Zong Baihua's Evaluation of Wei, Jin, Southern and Northern Dynasties

I think this is not only the case in Wei and Jin Dynasties, but also in the pre-Qin and Song Dynasties. These dynasties are not as powerful as those in Han and Tang Dynasties, but the looseness of political power will inevitably lead to freedom of thought, and so will the Republic of China.

Zong Baihua: On Shi Shuo Xin Yu and the beauty of Jin people, excerpted from Aesthetic Walking

The Wei, Jin and Six Dynasties at the end of the Han Dynasty were the most chaotic and socially painful times in China, but they were extremely free, liberated, intelligent and enthusiastic 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 written by 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 it was dominated by Confucianism in thought; After this era-the Tang Dynasty-it was too mature in art and was dominated by Confucianism, Buddhism and Taoism in thought. Only these few hundred years have been a great liberation in spirit and a great freedom in thinking and 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 Dynasties. Some philosophical geniuses of Zhuo Chao, the masters of Buddhism, were also born in this era.

This is a romantic period with the most tragedies in China's life history. The rebellion of the Eight Kings, the chaos of the Five Dynasties and the split of the Northern and Southern Dynasties led to the great disintegration of social order, the total collapse of the old ethics, the freedom of thought and belief, and the upsurge of artistic creativity, which reminded us of the "Renaissance" in Western Europe in the 16th century. This is an era of intense, contradictory, enthusiastic and colorful life.

However, the beauty expressed by the western Renaissance arts (architecture, painting and sculpture) is rich, luxurious and magnificent. Wei Jin people tend to be simple, mysterious and transcendent, and the calligraphy of Jin people is the most concrete expression of this beauty.

The beauty of the Jin people is the highest peak of this era. The secretary of Shi Shuo Xin Yu described it vividly, and he could draw its mental outlook, the personalities of some characters, the colors and air of the times with concise pen and ink. The simplicity and mystery of writing are especially vivid. The writer Liu Yiqing was born in the late Jin Dynasty, and the annotator Liu Xiaobao was also a Liang person. At that time, the lingering charm of Jin people was still alive, and the content described, at least in terms of spiritual transmission, was not far from the truth (Tang Xiujin's books were also based on it).

To study the characteristics of China people's aesthetic feeling and artistic spirit, there are many important materials and inspirations in Shi Shuo Xin Yu, which can't be ignored. Today, I will give a few rough points about my personal reading notes for readers' reference, but the detailed and systematic play will be in the future.

(1) The naturalism and individualism in Wei and Jin Dynasties freed themselves from the bondage of etiquette and law under the rule of Confucianism in Han Dynasty, which was first manifested in Cao Cao's super-moral concept of employing people politically. Most intellectuals go beyond the view of etiquette and appreciate the beauty of personality and respect the value of personality directly. Huan Wen asked Yin Hao, "What are you like me? Yin replied, "I've been dealing with me for a long time. I'd rather be me!" This discovery and affirmation of self-worth has been in the West since the Renaissance. The sixth chapter, the seventh chapter, the eighth chapter, the ninth chapter and the tenth chapter, Rong Zhi, all appreciate and describe the beauty of personality. Aesthetic appreciation, the so-called "taste of algae" is the object of "characters." China's aesthetics is actually based on the aesthetics of "people and things". The concept, category and adjective of beauty originated from the appreciation of personality beauty. "A gentleman is better than a jade", China people's love for the beauty of personality originated very early, and the air of tasting algae characters has prevailed in the late Han Dynasty. To "Shi Shuo Xin Yu era" is the pinnacle ("Shi Shuo" contains "Wen Tai is really a second-rate person. When celebrities say characters, the first will be done, and the temperature will often be eclipsed. " That is to say, this shows the social power of human goods algae at that time.

China's masterpieces of art and literary criticism, Painting by Sheikh, Painting by Yuan Ang and Yu Jianwu, Poetry by Zhong Rong, and Carving Dragons by Liu Xie, are all produced in the atmosphere of these lively figures. Later, Si Kongtu's "Twenty-four Products" in the Tang Dynasty was a masterpiece of aesthetic sense in China.

(2) the discovery of the beauty of mountains and waters and the artistic soul of Jin people. "Shi Shuo" contains Gu Kaizhi, a painter of the Eastern Jin Dynasty, who returned from Huiji. People asked about the beauty of mountains and rivers. Gu Yun said: "Thousands of rocks are beautiful, and thousands of valleys are struggling, and vegetation is covered on them. If the clouds are thriving, Xia Wei will emerge." 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 paintings has been included in the discovery of natural beauty by Jin people! When Jian Wendi entered the Chinese Garden in Shi Shuo, Gu said, "You don't have to be far away from your heart. If you are surrounded by forests and waters, you will have your own thoughts. Birds, beasts, birds and fish come to their loved ones. " Isn't this another small landscape of Yuan people, the picturesque scenery of Huang Dachi, Ni Yunlin, Qian Shunju and Wang Ruoshui? (The essence of China Nanzong Painting School is to show a natural and unrestrained mind, which is also the lingering charm of Jin people. )

People in Jin and Song Dynasties admire mountains and rivers, from reality to emptiness, that is, reality is emptiness, and beyond the metaphysical realm. At that time, the painter Zong Bingyun said: "The mountain water quality is interesting." Poet Tao Yuanming's "Picking chrysanthemums under the east fence, leisurely seeing Nanshan", "There is truth in this, and I have forgotten what I want to say"; Xie Lingyun's "there is no clue to the rise, and the virtual boat has surpassed it"; And Yuan Yanbo's "Jiangshan Liaoluo, there is actually the trend of Wan Li." Wang Youjun and Xie Taifu * * * climbed the smelting city, and Xie Youran thought far ahead, with lofty aspirations. Lang Dengbei in Xunzhong looked at Haiyun: "Although I haven't seen the three mountains, I have made people feel the meaning of Lingyun." People in the Jin and Song Dynasties admire nature, and they have a lofty interest in "watching the return of Hong and waving five strings". This makes China's landscape painting a kind of "landscape in artistic conception" from the beginning. The landscape that Zong Bing painted hangs in the room, and he said to it, "Fuqin moves, and you want to make all the mountains ring!" Guo Jingchun has a poem saying: "There is no quiet tree in the forest, and there is no stopping flow in the river." Ruan Fu commented: "It is really unspeakable to be bleak. Every time I read this article, I feel that God is beyond the shape." This profound philosophical meaning was deeply reflected in people's aesthetic feeling and natural appreciation at that time.

Jin people understand the nature with the empty mind and metaphysical meaning, but they can be clear and empty, and establish the highest crystal-clear artistic conception! In Shi Pin, Si Kongtu once described the artistic mind as "writing spring in an empty pool, and the ancient mirror shines on the gods". There are some people in Jin Dynasty:

Wang Xizhi said, "Walking up the mountain path is like swimming in the mirror!"

the clear mood makes the mountains and rivers reflected in the bright and clean body!

Wang Sizhou (Xiuling) visited Yinzhu, Xing Wu, and sighed, "If you don't only make human feelings clean, you will feel the sun and the moon are clear!"

Taifu Sima (Daozi) sat in the middle of the night, when Tian Yue was bright and clean, and there was no fiber. Taifu sighed and thought it was better. Xie Jingzhong was sitting, and replied, "Yi Wei is not as embellished as weiyun." Taifu thanked me for the play, saying, "Your intentions are not pure, but you want me to be too dirty and clean up evil?"

Only in this way can China's noble and loving nature have a noble mind, such as Ni Yunlin, the Yuan Dynasty, to "wash away all the dust and live alone", "swim with nature" and "swim on the surface of dust ■ (soil+cover) by riding the cloud" (all comments on Ni Hua Yu in Yun Nantian), and create a jade and clean ice. Jin people's ideal of beauty, which can be noted, is a remarkable pursuit of bright, fresh and clean images. They admire the adjectives of personal beauty, such as "like a willow in spring", "Xuan Xuan is like a morning glow", "the breeze is bright and the moon is bright", "Yushan", "Yushu", "brilliant and colorful" and "bright and clear", which are all bright images. Even after Yin Zhongkan's death, Yin Zhongwen called him "though he can't die in the Ming Dynasty, it is enough to reflect the grave". Describe the nature, such as: "clear dew and morning flow, new tung is introduced at the beginning." Describe the building as follows: "Looking at the layered city from a distance, the Danlou is like a sunset". Isn't Zhuangzi's ideal personality the source of the beautiful image of the Jin people, that is, "she shoots a fairy, is graceful, and her skin is like ice and snow"? Huan Wen said that Xie Shang "played the lute under the window, so he had his own dream". The real person in the sky is the ideal personality and beauty of Jin people.

Jin people are natural and unrestrained, and don't dwell on things. This beautiful and free mind finds an art that is most suitable for expressing himself, which is the cursive script in calligraphy. The art of cursive writing 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 every stroke, from beginning to end, in one go, like a powerful and unconstrained style, and the freedom of parade. Another example is the willingness of the skilled, and God acts in vain. This wonderful art, only the Jin people Xiao San's detached mind, can be matched with each other and reach its peak. The characteristic of calligraphy in Wei and Jin dynasties is that it can show the true state of each word. "Every point of Zhong You is different, and the words of Xi are different". "Jin people use reason to knot words, and use reason to do what they want without exceeding the moment." Tang Zhang Huaiguan's Book Discussion commented on Wang Xianzhi's book cloud: "The method of respecting the child is not grass or action, and the flow is convenient for grass; Being in the middle of it, there is no need to follow the rules, and it is better to restrain the rules, which is quite natural and simple. Love is vertical, transcendent and excellent, adapt to the situation, and adapt to the situation. If it is popular, the rain will disperse, the touch will bloom, and the brushwork will be the most romantic! Yi Shao grasps the importance of true deeds, Zi Jing carries out the right of grass, the spirit of the father and the god of the son are unique in ancient and modern times. " This passage of his not only conveys the true spirit of cursive art, but also describes the free and chic artistic personality of Jin people to the fullest. China's unique art calligraphy-which is also the soul of China's painting art-is produced from the charm of Jin people. Metaphysics in Wei and Jin Dynasties made Jin people get unprecedented spiritual liberation, and their calligraphy is the most concrete and appropriate artistic expression of this free spiritual personality. This abstract music-like art can express the ethereal metaphysical spirit and individualistic self-value of Jin people. Ouyang Xiuyun: "I like to look at 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 mourning for illness, leaving each other, and asking questions in communication, which are applied between family and friends, but only a few lines. Covering it is not intended at first, but it is full of fun, dripping and swaying, or ugly or ugly. It is full of things, wearing curly letters, and it is rotten in the eyes, so that it is amazing at first sight, and it is endless, so that future generations can get it, think it is wonderful, and want to see it as a person! " The discovery of the value of individuality is the greatest contribution of "the era of telling new stories", and the calligraphy of Jin people is the representative art of this individualism. In the Sui and Tang Dynasties, the "divine principle" in the calligraphy art of Jin people was condensed into "law", so "be adept at was wise and brave, but he was not surprised."

(3) The high artistic attainments of Jin people are not only based on their transcendence of interest, their deep understanding of the mysterious realm, their respect for individuality and their vitality, but more importantly, their "devotion"! No matter for nature, for the pursuit of philosophy, for friendship, there is something to say:

Prince Jingyun said, "From the mountain path, the mountains and rivers reflect each other, which makes people overwhelmed. If it is autumn and winter, it is especially difficult! "

what a "it's especially hard to be pregnant in autumn and winter!"

Wei Jie asked Le Ling "dream" when he was in the corner. Le Yun: "I want to". Wei said, "Is it evil to dream when the form and spirit are not connected?" Le Yun: "Because also. I never dreamed of driving into a rat's den and smashing iron pestles, but I didn't think about it for no reason. " Weisi became ill because he couldn't get through the day. I am happy to hear it, so I ordered it to be analyzed. Defending is a small task. Yue sighed: "There must be no ointment blindness in this child's chest!"

Wei Jie is extremely beautiful and personable, but thinking about Hyunri makes him ill. Isn't this Plato's "passion for wisdom"?

Although Jin people are superior, they can't forget their feelings. As the saying goes, "The bell of love is in our generation" (Wang Rongyu)! It is sorrow and joy, different customs. Especially for the love of friends, which is full of admiration for personality beauty. An account of "Regret for the Past" in Shi Shuo is quite touching. When Yu Liang died, He Yangzhou was buried in the cloud: "Burying the Yushu in the soil, how can human feelings be done!" There is still a sense of mourning for the disillusionment of beauty in mourning for the death.

Gu Kaizhi worships Huan Wen's tomb and writes a poem: "What will the fish and birds do when the sea is exhausted by landslides?" People asked him, "Can you see that you are crying because you are loyal to Huan Nair?" Gu Yue said, "The nose is as wide as Mo Changfeng, and the eyes are like a hanging river!"

Gu Yanxian was good at playing the piano all his life, and his family often put it on the spiritual bed. Zhang Jiying cried, so he went to bed and played several songs on the piano. He said, "Gu Yanxian is quite rewarded?" Because of his great fear, he went out without holding his dutiful son's hand.

every time Huan ziye hears the Qing song, he needs to call for help. When he hears it, he says, "Ziye is always affectionate."

Wang Changshi climbed Maoshan, crying loudly, saying, "Wang Boyu of Langya should die of love in the end!"

Ruan Ji was always driving alone, not because of the path and the tracks, so he came back crying.

Those who are deeper than feelings can not only feel the deepest nameless sorrow for the life of the universe, but also expand and fill it, which can become the compassion of Jesus and Sakyamuni. Even the happy experience is deep-rooted and thrilling; People who are shallow and fickle can't grieve deeply, and they don't know the so-called true joy:

Wang Youjun went to the official office and enjoyed fishing with the natives. Tour the famous mountains and swim across the sea, sighing, "I should die with joy!" "

Jin people are rich in this kind of universal affection, so they have such unattainable achievements in art and literature. Gu Kaizhi has three unique skills: painting, talent and infatuation. Its idiocy is beyond reach! Tao Yuanming's simplicity, innocence and chivalry also prevent future generations from going everywhere.

Jin people discovered nature outward and their deep affection inward. The landscape is empty and spiritual, and it is also emotional. People like Tao Yuanming and Xie Lingyun's landscape poems are so good because they have a deep and selfless interest in the new discovery of nature. They write casually, and they all become wonderful truths, and the situation and the gods are really irritating. Xie Lingyun's "spring grass in the pond" is just fresh and natural. However, expanding the beauty and deepening the body can form a pantheistic world view as the basis of art and literature. Sun Chuo's "Tiantai Mountain Fu" says: "If you talk freely, you will be happy all day long. When you are silent, you will look at the ghost and stick to nature." Another cloud said, "After a week's tour, my body is quiet and my mind is idle, and the horse has gone. Everything is donated, and the blade is empty, and my eyes are incomplete. I miss the secluded rock and sing long and long." Under this profound natural experience, Wang Xizhi's Preface to the Lanting Pavilion, Bao Zhao's Letter to My Sister on the Dalei Shore, Tao Hongjing and Wu Jun's Short Notes on the Scenery, and Li Daoyuan's Notes on Water Classics were produced. These are the most beautiful scenery literature.

(4) I said that the human spirit in the Wei and Jin Dynasties was the most philosophical, because it was the most liberated and free. Zhi Daolin is a good crane, and when it goes to Tandong ■ (Mountain+Mau) Mountain, some people leave their two cranes behind. When I was young, my wings grew long and I wanted to fly. To cherish it is to cherish it. The crane porch can no longer fly, but looks back and hangs his head, seeing it as if it is regretful. Lin Yue said, "If you have the attitude of the sky, why are you willing to be a close friend?" Raise the order and make it fly away. Jin people love their spiritual freedom, so they can push themselves and things, which is a great move. This kind of spiritual freedom and liberation can spread our minds like a flower, accept the panorama of the universe and life, understand its significance and appreciate its deep situation. The so-called "life sentiment" 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 Buddhist Mahayana thought). Wei Jie wanted to cross the river at first, and he was miserable.