Chen Ye, vice president of the Zhejiang Academy of Social Sciences: Jump out of Song Yun and say Song Yun

Qianjiang Evening News Hourly News Reporter Ma Li

In August last year, after the Provincial Party Committee Cultural Work Conference proposed the implementation of the "Song Yun Culture Inheritance Project", lectures, exhibitions and activities on Song Yun culture have always been in a hot search state. Half a year has passed, we have a correct interpretation of what Song Yun is, whether there is any misunderstanding, and what are the problems?

As the think tank and think tank of the provincial party committee and the provincial government, the Zhejiang Academy of Social Sciences integrated the research resources of the whole academy and formed a research group to compile the "Brief Reading of Song Yun Culture". This is also the first "concise reading book" for the public after the "landing" of Song Yun culture. Last week, the book was published by Zhejiang People's Publishing House.

Chen Ye, a think tank expert on Song Yun culture and vice president of the Provincial Academy of Social Sciences, wrote an introduction to the whole book and chatted with the Qianbao reporter about Song Yun who "jumped out of Song Yun".

(i)

Why is it called short reading?

After the cultural work conference was held, many people were relatively ignorant of what song rhyme was, and some people understood it as song dynasty culture, what historical value it had, and what contemporary connotation it had, it had not been very clear. Chen Ye said that this requires a reading book - interpretive, not pure academic research, otherwise the general reader will have a distance, so he proposed a concise interpretation, a short reading.

Regarding the connotation and conceptual definition of Song Yun culture, in some of the studies or rhetoric that can be seen at present, it is more understood from two aspects.

Some take the "rhyme" word "meaning", "flavor" and "fun", and prefer the meaning of material feelings, such as incense burning, tea fighting, flower arrangement, etc., from the aesthetic level of life to enjoy the exquisite life of the Song people. Some take the "rhyme" of the word "rhyme", "qi rhyme" and "shen rhyme", which are partial to the meaning of artistic feeling, that is, poetry, calligraphy and painting, piano and chess, etc., from the artistic aesthetic level to sigh and experience the elegance of song art and literature.

Chen Ye said that life and art are an indispensable part of Song Yun culture, and the song people's life aesthetics and artistic elegance also give Song Yun culture a unique temperament. However, if we only understand Song Yun culture at this level, it is inevitable that it will be superficial and not in essence, which is inconsistent with the goal orientation of the "Song Yun Culture Inheritance Project". "So, it's important to recognize dimensions."

On the cover of the book, there are two sentences: explain the cognitive dimension and basic form of Song Yun culture, and refine the spiritual essence and contemporary value of Song Yun culture.

Chen Ye found that many people have some problems in the cognitive dimension, "Most people understand from the aesthetics of life, is Song Yun eating, drinking and having fun?" ”

"At the beginning, when many people talked about Song Yun, they directly mentioned the delicacies of brocade, the standard of living was particularly high, and the family lit incense." The court of the Song Dynasty "revered literature and suppressed martial arts" and "shared the world with scholars", the literati enjoyed extremely high political and living treatment, and the two Song Dynasties became the "best era" for literati, which is also a common saying at present.

"But nothing can be too absolute."

The two Song Dynasties did have the "rule of Jiayou" during the Northern Song Dynasty and The Reign of Emperor Renzong of the Northern Song Dynasty, and cultural celebrities such as Su Shi, Su Rui, Zeng Gong, Cheng Hao, and Zhang Zai emerged; The relatively relaxed political and cultural ecology of the Southern Song Dynasty and Song Xiaozong period produced zhu xi, Lu Jiuyuan, Lü Zuqian, Chen Liang, Ye Shi and other ideological masters. However, there was also no shortage of harsh literary prohibitions such as the Wutai Poetry Case, the Yuanyou Party Case, the Yuanyou Study Ban, and the Qingyuan Party Ban, and cai Jing, Qin Juniper, Han Nongxin, Shi Miyuan, and Jia Xiangdao, who had monopolized the government, and even demoralized them.

For another example, some articles regard incense, tea, paintings, and flowers as the elegant charm of the Life of the Song People. However, Chen Ye said that looking at the two Song Dynasty incense affairs, in addition to the incense burning matter, there are other "unfavorable factors."

For example, the circulation process of spices does not produce value, and the imperial court raises the price of domestic spices by bought and banned spices, and reaps their profits, which is actually a disguised plunder of national wealth; The imperial court issued incense and medicine banknotes to buy grain and forage, and if the common people did not accept it, they forcibly "suppressed the match"; The extravagant consumption of spices stimulates the economy, but excessive luxury undermines the healthy development of the economy; The Song Dynasty used the wealth earned from the export of silk and porcelain to buy a large number of spices as luxury goods, which to some extent wasted the national strength. Therefore, only by comprehensively understanding, objective analysis, and rational evaluation can we get the whole picture of the incense and see the reality of society.

Chen Ye held that these problems are not handled well, the dimension of understanding is not well grasped, the theoretical foundation is not stable, and there will be problems in "landing." "We have the responsibility to comprehensively sort out the Song Yun culture, comprehensively observe the principle of historical resources, and place the 10th-13th century society in which the two Song Dynasties lived in the historical process of the evolution of Chinese civilization and understand it as a whole."

Carry forward Song Yun, what is the promotion?

Here we encounter a problem - the relationship between song yun culture and the two Song cultures. Some teachers once said that to promote Song Yun, should we also promote women's small feet?

"Song Yun culture is by no means equivalent to the all-encompassing, good and bad two Song cultures. The Song Yun culture we understand refers specifically to the excellent civilization elements, inner spirit and cultural values that have been passed down to this day in the two Song cultures. ”

It can be roughly included, the rhyme of materiality in the field of daily life, the rhyme of ingenuity in the field of production technology, the rhyme of order in the field of social operation, the rhyme of intellectual knowledge in the field of discovery and invention, the rhyme of speculation in the field of academic thought, the rhyme of aesthetics in the field of literature and art, etc., which are presented as various forms such as thought, system, economy, people's life, society, literature, art, architecture, religion, science and technology. These achievements of civilization with cultural creation value and historical progress have converged into the essence of the culture of the two Song Dynasties and condensed into the unique temperament and fashion of an era.

(ii)

Yes, Song Yun is an excellent element. So what is excellence? That is to say, where is the "rhyme", how to recognize and grasp it? Chen Ye summed up the five "jump outs.".

Many people say Song Yun, only see the word Song, and some simply "jump" wrong. For example, is it the two Song Dynasties, or the Southern Song Dynasty? Chen Ye said that Song could not be confined to Zhejiang or Hangzhou. Last year, Hourly News launched a series of reports on "Looking for Song Jiangnan", which is a kind of jumping out.

Look at the first jump: from the perspective of the whole region, "jump out of Hangzhou and Zhejiang to see the Song Yun culture".

Song yun culture should take the "Song Era" that includes the two Song Dynasties as its basic carrier. The local development of different regions of the two Song Dynasties, the exchanges, infiltration and containment between various localities, and the interaction between local forces and central governments have formed a development synergy, promoted social development, and shaped the characteristics of the times.

For example, the Southern Song Dynasty built the capital of Hangzhou, based on Zhejiang, radiated Jiangnan, and ruled the entire southern region, which was not only the southward migration of the political power, but also the southward migration of the Central Plains culture, driving the integration of the northern and southern cultures. For another example, the overseas trade between the two Song Dynasties developed, from the early Song Dynasty to the Southern Song Dynasty, and the trade area continued to expand. In addition to Hangzhou, Mingzhou (present-day Ningbo), and Weipu (present-day Haiyan County) in Zhejiang, Fuzhou, Quanzhou, Guangzhou, Huating (present-day Songjiang County, Shanghai), Qinglong Town (present-day Qingpu County, Shanghai), and Jiangyin were all important open ports.

If this is not comprehensively sorted out and studied as a whole, it will be difficult to accurately reveal the important characteristics of Song Yun culture, such as overseas trade, Sino-foreign exchanges, and the resulting openness and inclusiveness, and the elements of marine civilization.

The second jump, from the perspective of the whole field, "jumped out of literature and art to see Song Yun culture".

Chen Ye said that some of the research on Song Yun culture that has been carried out so far is too limited to the narrow understanding of the word "rhyme", and many artistic activities such as qinqi calligraphy, painting, poetry, and tea are used as the "rhyme" of Song Yun culture, and they are stuck in the wind, flowers, and snow.

She said that literary and artistic activities are an important part of Song Yun culture, and the elegance of art is indeed the spirituality of Song Yun culture, but it is not the whole of Song Yun culture. One-sided prominence or blind indulgence in this is not only not conducive to a comprehensive and profound grasp of Song Yun's culture and the essence of inheriting the spirit, but also may produce a narrow, superficial, fragmented, and entertaining understanding of Song Yun's culture.

Even in terms of art, literature and art are not independent of society. Even the Southern Song Dynasty poetry and paintings, which are regarded as the most "elegant" characteristics, are full of serious themes such as the sheji of the country, the unification of the homeland and the country, and the continuation of civilization. The strong patriotic spirit and the will to safeguard national unity are also fully reflected in the paintings of the Southern Song Dynasty. Li Tang painted pictures such as "Restoration of the Duke of Jinwen", "Eighteen Beats of Hu Di", and "Cai Wei", borrowing historical figures such as Er, Cai Wenji, Boyi, and Shu Qi, to show the themes of restoration and integrity. Liu Songnian's "Four Generals of Zhongxing" depicts han Shizhong, Yue Fei and other figures, commending them for their merits of "from the time the prince descended to the mouth of the cow boy and the horse and the concubine and the barnyard official, they all praised their martial courage and loyalty and righteousness". The painter Zheng Sixiao painted molantu at the end of the Southern Song Dynasty, with flowers and leaves sparse and rootless soil, in order to allude to the fact that the Southern Song Dynasty lost its national foundation, and wrote that "even if Shengming passed Yao Shun, after all, he is not a true parent." A thousand words and only one word, return my old territory of the Great Song Dynasty" to show indomitability. The literature and art of the Two Song Dynasties not only have the leisure and elegance of the literati, but also have a broad world of life and life, which is a true reflection of social life.

The third jump, from the perspective of forging a solid sense of the Chinese national community, "jumped out of the area ruled by the two Song Dynasties to see the Song Yun culture".

This question is unavoidable. Chen Ye consulted a large amount of information and refined this "jump" -

Song yun culture not only originated in the areas ruled by the two Song dynasties, but also closely related to the 10th-13th century China where the two Song dynasties were located.

Some scholars have pointed out that from the fall of the Tang Dynasty to the establishment of the Yuan Dynasty (10th-13th centuries), there are three main lines of Chinese history: First, the rise of nomadic, fishing and hunting ethnic forces in the north and northeast, the Liaojin regime is the fusion of nomadic fishing and hunting civilization and agricultural civilization, and to a large extent, it is also the continuation and transformation of the history of frontier society since the Tang Dynasty. The second is the establishment of the two Song dynasties. Third, the party (Western Xia) forces in the northwest rose and integrated political forces such as Tibet and Uighurs. Western Xia is the economic and cultural hub between the Western Regions and the Central Plains, as part of the Chinese civilization, due to its special geographical location, it also integrates the elements of Tubo, Western Regions and Central Asia civilization.

This is an important but easily overlooked angle.

Chen Ye said that specifically in the two Song Dynasties, although the Song Dynasty and the Liao-Xia-Jin Dynasty had political and military confrontations, the exchanges between ethnic groups lasted for a long time and the degree of integration was profound, and they all adhered to the cultural identity of the unity of China. The Song Dynasty, Liao, Jinxixia, and Jinxi jointly realized the integration of the northern frontier and the Central Plains, enriched and deepened the connotation of the pattern of pluralism and integration, laid the foundation for the final maturity of the unified multi-ethnic state in the Yuan, Ming, and Qing dynasties, and spread the influence of Chinese civilization such as ideas, systems, culture and education, etiquette, and classics to Neighboring regions such as East Asia in a broader and deeper way.

"The formation of the cultural connotations, characteristics and characteristics of the Song Dynasty is inseparable from or even completely arising from the background of the times at that time, from the frequent contacts between the two Song Dynasties and the minority regimes such as the Liaojin and Xixia, and from the historical dilemmas formed from them and the new ideas, new spaces and new efforts to cope with the difficulties. If the scope of Chinese history in the 10th and 13th centuries and the Song Dynasty is strictly limited to the two Song dynasties, it is bound to be difficult to fully present the multi-ethnic symbiotic Chinese historical process and the whole picture of Chinese civilization, and it will be difficult to fully understand the characteristics of the Song Dynasty and accurately extract the rich connotations of Song Yun culture in the entire process of Chinese historical evolution. Therefore, it is necessary to cast a solid sense of the Chinese national community, based on the pattern of pluralism and integration of the Chinese nation, and carry out research on Song Yun culture. ”

(iii)

Talking about Song Yun, we need to compare, not elevate.

We now often use "peak" to say Southern Song or Song rhyme. Chen Ye said that it is necessary to use the words "extreme," "highest," and "insurmountable" with caution. "I think it's the peak of the times."

So, there are two more jumps out that need to be compared.

Taking the long-term vertical comparison, "jump out of the two Song Dynasties to see the Song Yun culture".

To study song yun culture, on the one hand, we must take the two Song dynasties as the basic scope, on the other hand, we must also attach importance to placing the two Song dynasties in a comparison with various historical periods in ancient China, interpreting and evaluating their characteristics and achievements with a long-term historical perspective, and in the comparison with different periods, we should explore the historical origin, cultural inheritance, basic characteristics, and historical influence of the Song Yun culture, and accurately extract the excellent elements of historical progressive significance.

"On the whole, Song Yun culture is the inheritance and development of the previous generation's culture, reflecting the historical peak of the stage in the evolution of Chinese civilization." Therefore, it is necessary to fully highlight the historical status and influence of the Song Yun culture through history, and also avoid treating the prosperity of a certain period of the Song Dynasty as the whole picture of the two Song Dynasties in a point-by-point manner, and extending the achievements of the Northern Song Dynasty (or the Southern Song) to the Southern Song (or Northern Song) in a partial way, especially not to isolate and separate the vision of the vain features. For example, the flower and bird paintings of the Song Dynasty are inherited from the tradition of painting flowers and birds with heavy colors of the five generations of workers.

In addition, with the horizontal comparison of different regions in the same period, "jump out of China to see the Song Yun culture".

It is necessary to place the two Song Dynasties in different cultural circles in East Asia and even the world in the 10th and 13th centuries, make a regional horizontal comparison of their civilization elements, distinguish their regional characteristics, national characteristics, cultural characteristics and external communication methods, and reveal the international influence of Song Yun culture and its position in the world civilization pattern at that time.

For example, the Southern Song Dynasty, represented by Fa Chang and Ruofen, took the temples around the West Lake in Hangzhou as the creative center of the ink reduction flower and bird painting, which is simple and simple and deeply Zen, and is known as "Zen painting". Fa Chang was in the same door as the Shengyi Guoshi who was sent to China by Japan to study Buddhism at that time, and when Shengyi returned to China, he brought Fa Chang's works "Guanyin Tu", "Ape" and "Crane", which are still treasured in Daitoku-ji Temple in Tokyo and are called "national treasures". Hokō is known as the "Great Benefactor of Japanese Painting", and his painting style has had a major impact on Japan.

For example, from the middle of the 11th century, since the large number of exquisite Song porcelains dominated by celadon porcelain, the brilliant colors and rare patterns of Persian pottery have been replaced by monochromatic colors, especially celadon colors, and the shape of the vessel has also been designed into Chinese-style bowls, plates, bottles, and jars. The dumping and imitation of porcelain has triggered a Chinese fever in the local society. In the historical process of the "Maritime Silk Road" stretching out to the Eastern and Western worlds, celadon appeared as the protagonist from beginning to end.

Last year, a reporter from Qian Bao participated in the Song Yun Salon of the Provincial Archaeological Institute, and on the exhibition board of the event, there was such a sentence: After the Song Dynasty, there was always Song Yun. After the Song Dynasty, there was no Song Dynasty.

Immortal is the spirit.

Starting from the realistic demands of contemporary inheritance, Chen Ye has studied and refined the spiritual essence of six Song Yun cultures- the national spirit based on Chinese identity, the patriotic spirit based on the feelings of home and country, the open spirit based on overseas exchanges, the creative spirit based on diversity and inclusiveness, the scientific spirit based on exploration and truth-seeking, and the humanistic spirit based on social concerns.

Someone asked her, these six points, in any era, can be ah.

History is complex, she said, but the human spirit has its basic elements and structures. Commonality is the basis for the construction of a cultural community, "The spirit of the Chinese nation is extracted from the commonality of its history and culture." The spiritual characteristics of Song Yun culture are naturally the embodiment of some of its commonalities. Of course, the connotation of commonality in each era is different, and there are different 'based' ones. "In a variety of colorful rhymes, the spiritual genealogy that embodies the inherent qualities of Song Dynasty culture and the characteristics of the times is the most essential charm that constitutes Song Yun culture."

Jump out, and jump back.

Chen Ye said that "jumping out of the two Song Dynasties" and "jumping out of Zhejiang" is to study the connotation characteristics, historical status, and spiritual identity of Song Yun culture more comprehensively, systematically, and in a more three-dimensional way; to more scientifically, more accurately, and more profoundly refine the cultural genes and cultural spirit contained in it that span time and space, transcend the country, are full of eternal charm, and have contemporary value, adhere to the principle of creative transformation and innovative development, provide practical and usable historical and cultural resources for the construction of culture in Zhejiang in the new era, and effectively dock the needs of contemporary Zhejiang's economic and social development.

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