Interpretation of Chinese Cultural Symbols - Han Fu: The Pinnacle of Endowment with Chinese Characteristics

"Where a generation has a generation of literary victories: Chu Zhishao, Han Zhifu, Six Generations of Piao Language, Tang Poetry, Song Zi, Yuan Zhiqu, all so-called literature of a generation, and future generations can not succeed to yan also." (Wang Guowei)

As a new genre that emerged after the Book of Poetry and chu ci, the endowment of "Paving The Writing of The Book of Poetry" and "Writing Of Physical Objects" was the most popular style of the Han Dynasty and the representative of the literature of the Han Dynasty. As the "victory of a generation of literature", Han Fu deserves to be a "strange flower" of the Chinese Literary Garden. The prose from Chu Ci to rhyme, Han Fu, from "Xiao Bang" to "Azure Great Country", completed the literary creation of the first generation of signed "scribes" in Chinese history, and created a literary category with Chinese characteristics with its unique language form of "combination of scattered rhymes and special exposition". In the context of Western literature, there has been no similar stylistic form.

As a stylistic name, HanFu originated from XunZi's Fu; as a philosophical and literary genre, Hanfu was directly influenced by Qu Song Chuci and the wanton style of the Warring States. Sima Xiangru, Yang Xiong, Ban Gu, and Zhang Heng were known as the "Four Great Masters of Han Fu" by later generations, and they had many representative famous passages passed down from generation to generation, and they were the highest achievers of Han Dafu. As Jiao Xun, a scholar of the Qing Dynasty, commented: "The Han Dynasty endowed Zhou Qin with nothing, so Sima Xiangru, Yang Xiong, Ban Gu, and Zhang Heng were four hundred years of authorship." ”

Flourishing in the Western Han Dynasty wu and Xuan dynasties is actually related to the grand plan of the empire and the majestic meteorology of the time. Looking at the ancients' summary of the characteristics of Fu, there are three statements that are more accurate: one is Ban Gu's "knowledgeable naturalism, there are considerable acquisitions" ("Hanshu Shuchuan"), which says that Fu is best at describing natural states; the second is Liu Xun's "Body Country Jingye, Righteousness and Glory" ("Wenxin Carved Dragon Interpretation"), which says that Fu is best at expressing the political and cultural situation; the third is Wei Shuo's "Will be able to make endowments, and become a great talent" ("Northern History, Wei Harvest Biography"), which says that Fu jia is the most talented, and each great fu is a grand cultural project. These three points are in line with the cultural and spiritual outlook of the Han Dynasty.

In the glorious history of Chinese literature, Han Fu undoubtedly belongs to the pinnacle of Fu Body creation.

According to legend, the "Shanglin Tu" made by Qiu Ying, a painter of the Ming Dynasty, is taken from Sima Xiangru's Hanfu famous article "Shanglin Fu"

A cultural symbol of great unity

According to the "Chronicle of Sima Xiangru", Emperor Wu of Han greatly appreciated the "ZiFu". When Sima Xiangru was summoned by Emperor Wu for this reason, he said that the "ZiFu" was written about the princes, and he wanted to play a new work for the emperor, "Tianzi Hunting Fu". This is the "Shanglin Fu" included in the "Selected Writings of Zhaoming", and it is also the most famous and important representative work of the founder of the Han Dynasty, the main theme of which is "the righteousness of the son of tomorrow". It can be seen from this that the reason why Sima Xiangru was called "Fusheng" by later generations was not only that he made a pioneering contribution to the creation of fu bodies, but more importantly, the rise of Han Dafu reflected the transformation from regional literature of the feudal state to unified literature of the court at that time.

The modern scholar Qian Mu listed Yan Shu, Sima Xiangru, Dongfang Shuo, and so on mentioned in the "Hanshu Yan Shu Biography", arguing that these people were "as long as they are in words, and gai are also literary scholars." Emperor Wu was also good at these people, and also in his literary discourse. Therefore, although the doctors appointed by Emperor Wu's outer court respectEd Confucianism alone, the attendants used by the inner dynasty were all given noble words." That is to say, they were all brought from the domain to the court of the Han Dynasty and served the Wu Emperor dynasty with resignation.

Sima Xiangru's "The Hunting Of The Heavenly Son" fictionalizes three characters, namely "Zi Fei", "Wu You", and "Death is Gong". This is a method of imitating the fictitious characters of the pre-Qin dynasties, especially the fables of Zhuangzi, the so-called "zi virtual" refers to the void of others; "wu have" means that there is no one; "death is the public" of "death" is nothing, or the meaning of nothingness of others. Therefore, as long as the people and things in the future generations say nothing, they are accustomed to calling them "virtual" and "nothing" as they are. In the "Heavenly Son's Hunting Endowment", "Zi Xuan" represents the envoys of the Chu state and boasts of the Yunmengze of Chu Land; "Wu You" represents the envoys of the State of Qi, boasting of the coast of the East China Sea of Qi; both are representatives of the kingdom (region). However, "Death is Gong" represents the messenger of the Son of Heaven, boasting of the style of "Shanglin Garden", the water of the Forest written in the endowment is "Left Cangwu, Right West Pole, Danshui is more south, Ziyuan Trail is north", and other writings of mountain stones, grass and trees, birds and beasts, safaris and characters, palaces, songs and dances, banquets, systems, etc., can be described as all-encompassing, and are real existence.

The Southern Song Dynasty literary scholar Cheng Dachang called "Shanglin Fu" "the four seas speak", indicating that the objective environment presented by fictional characters in Fuzhong is really a kind of vigorous imperial weather of king's landing. Because of this, the emergence of "death is public" in "Tianzi Hunting Endowment", the submission of "Zi Fei" and "Nothing", and the so-called "Chu is lost, qi is not gained", which is completely consistent with the cultural pattern of pluralism and unity at that time and the political mind of emperor Wu of Han. This is also the ideological refraction of the court Heavenly Dynasty culture leading the culture of the princes of the feudal state, which is closely related to the "anti-Hun" and "cutting the domain" of Emperor Wu of the Han Dynasty. Of course, although Sima Xiangru's fu works also have the meaning of "qu finally playing elegance"—satirizing the king to be diligent in government and compassionate the people, the connoisseur Emperor Wu of Han was more intoxicated by the imitation of the grandeur of the empire.

This can also be regarded as a classic example of Han Fu's textual writing from the "area" to the "center".

The description and praise of the vastness of the land, the abundance of products, the beauty of the palace garden, the prosperity of the city, and the martial arts of the Han Dynasty became an important theme of the Han Dynasty's "Tianzi Ceremony" characterized by the grand system of words, especially the "Tianzi Ceremony" of the Han Dynasty, such as "Kyoto", "Safari" and "Suburban Ancestry", which were written in literature. The scene presented by this Tianzi ceremony was also the real situation of mutual learning and mutual exchange of cultures of various nationalities at that time.

According to the Book of Han and Li Lezhi, "The ceremony of emperor Wu Dingjiao... Nai Li Le Fu, poetry recited at night, there are Zhao, Dai, Qin, Chu Zhi Praise, Li Yannian as the co-law capital, many Sima Xiangru and dozens of other people as poetry, a brief discussion of the law, in the tune of eight tones, composed of nineteen chapters of songs. The same kind of expression is still found in Ban Gu's "Order of the Two Capitals": "As for the world of Wu and Xuan, it is the Chongli official, the examination article, the internal office of the Golden Horse and Stone Canal, and the affairs of the Waixing Lefu, in order to revive and abolish, and polish the Hongye." Among them, "Zhao, Dai, Qin, and Chu Zhizhi" refers to different languages and styles in various places, and "Polishing Hongye" is the historical presentation of the radiance after the integration of various cultures.

In "Shanglin Fu", there is a vivid description of the musical performance after Tianzi's safari:

Play the dance of the Tao Tang clan, listen to the song of Ge Tianshi, a thousand people sing, ten thousand people, the mountains and tombs are shaken, and the rivers and valleys are swaying. Bayu Song Cai, Huainan Gansha, Wencheng Song, Clan Residence, Golden Drum Stacking, Sonorous Gong, DongXin Frightening. The voice of Jing Wu Zheng Wei, the music of Shao Hao's martial elephants, the sound of the yin and fornication cases, and the colorful yan yin.

In addition to Tianzi's safari, Zhang Le was on the skyscraper high platform, including Bayu Miao Dance, Song Cai Ming praise, Huainan Gansha, Liaoxi Xinyong, Jingwu Zhengwei Voice... It brings together the beautiful music and dance arts of various ethnic groups in many places, showing cultural exchange and cultural identity. It is worth noting that the pre-Qin political system was feudal states and the establishment of the state, the implementation of the system of obedience, the unified capital and political system were not formed, until the unification of the Qin Dynasty really became the beginning of a unified state system and political culture, but because of its short-lived and unfinished etiquette, it has not yet fully formed the atmosphere of cultural integration. In the early Han Dynasty, the system of dividing the qin and sealing was inherited, the princely states and the imperial court coexisted, and there was a problem that could not be lost, and after the chaos of the princes of Jing and Jing, Emperor Wu of han practiced the "law of Tui En", and the great unification of the political climate and culture was formed. At this historical juncture, the Han Dafu that came into being naturally became a typical cultural symbol of the unification of the world.

In fact, through Han Fu, we can not only see the general trend of exchanges and exchanges among various ethnic groups in the Han Dynasty, but also feel the grand situation of cultural exchanges between the East and the West at that time.

According to the ancient historical notebook novel collection "Xijing Miscellaneous Records", in the face of a friend's inquiry about the writing method of Dafu, Sima Xiangru replied: "The Heqi group is written in writing, and the splendid embroidery is the quality, one warp and one weft, one palace and one merchant, and the traces of this endowment are also." The heart of the family, the buds of the universe, the overview of the characters, the Snai is within, can not be passed on. In this article, the so-called "endowment" refers to the writing technique; "endowment" reflects the mind that should be in line with the spirit of the times. The latter is also reflected in the Han Dynasty's "Kyoto" genre. For example, Zhang Heng's "Tokyo Fu" writes about the Chaozheng (Yuanhui) ceremony:

So Meng Chunyuan Day, the group of the side of the side. Hundred Divisions, Yu Sixu. The kingdom of the domain is appointed, and it is necessary to be desolate. With the only emperor, Xianchen is in charge. When the one who looks to His Highness, cover tens of thousands of two. ...... Honor and humility, the lamb's skin is the foundation, the Son of Heaven is the ceremony of the three strokes, Mu Mu Yan, the Emperor Yan, Ji Ji Yan, will be yan, believe in the magnificence of the world.

This endowment begins with the writing of the clans, princes, emissaries, and officials who participated in the Yuanhui ceremony, with a scale of more than 10,000 people; the second writing of the ceremonial parade, the juxtaposition of literature and martial arts, and the dragon and phoenix are auspicious; the repetition of the beginning of the ceremony of the dynasty, with bells and drums to shake its prestige; then write the tianzi to the south, presenting the grand situation of the ceremony; and finally write the members of the pilgrimage, the dedication, the son of heaven to give way, to show the virtue. In contrast to Ban Gu's praise in the "Eastern Capital", "the three dynasties of the Spring King, together with Hanjing." On the day of the day, the Son of Heaven is subject to the map of the four seas, the tribute of all nations, the inner care of the summer, and the outer appeasement. ...... After Chen Bailiao praised the group, he studied the emperor's ceremony and showed the emperor's appearance. The so-called "imperial ceremony" and "imperial appearance" are, in a sense, equivalent to what Zhang Hengfu said about "the magnificence of the world."

And this "grandeur" was also reflected in the material exchanges and cultural exchanges between the East and the West at that time, as stated in Ban Gu's "Xidu Fu": "Nine True Lin, Dawan Horse, Yellow Branch Rhinoceros, Bird of Tiaozhi, More Kunlun, Yue Juhai, Special Fang Alien, as for Thirty Thousand Miles"; Zhang Heng's "Tokyo Fu" said: "Huifeng Guangyu, Ze Huan Youhuang, Northern Xie Ding Ling, Southern Harmonic Yue Xie, Xi Bao Daqin, East Over Lelang Heavy Tongue Nine Translation, You Ji Shou Lai Wang".

Beauty in the "big"

The reason why it can show such a "spectacular" as mentioned above is because Han Fu is "extremely realmed" (Mr. Wen Yiduo commented on "Shanglin Fu"). "Where the great must be beautiful", Han Fu's "big" as beauty can be summarized into three major characteristics: structural beauty, image beauty and rhetorical beauty.

The first is structural beauty. If poetry emphasizes artistic beauty, then the rhetoric emphasizes structural beauty, and Han fu creation is a model. When you first come into contact with Han fu works, you must first understand its overall structure macroscopically, then read the text carefully, and then grasp its connotation and main purpose. For example, although the "Seven Hairs" of The Diamond Multiplication are classified by later generations as "seven", their depiction is typical of the early writing of Han Dafu. To read this work, we must first understand the seven things of Fuzhong's narrative of listening to the qin, eating, charioting and horses, traveling, hunting, guantao, and the art of playing the alchemist through the false character "Wu Ke", which is the structure of quanfu. From this, we will appreciate the ideas, pens and rhetoric in it, such as "Its Beginning", "Its Beginning", "Its Little Progress", "Its Side Works", "Look at Its Sides" and other wonderful pieces in "Guantao Hu Guangling's QuJiang". Another example is Sima Xiangru's "Zi Xuan" and "Shanglin", two sister endowments, composed of Chu Zhiyun Dream, Qi Zhidonghai, and Tianzi Shanglin, and the fascinating details are all unfolded in this "structural beauty". Another example is Ban Gu's "Xidu Fu", which is composed of geographical location, urban construction, Gyeonggi environment, palace architecture, key temples (Zhaoyang Hall), hunting, amusement and other parts, while its "Zhaoyang Hall" section is composed of decoration, beauty, Zuo ming, classics, writings, functions, etc., the overall structure is extremely neat, and the description is extremely exquisite.

So, why does Hanfu attach so much importance to structure? Why should you first understand its composition when reading Hanfu? I am afraid that this is related to what Mr. Feng Youlan said about "Han people knowing classes", that is, the "philosophy of elephant numbers" formed in the Han Dynasty and its "knowledge class" ideological system. For example, Dong Zhongshu's "Spring and Autumn Studies" and Jingfang's YiXue are both constructed in the form of elephant numbers. If you compare the spatial narrative mode of Han Fu with Yixue, it is the so-called "upper gua", "lower gua", "middle" and "right", which is also similar to the orientation arrangement of bagua in "Saying Gua". It is precisely because of this that Sima Xiang, who "controls the heavens and the earth, intricately combines ancient and modern times", can "become a few hundred days and then become", "ZiFu" and "Shanglin Fu". From this point of view, the "endowment" referred to is the structure, and the "endowment" refers to aesthetic consciousness.

The second is image beauty. If poetry is more musically beautiful, then words are more painterly, which also stems from the spatial description of endowments. Liu Xun first proposed in "Wenxin Carved Dragon Interpretation Fu" that Han Fu is "writing things and pictures, resembling carvings". The so-called "carving" of the endowment is what he said about the "general body of the endowment", "such as the product of the organization, Zhu Zi, the work of painting Xuan Huang". This is very consistent with the statement quoted in the "Xijing Miscellaneous Records" that "the Heqi group is written and the list of splendid embroidery is the quality", and naturally associates the pictorial beauty of Han Fu with the structural beauty.

Modern scholar Zhu Guangqian believes that poetry is the art of time, and fu is somewhat of a space art. Pictures are spatial art, and poetry and endowment are presented as images of language, all of which belong to the art of time. Therefore, Mr. Zhu Guangqian's statement that "giving a little bit of space art" is only a metaphor, referring to the use of "time-extended language" to express "spatial coexistence of physical states", which is the spatial imagination of language images that are transformed into pictures through depiction, which in turn depends on the two most basic depiction methods created by Han Fu:

The first way is to show the characteristics of the depiction and the picture through "conformation". The beauty of Han Dafu lies mainly in the grand picture composed of countless "individual images". These "individual images" are all constructed by images and actions. For example, Ban Jieyu's "Mash Su Fu", Fu Yi's "Seven Radicals", and Ma Rong's "Qin Fu" in the three sections of fu text:

If it is expected to be in a posture, moving and multi-dimensional, weak and shy, and beautiful. It is as bright as the rising cliff, and it is as clear as the lotus. The lead adjustment is incomparable, and the condensation zhu cannot be different from its lips. The sun of Shengyunxia is like the spring of peach and plum. Red daisy charming, Qi group streamer, smile and smile, step by step. Two jing like dots, two eyebrows like zhang, decadent muscles soft liquid, and good tone ("Pounding Vegetarian Endowment").

The ride of Ji Qi, the dragon is super, the bird is soaring, and mo can not be controlled. Therefore, it was wang Liang who rationalized, practiced the art of teaching, practiced the road to promote the festival, and the opportunity was soaring. The front cannot be first, and the latter cannot be pursued. Shadowless, Suddenly Flying ("Seven Radicals").

The former master Kuang sang three, and the gods fell, Xuan He 28, Xuan Dance in the court, He Qinde's deep Zha ("Qin Fu")!

The first section depicts an excellent "beauty picture", taking a static appearance, and different from the dynamic image of "Zheng Nu" in Fu Yi's "Dance Fu"; the second section describes the style of the horse, the "Ji" refers to the Chi Ji, the "Horse" refers to the Horse, the "Horse" refers to the Horse, all good horses, listed among the Eight Horses of the King of Zhou Mu, this is a divine object (myth and legend) to show the image (travel or hunting horse), which is also the custom of Han Fu image writing; the third section is written by the master Kuang Song Music, with "Xuan He" and "Xuan Dance" set off, making the image more picturesque.

The second way is to present the field threshold and landscape in the method of "color setting". For example, there are two descriptions in "Seven Hairs" and Ma Rong's "Flute Fu":

From its beginning, the flood is drenched, like an egret soaring underneath. Its little progress is also vast, such as the white horse drapery of the plain car. Its waves are surging and chaotic, disturbing like the armor of the three armies. It is also running up and running, fluttering like a soldier of a light car ("Seven Shots").

Look closely at the complexity of Fu Quyin, how rich it is. It's a mess, and it's gratifying. The waves are widely dispersed, and they can be different. ...... Ernai listens to the sound of shape, like flowing water, and like a flying hung, flooding the desert, vast and vast, long and distant, and spiraling back to the emperor ("Flute Fu").

The first section writes about the dynamics of "water", and fu jia visualizes it through "skeuomorphism" and "anthropomorphism" to achieve an aesthetic effect that can be "observed"; the second section writes a melodious and wavy "flute sound", which is simulated by "chaos", "scattering", "flowing water" and "feihong", so that the elusive "time" art is transformed into a "space" landscape.

Finally, there is rhetorical beauty. Because of the "physical object" characteristics of the endowment, the fujia rhetoric focuses on describing beauty; because of the way the fuquan is constructed, the fujia rhetoric focuses on the beauty of the program; because of the grand writing of the futing, the fujia rhetoric focuses on the beauty of the body. Specifically, Han fu rhetoric is extremely "exaggerated". For example, Yang Xiong's "Ganquan Fu" describes the sublimeness of "Ganquan Palace", and after specifically portraying it, he also writes: "Liesu is given to Shangrong Xi, and the bright moon passes through its fir, the thunder law is in the rock, and the electricity is neglected on the wall." The ghost can't catch itself, and it goes down half a long way. "Stars weave among the beams, the moon hangs on the eaves, thunder rolls through the houses, lightning shines on the walls, especially ghosts climb halfway to the house and fall down... How funny and ridiculous. Another example is "metaphor", Yang Xiong's "Feather Hunting Endowment" writes that Yang Whip urges horses to be "thunderbolts are lacking, spitting fire and whipping"; Cui Xiao's "Seven Yi" writes that the dancers fall from the perception of "Confucius fell on Agu, Liu Xia suddenly remarried, the old man left his emptiness, Yang Xiong lost his too Xuan." "How charming do you see dancers?" Another example is "intricacies", "Shanglin Fu" writes that when hunting, "where the cart is trampled, where the steps are trampled, where the subjects are followed", and the vocal music is written "The voices of Jing, Wu, Zheng, and Wei, Shao, Hao, Wu, and Xiang, the music of the yin and fornication case", its "轥轥", "Ravaging Ruo", "Following" are all trampled on righteousness, "sound", "music" and "sound" are also synonymous, but for the sake of the beauty of reading, fu jia has no good synthesis.

Highlight the image of the country

The creative characteristics of Han Fu are determined by the typology of the subject matter, or the figurative and ritualized art presented in the genre theme. This can be considered from the following two aspects.

First, Han Fu demonstrated the Kyoto system to create its literary image. For example, for the tianzi hunting, there are Sima Xiang as in the "Shanglin Fu" wrote, "蹶石阙, li fengluan." Pass the magpie and look at the cold. Lower tang pear, breath yi spring. Xi Chi Xuanqu, Mao Gong Ox Head. Denglongtai, cover the willows"; Ban Gu's "Xidu Fu" wrote that "so the Tianzi is the Pavilion of The Jade, the Long Yang Zhixie, the Posture of the Mountains and Rivers, and the Killing of the Three Armies"; Ma Rong's "Ode to Guangcheng" writes that "Fang Wading in the Winter Festival, between agricultural affairs, Yi Xing Guangcheng, Lan Yuan, Guan Su Mai, persuasion to collect, because of the martial arts school hunting"; Li You's "Ping Xing Fu" wrote that "Xi bans martial arts to talk about shortcuts, and is tired of his neighbors"... These descriptions indicate that the Han Dynasty Tianzi safari sites were "Shanglin Garden", "Changyang Xie", "Guangcheng Garden" and "Ping optimistic".

Second, the Han Dynasty's system of honoring Kyoto gave birth to hot themes for the creation of endowments, including suburban worship, hunting, capital city, palace, music and dance, and hundred plays. For example, the rise of the capital city endowment of the Eastern Han Dynasty is a literary hotspot caused by institutional changes. As a result, there are Du Du's "On Du Fu", Fu Yi's "Anti-Du Fu", "Luo Du Fu", Cui Xiao's "Anti-Du Fu", Ban Gu's "Two Capital Fu", Zhang Heng's "Erjing Fu" and other creations. Ban Gu's "Xidu Fu" of "Long Shang Du and Look at all Nations" and Zhang Heng's "Tokyo Fu" of "Hui Feng Guang Yu, Ze Huan Yu Desolation" all typically reflect the political atmosphere of the Han Dynasty at that time.

The image of the great unified empire manifested by the Han Dynasty Fujia is mainly reflected in the large number of words. This is a scene outlined by the depiction of objects and events, highlighted by the sacrifice feast, hunting and shooting, music and dance, palace architecture, etc., and its intuitive presentation comes from the language image formed by the language image of the Fu family. The establishment of etiquette in ancient Chinese society began in the Zhou Dynasty. The so-called Zhou metric ceremonies, the most important of which is the "Great Affair of the State, in the Worship and Rong", as stated in the Zuo Zhuan, that is, the national "auspicious ceremony" (sacrifice) and "military ceremony" (military), so the ancients said "Han Ji Zhou". This origin is reflected in the creation of Han Fu, which is the depiction of sacrifice and hunting ceremony. Typical examples are the reproduction of the scene of the tianzi suburb sacrifice in Zhang Heng's "Tokyo Fu", from the blessing of "Worshiping the Heavenly Suburbs, Repaying the Earth Gong" to the ceremonial guards and scenes of "Su Su" and "Mu Mu", and then describing the situation of the sacrifice ceremony and the royal family and ministers when the Tianzi appeared, "dressing the law and wearing the right crown", as well as the weather of "the high cover of the tree and the feathers" and "Qi Teng and Pei Ai", which were both solemn and solemn and lively. In the endowment, "Worship the outskirts of heaven and repay the earth" refers to the sacrifice of heaven and earth; "Feng Zen Qi" means "Zhou Li Chunguan Dazongbo" "to worship hao tian god with zen". This not only traces the Zhou Dynasty system, but also the actual record of the Han Dynasty Tianzi Sacrifice Ceremony, and more importantly, the giver vividly shows the national image of the Han Dynasty through literary writing.

In Han Fu's description of the etiquette of the Son of Heaven, the most prominent image of the country is the Chaozheng Ceremony, also known as the "Yuanhui Ceremony" and "Tribute Ceremony". This ritual originally originated from the Zhou Dynasty's princes' courtesy of the Heavenly Sons, and later overlapped with the etiquette of "meeting" the Chinese emperor by the vassals and foreign envoys, and to some extent became a grand diplomatic ceremony. The "Three Dynasties of Xia Zheng" in Zhang Heng's "Tokyo Fu" is the ChaoZheng Ceremony. Its so-called "feudal state is hired, and it is necessary to be desolate and qualitative", which refers to the coming of the vassals or foreign envoys to the court; "the column of the people, the worship of the tooth zhang, and the drum set" is the reception ceremony; "banging the bell, the drum of the spirit, and the side of the earthquake" is the reception scene; and the emperor's southern worship is "crowning the heavens, pei yuxi", the ceremony is "to do the general, bear the axe", and after receiving the ceremony, there are all kinds of wonderful "hundred plays" performances. These depictions by Zhang Hengfu truly reproduce the grand scene of the pilgrimage ceremony as "the magnificence of the world".

"The treasures of the poor mountains and seas, the magnificence of the gods."

Perhaps for modern people, HanFu may not be as familiar and popular as Tang and Song poetry and Ming and Qing novels, but whether it is ideological, artistic or the diversity and pioneering of the subject matter, it is undoubtedly one of the most far-reaching genres in classical literature, and has played a role in promoting the formation of Chinese literary concepts and the development of rhetorical art. As a symbol of Chinese culture, Hanfu has an eternal charm.

Source: Chinese Nationalities Magazine | Author: Xu Jie | Intern Editor: Sihui Liao

Editor-in-charge: Huang Yun | Review: Liang Qing | Review: Meng Shuqi | Producer: Wei Xiuguan