by poets of the Southern Song Dynasty was an elegant artistic activity, a careful organizational arrangement, and even a solemn emotional expression. Therefore, "Jie Cunzhai's Miscellaneous Works on Ci" says: "In the Northern Song Dynasty, there were meaningless words to echo the songs, and in the Southern Song Dynasty, there were meaningless words to echo the society."

Secondly, it is related to the evolution of this musical background. Related to the changes in the creative environment, most poets in the Northern Song Dynasty wrote expressive works, often expressing their inner emotions based on the scenery in front of them, which were natural, vivid and touching. The poets of the Southern Song Dynasty took great pains to conceive, ingeniously arrange, and are wonderful and rich, with obvious methods, remarkable syntax and rules, and moving warnings.

Zhou Ji said: "The main movement of the Northern Song Dynasty is based on the current situation, and has infinitely higher and deeper interest. In the Southern Song Dynasty, literati wrote and competed with each other for fame, so there were more changes and richer materials.

However, in the Southern Song Dynasty, there was a gate, so it seemed deep but turned shallow. In the Northern Song Dynasty, there was no gate, so it seemed easy but actually difficult."

He also said: "There are many poems in the Northern Song Dynasty. The scenery is used to describe emotions, so the pearls are round and jade-like, and the four lights are exquisite. When it comes to Jiaxuan and Baishi, they are transformed into immediate descriptions of scenery, making the dark ones look light and the curved ones straight. The poems of the Northern Song Dynasty clearly show the temperament and are easy to arouse the general excitement of readers; the poems of the Southern Song Dynasty show clever arrangements and are worthy of repeated chewing by readers.

This fundamental change in the way of writing lyrics began with Zhou Bangyan in the late Northern Song Dynasty. This aspect has been widely seen in the creations of Dasheng poets. The third volume of "Bai Yuzhai Ci Talk" discusses the development and decline of Ci from this perspective: "In the Northern Song Dynasty, when Wen and Wei Wei were gone, ancient meanings were often seen.

By the Southern Song Dynasty, it had become extremely abnormal. The abnormality was extremely extreme. , then the work has been completed.

So the poets who came after him had to deliberately seek surprises, and the situation worsened, which was also the case in Du Ling.

And the secrets of heaven and earth have been vented, and the ancient meaning has gradually faded away. "This kind of "ancient meaning" is probably the "natural feeling".

Thirdly, Northern Song Dynasty poems were written with emotion, rich and round, and expressed personal enjoyment, with few unexpected intentions; Southern Song Dynasty poems were skillfully crafted, conveying both inner and outer meanings, conveying the twists and turns of the poet's mind. , use Bixing sustenance technique more often. Zhou Ji said: "The inferior ones of the Northern Song Dynasty are inferior to those of the Southern Song Dynasty because they cannot be empty and do not know where to place their sustenance.

The superior ones are in the Southern Song Dynasty because they can be practical and can have no sustenance. The Southern Song Dynasty is inferior to those of the Northern Song Dynasty. If he does not suffer from the clumsiness of the Northern Song Dynasty, he will not be as good as Hun Han in the Northern Song Dynasty. ”

② In this aspect, the poetry of the Southern Song Dynasty was most highly praised by the poets of the Qing Dynasty. The works that best reflect the Southern Song Dynasty poets' devotion to Bixing are the works of chanting things. When forming associations, poets also like to write titles to chant things.

Because the ancients chanted things, "In borrowing things to express one's temperament, all the feelings of one's life experience and the worries of the kingdom are hidden in them. This is a far-reaching and profound thing, and it is not possible to chant something." ( Volume 3 of "Funduli Shi Ci Hua" written by Shen Xianglong of the Qing Dynasty ("Essays on Ci") said: "Ci originated from poetry, which is a small chant about something, and it is also so valuable that it has the purpose of being popular among people.

Tang, The poets of the Five Dynasties and the Northern Song Dynasty did not praise objects very much, but they all had their sustenance in the poems about Baishi and Shihu, which were all about discussing peace affairs in the south and south.

And Bishan, Caochuang, Yuqian, and Ren. Recently, in the "Yuefu Supplement", the chants about ambergris, white lotus, water shield, crab, and cicada all embody the infinite feeling of their home and country, and they are not just tributes to things. If you know this, then "Qitian Le·Yong Cicada". , "Moyu'er·Yong Shunshi", all can be discontinued.

Even if there are chants, the author can become famous without having anything to rely on. "Major social and political themes are pinned through Bixing. The technique is reflected in the lyrics, and the realm of Southern Song poetry is naturally different from that of Northern Song poetry.

” ② In this aspect, the Southern Song Dynasty poets are most highly praised by the poets of the Qing Dynasty. The poems that best reflect the meaning of the Southern Song poets’ Bixing sustenance should be praised, and the poets also like to write poems to chant things when forming associations. Because the ancients chanted things, "In borrowing things to express one's temperament, all the feelings of one's life experience and the worries of the kingdom are implicitly contained in them. This is a far-reaching and profound thing, and it is not possible to chant something." "(Qing Dynasty Shen Xianglong's "Essays on Ci") Volume 3 of "Funduli Shi Ci Hua" says: "Ci originated from poetry, which is a small chant about something, and it is also so valuable that it is popular among people." The poems written by people in the Tang, Five Dynasties and Northern Song Dynasties were not very odes to objects. The poets from the southern crossing all had their own sustenance. Baishi and Shihu chant plum blossoms, secretly discussing peace affairs in the south and south. As well as Bishan, Caochuang, Yuqian, Renjin and other survivors, in the "Yuefu Supplement", the chants of ambergris, white lotus, water shield, crab, cicada, etc. all embody the infinite feeling of their home and country, and are not just tributes. Knowing this, "Qi Tianle·Yong Cicada" and "Moyu'er·Yong Wenshi" can be discontinued. That is to say, there are chants of things, but there is nothing to rely on to become a famous author. "Major social and political themes are expressed in lyrics through the technique of Bixing sustenance. The realm of Southern Song poetry is naturally different from that of Northern Song poetry. The Qing people changed their views on Southern Song poetry based on this point. 4. The difference between the Northern Song Dynasty and the Southern Song Dynasty Different characteristics

Judging from the Northern Song Dynasty official kiln porcelain fragments and damaged utensils that have flowed into the society in Liuzhuang, Wangzhuang and Kaifeng urban areas in the suburbs of Kaifeng, we can see the overall style, shape, glazing, decorative technology, etc. that have appeared in other places in the country. In all aspects, the official porcelain is consistent with the utensils in Liuzhuang Wangzhuang and Kaifeng urban areas. Among the many Song porcelain kilns, the Northern Song Dynasty official kiln (also known as the Bianjing official kiln) is the most handed down "Ge Kiln" and socially recognized "Ge Kiln". Basic characteristics. (1) It is estimated that there are about 400 official kiln utensils from the Northern Song Dynasty. Except for the glaze of some utensils that are pure and grainless due to factors such as glaze application and firing process or kiln deformation, almost all of these utensils are single-color. The iron wire mesh pattern or the two-color gold wire wire mesh pattern are almost equal in quantity. The iron wires are usually black, brown, and purple, and the gold wire colors are yellow and red. The causes of these artificial coloring lines have been explained. There are many theories, such as filling the cracks on the surface of the tire with grass ash or purple gold soil or ink. The author believes that during the multiple glazing processes (three or four times) after the blank is fired, the tire will be damaged after the first glaze is fired. After cracks appear on the surface of the vessel due to different glaze expansion coefficients, one or two colorants are filled into the cracks of different shapes, and then glazed and fired, so this coloring line is formed after the second glaze firing. , there will be no change after glazing and firing. There are fine mesh and large mesh, sparse mesh and dense mesh; in the gold wire mesh. Among the patterns, the iron thread pattern is generally sparse and the gold thread pattern is dense; some gold thread patterns are in the shape of plum blossoms. Some people think that those with small patterns are from the "Ge Kiln" and those with large patterns are from the Song Dynasty. This is due to the fact that there are very few official kiln objects from the Northern Song Dynasty. In fact, these two patterns are present in the official kilns of the Northern Song Dynasty. (2) Most of the official kiln wares of the Northern Song Dynasty have purple mouth and iron feet, which are mainly ocher or dark brown. And a few have gray and black backgrounds, and the mouth rim shows brown, purple or brown, with varying shades. The purple mouth is not entirely caused by the thin glaze on the mouth rim, but is partly caused by the artificial application of colored tire protection liquid on the mouth rim. About a quarter of the official kiln wares are pure black-bodied wares. These black-bodied wares have black bases and black-purple rims. They can be said to be authentic purple-mouthed iron feet. They are obviously different from Longquan imitation official porcelain. , Xiuneisi official porcelain and Laohudong Yuan Dynasty imitation of the Southern Song Dynasty official kiln porcelain. The latter is made of purple gold soil from Fenghuang Mountain in Hangzhou. Many Northern Song Dynasty official kiln wares with the basic characteristics of "Ge Kiln" also have indications. The bottom line of the status of the official kiln in the Northern Song Dynasty, such as "Feng Liu Fei" (the Liu family is a favored concubine of the Song Dynasty and Hui Song Dynasty), "Houyuan", "Jinyuan" (both are imperial gardens where Emperor Huizong of the Song Dynasty spent and indulged in extravagance), "Shangshi Bureau" "(In the Northern Song Dynasty, the palace was in charge of the imperial dining organization), "Xiu Si (in the Northern Song Dynasty, it was in charge of the renovation of the Imperial Ancestral Temple), "Tianzhang Pavilion" (one of the three universities controlled by the Northern Song Dynasty court), "Bao Gong's Mansion" (the government office of Bianjing in the Northern Song Dynasty), "Bazuosi" (the agency of the Northern Song Dynasty court in charge of Miyagi handicraft workshops) and so on. It is estimated that from the Jin Dynasty to the Jin Dynasty, a small number of Northern Song Dynasty official kiln wares with the above main characteristics began to flow into the society, and some of them fell into the hands of upper-class literati in the Ming Dynasty.

The "hundred rubbish pieces" mentioned by Ming Lang Ying and the "fine broken lines" and "caviar" lines mentioned by Wen Zhenheng and Gao Lian should all be the fine mesh patterns of official porcelain in the Northern Song Dynasty; the latter two called them "eel blood" The pattern and "black pattern" should refer to the red silk pattern and iron thread pattern in the official porcelain of the Northern Song Dynasty; the pattern they call "plum blossom patch" should also refer to the round petal-shaped gold mesh pattern in the official porcelain of the Northern Song Dynasty. Open film. Since there is no written description of the official kilns of the Northern Song Dynasty in the Northern Song Dynasty, the total amount of official kilns fired in the Northern Song Dynasty was limited (probably less than Ru porcelain and Jun porcelain), and the Huizong court had extremely strict control over the scope of use of official porcelain (until the Jin soldiers occupied Kaifeng , this situation was changed after the Jingkang disaster), so generally they lack the concept of Northern Song Dynasty official porcelain. Once they have the opportunity to encounter them, they will not distinguish between beams and mules, and mistakenly call them "Brother". Kiln" may be confused with the official kiln of the Southern Song Dynasty.

5. What is the difference between the Southern Song Dynasty and the Northern Song Dynasty?

The Song Dynasty includes the Northern Song Dynasty and the Southern Song Dynasty. Northern Song Dynasty: From the time when Song Taizu Zhao Kuangyin ascended the throne in 960 AD to 1127 AD, it lasted 168 years, and there were 9 emperors; Southern Song Dynasty: from Song Gaozong's southern crossing in 1127 AD to the Yuan Army in the first month of 1279 AD It took 153 years to capture Yashanzhi, and 9 emperors were passed down.

Details:

The Song Dynasty (960-1279) is an era in Chinese history that inherited the Five Dynasties and Ten Kingdoms and the Yuan Dynasty. According to the changes in capital and territory, it can be divided into The Northern Song Dynasty and the Southern Song Dynasty are collectively called the Two Song Dynasties. When the Song Dynasty was founded, in order to avoid the separatism of feudal vassal towns and the chaos of eunuchs since the end of the Tang Dynasty, it adopted a policy of emphasizing culture over military affairs. On the one hand, although it was poor and weak militarily and lost to its northern neighbors, in 1127 it first envoyed Hui, The second Qin clan was taken captive by the Jin people, forcing the Song family to move south. By 1279, the Song Dynasty was defeated by Mongolia in the Battle of Yashan.

The Northern Song Dynasty (960-1127) was a dynasty in Chinese history. It was called the Song Dynasty together with the Southern Song Dynasty, and was also called the Two Song Dynasty. The Northern Song Dynasty started with Zhao Kuangyin succeeding the Zhou Dynasty and controlled the Yellow River Basin. The area to the south was the first unified dynasty to appear after China's economic center of gravity shifted southward. The regime of the Northern Song Dynasty successively confronted the Liao, Jin, and Xixia. In 1126, Jin soldiers invaded Kaifeng and perished the following year. *** Calendar of the Nine Emperors, 167 years.

The Southern Song Dynasty (1127-1279) was a dynasty in Chinese history. The Song Dynasty was rebuilt in Lin'an (now Hangzhou) and was known as the Southern Song Dynasty in history. With the Jin Dynasty along the Huai River (today's Huai River) to the east and Dashan Pass to the west, the Southern Song Dynasty co-existed with the Xixia and Jin Dynasties. The Southern Song Dynasty was located south of the Huai River.

The politics of the Northern Song Dynasty were biased towards the Sui and Tang Dynasties, while the politics of the Southern Song Dynasty were more similar to the Ming Dynasty. After all, the Northern Song Dynasty basically followed the "law of the ancestors", while the influence of the "law of the ancestors" in the Southern Song Dynasty was significantly weakened, and the power of the prime minister was Conflicts with the imperial power also increased.

Economy Compared with the Northern Song Dynasty, the Southern Song Dynasty's commodity economy was obviously more mature and developed, commercial income obviously contributed more to the national income, and foreign trade also developed significantly.

Culturally speaking, if the Northern Song Dynasty was a comprehensive revival of Confucianism, then the Southern Song Dynasty was a leap of Confucianism on a new basis. 6. What are the similarities between the Northern Song Dynasty and the Southern Song Dynasty

Large-scale peasant uprising

Wang Xiaobo and Li Shun uprising

In the last years of Song Taizong, there was a severe drought in Sichuan and Shaanxi. The government imposed excessive taxes and miscellaneous taxes, which the farmers could not bear. They also forced tea to be purchased at low prices, resulting in a large number of tea farmers losing their jobs. In February of the fourth year of Chunhua (AD 993), Wang Xiaobo, a tea vendor in Qingcheng (now southeast of Guan County, Sichuan Province), gathered a crowd to revolt. He called for equalizing wealth and poverty, and received widespread response, with more than 10,000 people in attendance.

Song Jiang Uprising

In the first year of Xuanhe (1119), thirty-six people including Song Jiang gathered in Liangshanbo (now Dongpingnan, Shandong) and raised flags to rebel. Subsequently, he attacked everywhere, with the scope of activities in Hebei and Shandong areas, and successively attacked more than ten state armies. In February of the third year of Xuanhe (1121), when Song Jiang and others attacked Haizhou (today's Lianyungang, Jiangsu Province), they were defeated by Zhang Shuye, the magistrate of Haizhou, and Song Jiang and others surrendered.

Fangla Uprising

In the second year of Xuanhe, Fang La from Qingxi, Muzhou (now Chun'an, Zhejiang) used Manichaeism to gather tens of thousands of people in Bangyuandong to rebel.

Fang La was called Shenggong, Jianyuan Yongle was established, and official offices were set up separately. Later, they conquered Mu, She, Hang, Chu, Qu, Wu and other prefectures and counties, with hundreds of thousands of troops. At the beginning of the third year of Xuanhe's reign, the Song court appointed Tong Guan as the Xuanfu envoy for Jiang, Huai, Jing, Zhejiang and other roads, and led an army of 150,000 people south to suppress it. The prefectures and counties controlled by Fang La fell one after another. In April, Fang La led his troops to retreat to Bangyuandong and fought a decisive battle with the army. All 70,000 people he led were killed in the battle. Fang La was captured and escorted to Bianjing for execution. The remaining troops continued to fight in eastern Zhejiang for nearly a year and were later eliminated.

Zhong Xiang Yang Mo’s Uprising

A peasant uprising in the Dongting Lake area in the early Southern Song Dynasty. Zhong Xiang was a native of Wuling, Dingzhou (now Changde, Hunan). Since the late Northern Song Dynasty, he had used religious organizations to form secret societies in his hometown. Before the uprising, he had been engaged in preaching and organizing activities for more than 20 years. At the beginning of the Southern Song Dynasty, the Jin army continued to invade the south, and the war caused great damage to some areas south of the Yangtze River. The Communists of the Southern Song Dynasty also imposed excessive levies and expropriations, and the Song Dynasty official army, which was defeated by the Jin army, took the opportunity to rob, and the people were in dire straits. In the fourth year of Jianyan (1130), Zhong Xiangsui led an uprising and called himself King of Chu. He founded the country and named it Chu, and changed it to Yuan Tianzai. Zhong Xiang was captured and sacrificed, and his troops continued to fight under the leadership of Yang Mo. 7. Urgent request

An article, you can refer to it.

The Ci style of the Northern Song Dynasty continued the elegant and delicate style of the Five Dynasties. Most of them used a female tone to tell personal spring thoughts, leisurely worries, wind, flowers, snow and moon.

It was not until the genius poet Su Shi entered the Ci world. This situation has only changed. However, although Su Shi brought a breath of fresh air to the dense world of poetry with his own creations, there was still a harmonious harmony around him. At this time, the world of poetry was completely shrouded in gorgeous colors.

After the Jingkang Incident, the Northern Song Dynasty was destroyed, and the war broke out and the people were in dire straits.

The tragic reality of the loss of the land, the destruction of the family, and the displacement of people made it impossible for the poets to sing the original cheerful lyrics. Since the founding of the Song Dynasty, the style of poetry that lasted for more than 160 years has undergone fundamental changes.

At this time, the world of poetry reverberated with a melody composed of words of sorrow and loyalty and indignation. The huge disaster first plunged people into deep sadness. The prosperity of the past has become a dream. People remembered the prosperity of the past and at the same time deepened the sadness of reality. The expression of the pain of the subjugation of the country and the sense of life experience became a trend in the poetry world at this time. Big theme.

The most vital thing in the Ci world at this time is another type of Ci. The resentment against the invasion of the Jin people and the heroic ambition to reorganize the world and clean up the old mountains and rivers make this type of Ci full of heroic spirit.

In the early days of Nandu, these two styles of poetry, which were also based on the hatred of family and country, washed away the Qiluo Xiangze attitude in the late Northern Song Dynasty, thus establishing the tone of Southern Song poetry. These two styles of poetry have continued and contributed to their respective The heirs, the bold and unrestrained poets headed by Xin Qiji and the graceful poets headed by Jiang Kui, developed into the main theme in the Southern Song Dynasty.