Tao Yuanming's "Returning to the Garden and Rural Residence" and Chinese Rural Aesthetics

Author: Xiao Ying (Professor, Department of Philosophy, Tsinghua University)

"Rural revitalization" is a comprehensive system project. Exploring the reconstruction of rural culture from the aesthetic level is an indispensable link in the rural revitalization strategy, which can be summarized as "rural aesthetic construction". The cultural heritage of ancient Chinese society provides rich cultural resources for the construction of rural aesthetics. As the founder of the Chinese pastoral poetry school, Tao Yuanming, a famous hermit poet of the Eastern Jin Dynasty, made a foundational construction of the theme and imagery of traditional Chinese rural aesthetics with his five poems such as "Returning to the Garden and Rural Residence", which still has enlightening significance.

Vernacularity and Poetry: An Analysis of "Returning to the Garden and Rural Residence"

Fei Xiaotong pointed out in the book "Native China" that rural life has created a kind of "local nature". That is, a relatively closed space for activities, a society of acquaintances who lack mobility, and who depend on land for a living and are therefore attached to land. Fei Xiaotong said: "Agriculture is different from nomadic or industrial, it is directly funded by land. Nomadic people can live in the water and grass, erratic; those who do industry can choose the land to live, and the migration is unimpeded; but the people who cultivate the land cannot move, and the crops growing in the soil cannot move, and the old farmer who waits for the crops is like a half-body inserted into the soil, and the soil gas occurs because it does not flow. ”

The so-called "rustic atmosphere" is the traditional view of the urban people on the rural people, which expresses the peasants' basic dependence on the land and the deep emotional characteristics. Rural life, which depends not only on its environment, but also on the unique living feelings of farmers, constitutes a unique realm of vernacular poetry. In the history of Chinese poetry, Tao Yuanming's poetry creation not only pioneered "idyllic poetry", but also showed future generations a fresh, lively, intimate and natural picture of vernacular poetry with his keen perspective and thorough understanding. We corroborate Tao Yuanming's pastoral poems and Fei Xiaotong's "local nature", which can be said to be a combination of theosophical reasons and the poems complement each other. According to known literature, Tao Yuanming has only passed down more than 120 poems, of which most of them chant pastoral life, and "Returning to the Garden and Rural Residence" can be used as a representative poem of his pastoral poetry.

"Returning to the Garden and Rural Residence" was composed in 406 AD, the second year after Tao Yuanming resigned Peng Zeling. Yuan Tian Ju is the former residence of Tao Yuanming in his childhood, at the foot of Lushan Mountain (Nanshan). Tao Yuanming was 38 years old at the time, and he completely bid farewell to the life of more than ten years of reincarnation, and returned to his hometown until his death more than twenty years later. "Returning to the Garden and Rural Residence" contains 5 poems, which can be divided into three groups, one group of "One", one group of "Two" and "Three", and one group of "Four" and "Five". The first group is to express the desire to return to the countryside and to depict the scene of pastoral life. The second group is to write about the hidden taste of pastoral life and the mood of farming. The third group, written from nostalgia for history to return to the current pastoral life.

One

Less without vulgar rhyme, sex loves Qiushan.

Mistakenly fell into the dust net, gone for thirty years.

Birds love the old forest, pond fish think of the past.

Open up the wilderness in the south, and return to the garden.

The square house is more than ten acres, and the grass house is eight or nine.

The eaves of the elm willow shade, in front of the tao li luo hall.

Ambiguous distant village, clinging to the smoke in the ruins.

Dogs bark in the deep alley, chickens chirp mulberry trees upside down.

The household garden is dust-free and cluttered, and the virtual room has spare time.

Long in the cage, back to nature.

The poem "The First" can be seen as an introductory poem by Tao Yuanming. The opening six sentences "Less without vulgar rhyme, sex loves the hill." Mistakenly fell into the dust net, gone for thirty years. Birds love the old forest, pond fish think of the past", first of all, he declared that he naturally loved natural landscapes and could not adapt to the pursuit of worldly fame, and then took the departure of the official as "mistakenly entering the dust net", indicating his heart to resign and return to the field, such as the caged bird and the pond fish's expectations for the forest and the rivers and lakes. From the seventh sentence to the sixteenth sentence, it is a white depiction technique that specifically expresses the pastoral life after the retreat. "Open up the wilderness in the south, and return to the garden." This is to write about his retreat, showing the poverty of his family and his willingness to be frugal. "The eaves of the elm willow shade, the front of the tao li luo hall." Ambiguous distant village, clinging to the smoke in the ruins. Dogs bark in the deep alley, chickens chirp mulberry trees upside down. These six verses paint a vivid and idyllic picture of a rural village. The flourishing of nature, the alienation of villages and the activity of poultry, the anger in loneliness, the truth in trance. Not only is it a delight to be in business, but it's also homely and laid-back. "There is no dust in the household, and there is spare time in the virtual room." Long in the cage, back to nature. The last four sentences concentrate the life of the hidden countryside in the realm of purity, ease and leisure, which is the complete liberation of life, the great belonging of authenticity - liberation from the cage, return to the original nature of life. The ending and the opening paragraph closely echo each other, clearly expressing the heart of leaving the official field and returning to the idyllic homeland as the way of returning to the pure nature of one's life and releasing the body and mind.

Second

Rare people in the wild, poor alleys and widowed martingales.

The day hides the thorns, and the virtual room is dusty.

In the Song of the Times, the grass comes and goes.

There is no nonsense to see each other, but the road is long.

The mulberry day has been long, and my earth has been widespread.

Often afraid of frost and thunder, scattered with grass.

Third

Plant beans under the south mountain, grass full of beans seedlings are thin.

Morning Xingli is desolate, with the moon lotus hoe return.

The road is narrow and long, and the dew stains my clothes.

The clothes are not enough to be sorry, but the wish is not broken.

"The Second" writes about the reclusive situation of the hermit life. "Rare people in the wild, poor alleys and few martingales." The day hides the thorns, and the virtual room is dusty. These four poems write that the life of the mountain village is simple and simple, has nothing to do with external personnel affairs ("rare personnel"), has no contact with officials ("widowed martingale"), and thus obtains a quiet and comfortable place ("daytime hiding thorns"), ethereal and pure without worldly thoughts ("virtual room dust thinking"). "The first" writes that "the household garden is dust-free and miscellaneous, and the virtual room has spare time", and the second writes "the day hides the thorns, and the virtual room is dusty". Two poems and two words "virtual room", one because of "virtual room" and "spare time", one because of "virtual room" and "no dust thinking". This is the essence of the enhanced manifestation of the reclusive life, which is to eliminate the burden of the world and return to the ethereal state of self ("virtual chamber"). Ethereal, that is, "spare time" and "dusty thoughts". "In the song of the times, the grass is together. There is no nonsense to see each other, but the road is long. "The interaction of rural life is only involved in the entanglement between villages ("xuqu"), because of the neglect of walking, the road is overgrown with weeds, and the grass must be pulled to open the way to each other. The villagers talk about the life of the peasant family ("no gossip"), and are particularly concerned about the growth of the crops ("mulberry long"). "Sangma day has been long, and my earth has been widespread. Often afraid of frost and thunder, scattered with grass. As the sun and the moon passed, the mulberry gradually grew taller, and the land reclaimed in the south also expanded. In such a situation, there is no other worry, only worry about the hail coming, breaking the mulberry, if so, the toil of this season will be wasted.

"The Third" writes about the labor of the hermit life. The opening two sentences, "planting beans south of the mountain", write only plant beans, it can be seen that there are not many types of cultivation; "grass is full of beans and seedlings", which indicates that the harvest is not good. The ten words of "Morning Rise is absurd, take the moon and the lotus to return" are written after a day of hard work. "Morning Rise and Absurdity" was followed by "grass full of beans and seedlings", and for the sake of a poor harvest in hope, he went out to work at dawn; "Returning with a moon and a hoe" wrote that after a day of labor, the moon rose, and then he returned home with a hoe. However, "Returning with a Moon Lotus" is a simple and clear depiction of the leisure and self-sufficiency of a farmer after a hard day's work. On the way home, "Ambiguous Distant People's Village, Clinging to smoke in the ruins" in "Part I". The sight of dogs barking in the deep alleys, chickens chirping mulberry trees upside down, whether he had seen it or not, must have been active in his mind. Therefore, the hope and joy of returning home expressed in this image of "returning with the moon and the lotus" is not possessed by the idiom "Wearing the stars and wearing the moon". "The road is narrow and the grass is long, and the dew stains my clothes." It was a silent field, a long return, and the returnee felt with a keen sense of the lush smell of the grass and trees between the roads—the sweat of his body had not yet dried, but he felt the tip of the grass dew stained. "It is not enough to be sorry for the clothes, but it is not a violation of the wishes." The peasant is "inserted in the land", he has no conditions, and he will not be afraid of mud, rain, hands, feet, clothes and pants. The farmer "waits for the crops" on the land, and his basic wish is spring sowing, summer cropping, autumn harvest and winter hiding, and there is a good harvest every year. "But the wish is not violated", this most simple wish, is the duty of the peasant, because by keeping this duty, the peasant grows in Sri Lanka, cultivates in Sri Lanka, and returns to Sri Lanka.

Fourth

Long time to go to the mountains to travel, the waves of the forest wild entertainment.

Try to take your children and nephews with you, and walk through the ruins of hazel.

Wandering among the hills, living in the past.

There are remnants of the well stove, and the mulberry bamboo is a remnant.

By asking the salary collector, is this person like this?

The payroll told me that there was no more to die.

A different dynasty, this statement is really true.

Life seems to be illusory, and eventually it will be empty.

Fifth

Hate alone, rugged hazel.

The mountain streams are clear and shallow, and they can be maundy.

Wet my newly cooked wine, only chicken beckons the innings.

The sun enters the room in the dark, and the thorns are substituted for the candles.

Joy has come and gone, and the night has returned to Heavenly Dawn.

"The Fourth" writes a "Yamazawa Tour". "Long time to the mountains to travel, the waves of the forest entertainment." Tao Yuanming likes "mountain tour", and after a long absence, the vast expanse of the forest gives him a pleasant pleasure. "Try to take your children and nephews with you, and walk through the ruins of hazel." Crossing the jungle and going from the forest to the ruins may be unexpected, but it is more likely that the "Yamazawa Tour" includes a predetermined item. "Wandering among the hills, living according to the past. There are remnants of the well stove, and the mulberry bamboo is a remnant. "Mounds", i.e. graves. Wandering among the graves, you can also faintly see the remains of the former people's residences, the mulberry bamboo decays, and the well stove is broken. "By asking the salary collector, is this person like this?" The payroll told me that there was no more to die. The poet asks, where are those who once lived here? The firewood cutter told them that all the men were dead. However, the poet does not ask why these people died. The fall of the "former human settlement" into a "hilly area" can be either a natural disaster or a man-made disaster. But Tao Yuanming neither asked nor speculated. He identified and accepted the life and death of man. "A different dynasty, this is really true." Thirty years is "one life". In thirty years, the imperial court and the street market will change. "Life seems to be illusory, and it will eventually be empty." For Tao Yuanming, the change of "human settlement" into "hill ridge", just like the change of the market, is the inevitable result of natural transportation. Life is alive, but a trip to the mountains begins with human habitation and returns to the grave. This is an illusion, the essence is emptiness.

"The Fifth" writes about Yamazawa's return from a tour. "Hate alone, rugged hazel." The feeling of "human settlement" turning into "hill ridge" is still in my heart. Walking alone on crutches to the way home, crossing the winding jungle on the rugged desert path, adding a layer of hardship and emotion in life. Ultimately, life is illusory and empty. But having been born in the world, the reality of reality is approaching the self with its hardships. "The mountain streams are clear and shallow, and they can be maundy." Through the jungle, a mountain stream gives the tired and melancholy Tao Yuanming unexpected comfort and purification with its shallow shadow. "Can I have my feet", and is it not just a foot? After the clear stream is enough, the dust is gone, and the worries are clear.

"Wet my newly cooked wine, only chicken beckons the game." When you get home, invite your neighbors to a feast. The newly brewed wine has not yet been filtered, and guests are served with the only chicken. It was a feast of embarrassment. However, the host is not embarrassed and the guests do not think it is slack. "The sun enters the room in the dark, and the thorns are in place of candles." The house was dark after sunset, and the owner who had no money to spend the candle lit a wood stick for lighting. It is conceivable that in the simple house of the master, the villagers who gathered together were so kind and idyllic, and the chatter of wine and chattered spent the time of the silent countryside night in the four fields. "Joy has come and gone, and the night has returned to Heaven." In the bold talk of wine, the villagers who have forgotten time greet the emergence of another day of rising sun, and are about to start another day of labor. The sun rises and the sun rises. This intertwined life of a peasant with hardship and ease is the nature that Tao Yuanming lost and regained after he was overthrown in the world.

Anhui Yixian Tao Yuanming's former residence • Shou Humble Garden Scenic Area of the small bridge flowing water information picture

The traditional rural aesthetic contained in "Returning to the Garden and Rural Residence"

Tao Yuanming's "Returning to the Garden and Rural Residence" contains the main program of traditional Chinese rural aesthetics. It can be summarized as follows:

First, rural aesthetics is a subject of regression. This regression has a double meaning. The first is the return of the material sense, the return of the wanderer to the homeland; the second is the return from the utilitarian pursuit of the world to the simple and comfortable spiritual life.

"Returning to the Garden and Rural Residence" defines the return to the hometown as liberation from the "dust net" of the utilitarian society, the return of the birds to the old forest, and the return of pond fish to their hometowns. Local life is carried out on a pure blood and fixed geographical edge, and the personnel are relatively fixed. Such a living environment not only provides the occupants with familiar and stable social relations, but also strengthens the occupants' sense of identity and belonging at both the blood and geographical levels. Returning to the countryside not only eliminates the complex social relations of the outside world (the "dust net"), but also re-implants the individual life into the original unity of blood relatives and the locality, so that the individual's body and mind can regain the protection of the original nature in this unity. Gaining physical security and spiritual freedom in the countryside is what Tao Yuanming calls "returning to nature."

Second, rural aesthetics is based on the village as the main scene. Villages are the basic residential environment in local life, and the village scene lays the main image for rural aesthetics. This village image is a realm of limited scope and full of emotion. According to different natural environments and historical evolutions, the composition of villages varies greatly, ranging from three villages to thousands of large villages. However, because of the characteristics of agricultural farming, the size of villages is generally small. As the basic community of the era of local life, the village not only takes blood as the link, but also restricts the region, which constitutes a relatively alienation and separation between the community relationship and the geographical relationship. Fei Xiaotong defined the "diaphragm" between villages as a basic situation of local culture. He said: "The life of the local society is rich in locality. Endemic refers to the geographical limitations of their range of activities, with little contact between regions, isolation of life, and the isolation of their social circles. ”

In "Returning to the Garden and Rural Residence", Tao Yuanming sketches and truly depicts the narrowness and alienation of the village. "More than ten acres of square houses, eight or nine grass houses." The eaves of the elm willow shade, in front of the tao li luo hall. "This is the size and pattern of the garden village where he lives." Ambiguous distant village, clinging to the smoke in the ruins. "Rare people in the wild, poor alleys and few martingales." This depicts the situation in which the garden is isolated from other villages. Such a situation reminds people of the "widowed country and small people" state depicted by Lao Tzu in the Spring and Autumn Period, in which "chickens and dogs smell each other, and old and dead do not interact with each other". Alienation and diaphragm constitute a double barrier of space and psychology, which give villagers a simple and realistic life in an environment of mutual recognition and trust, attachment to the countryside, trust experience, love and righteousness. "In the song of the times, the grass is together. There is no nonsense to see each other, but the road is long. "Interaction in or between villages is a natural exchange between familiar people." The natural flourishing and the courtesy between the villagers are mutually contrasted; "but the Road is long", and the interaction between the villagers is non-utilitarian and aimless, and is the natural exchange that the villagers need. Fei Xiaotong said that compared with the "mechanical unity" of urban-industrialized society, rural emotions are an "organic unity". "Mechanical solidarity" is a utilitarian, social contract or legal organization. The organic unity of the countryside is simple and simple, but also intimate and natural. "The sun enters the room in the dark, and the thorns are in place of candles." Joy has come and gone, and the night has returned to Heavenly Dawn. "Such drinking and joy, simplicity, but it is in this ultimate simplicity that the human affection for life is nourished and publicized.

Third, rural aesthetics is based on a deep sense of land, carrying forward the feelings of attachment to the land, diligent farming, and symbiosis with the grass and trees of the mountains and birds. This is a living and flexible world.

The five poems of "Returning to the Garden and Rural Residence" do not deal with the mountains and rivers and the wilderness sky. "Long time to the mountains to travel, the waves of the forest entertainment." It was a trip out of the village, but not a long trip. "Hate alone, rugged hazel." This is a one-day round trip to Yamazawa. "In the song of the times, the grass comes and goes together." "The road is narrow and the grass is long, and the dew stains my clothes." The daily walk is between the village and the land, and the purpose of walking is not to visit but to exchange and cultivate the villagers. "Wearing grass to and fro" and "narrow grass and trees" are not depicted in sightseeing, but practical experiences in farm life, which include sweat, pain, and anxiety. But this is where farmers' beliefs and recuperation persist for many years as adults – so their lives are solid. "Often afraid of frost and thunder, scattered with grass" "Clothes are not enough to pity, but make the wish not violate." The things of "constant fear" and "wish" are to cultivate diligently in this limited land so that a family can live and reproduce. Fei Xiaotong said, "In local society, individual desires are often in line with human conditions." The desires of peasant families are nurtured by the land in which they live, which constitutes their culture. "Ambiguous distant village, clinging to the smoke in the ruins." Dogs bark in the deep alley, chickens chirp mulberry trees upside down. "Such a picture of rural life cannot be depicted by a bystander. Because it is not a landscape for outsiders to stop and watch. It is the real life of the peasant family, which is refined and crystallized by the soul that is in it and has a simple and natural life.

Fourth, rural aesthetics has a profound humanistic background with Taoist natural philosophy as the core, which not only integrates land, residence, mountains, grass, trees, birds and people, but also gives this whole organic life connection and the infinite continuation of the natural cycle. Therefore, rural aesthetics is not only about the aesthetic consciousness of pastoral scenery, but also the aesthetics of life based on the "natural" concept of life.

"Returning to the Garden and Rural Residence" has five songs, and the word "virtual room" is used twice. "There is no dust in the courtyard, and there is spare time in the virtual room." "The day hides the thorns, and the virtual room is dusty." Taoists speak of "nothingness" and "emptiness" for the sake of Shenda's "nature." Lao Tzu said that "the Tao rushes, and the use of it or not" "When it is not there, it is used for the instrument". Zhuangzi said, "He who is angry, and he who treats things in nothingness." The only way is to set the void. The void, the heart also". The phrase "virtual room" comes from Zhuangzi. "He who looks at the other side, the void is white." ("Zhuangzi, The World on Earth") In "Returning to the Garden and Rural Residence", the "virtual room" should have the dual meaning of the purity of the rural residence and the ethereal spirit of the heart, so it is called "having spare time" and "absolutely dusty thinking". However, "having spare time" and "thinking of absolute dust" are not empty and lonely, gloomy and negative. "The void room is white", "white" is the "nothingness" attributed to the dao, is the "transformation of all things", that is, the infinite realm of "heaven and earth are born together with me, and all things are one with me". Therefore, the "residual leisure" and "dusty thinking" of the rural residence are not the passive trappings of life, but the "lessons are nothing and there is responsibility" (Lu Ji: "Collected Interpretations of Literary Endowments", Zhang Shaokang's Collected Interpretations, People's Literature Publishing House, 2002 edition), is the liberation and infinite development of life - "long in the cage, back to nature".

The rural aesthetics pioneered by Taoist philosophy is "white in the void", in other words, "from scratch", that is, "returning to nature" after getting rid of the utilitarian secular network. This requires the solution of a question, that is, what is the ultimate value of local life, and where does life belong? The poem "The Fourth" confronts the ultimate problem of life with the countryside that has been reduced to a cemetery. The long-lost mountain tour, only a sentence of "wave wild entertainment in the forest", that is, turned to the hanging of the ruins. Tao Yuanming completely inherited Zhuangzi's view of life. "Death and life, fate, it has the common of night, the heavens." ("Zhuangzi, The Great Master") Under such a concept of destiny, life and death are not only the normal state of nature, but also the fundamental "illusion" and the final "emptiness" is not a tragedy of self-existence, on the contrary, the self has acquired infinite meaning in the operation of natural creation. "Now with heaven and earth as the furnace and creation as the great furnace, evil cannot be used in the past?" ("Zhuangzi, Grand Master")

Therefore, it can be said that Chinese rural aesthetics neither seeks an ultimate destination for foreign companies and a vast world, nor does it seek an ultimate destination for the future, but is a natural freedom to live in the countryside at peace and in harmony. "Open up the wilderness in the south, and return to the garden." This can be described as Zhuangzi's so-called "hidden world under the world" life consciousness. "The sun enters the room in the dark, and the thorns are in place of candles." Joy has come and gone, and the night has returned to Heavenly Dawn. "The change of day and night, the rotation of labor and perching, the unity between nature and the self in the extension of time, but the self also completes the overcoming and transcendence of time in the extension of time. This is because I belong to time, I conform to time, so that every present moment of time that belongs to me becomes the "nothingness" of nature — absolute and infinite. Therefore, rural aesthetics is present, it is in the here and now.

Under the infusion of the Taoist natural philosophy of time and space, life and death consciousness, rural aesthetics stretches time in the limited local space, and activates space in the time without beginning and end ("Fang Sheng Fang Dies, Fang Dies Fang Sheng"), showing rural life as a large world that transcends time in time and hyperspace in space. Zhuangzi said:

Death and death, poverty and wealth, the meritocracy and disgrace, hunger, thirst, cold and heat, is the change of events, the journey of fate; day and night are in the past, and do not know how to regulate the beginning. Therefore, it is not enough to slip and harmonize, and it is not allowed to enter the spirit house. Make it harmonious and hesitant, and make it clear without losing it; so that day and night will be free and spring with things, and it is the one who is born in the heart when it is received. Yes, it is all. ("Zhuangzi Dechong Fu")

Wang Xizhi's "Lanting Poem" wrote: "The great creation of the gong, the difference is uneven. Although the crowd is uneven, it is nothing more than new to me. Wang Xizhi's poetry is precisely the exaggeration of Zhuangzi's view of life and death and the concept of time and space expounded by "Zhongni Yue" in this paragraph. "Suitable for me is nothing but new", which is the realm of "spring with things". Tao Yuanming's "Returning to the Garden and Living in the Countryside" is the poetic crystallization of Zhuangzi's life consciousness and Wang Xi's poetic realm realized in the local life. This is a vernacular life realm that begins with "less vulgar rhyme, sex loves the hill and mountain" and returns to the "happy and bitter sunset is short, and has returned to tianxu". It has no beginning and no end, it is both lively and active, intimate and natural, and transcendent and infinite.

Anhui Yixian Tao Yuanming's former residence • Shou Humble Garden Scenic Area overlooking the data picture

From "feasible" and "hopeful" to "tourable" and "livable"

We take the traditional Chinese rural aesthetics embodied in "Returning to the Garden and Rural Residence" to examine the current "building the countryside" movement that has become popular, and we can have the following preliminary reflections.

First of all, guided by the theme of return to rural aesthetics, the planning and design of "creating a village" must have a kind of anti-time thinking. The so-called "reverse time" is aimed at the time dimension of the rapid development of contemporary life. In the restoration of ancient cottages, "repairing the old as old" can be said to reflect this time consciousness orientation. However, the "anti-time" thinking cannot be used mechanically, and should not be limited to the restoration of individual cottages, but should be intended to rebuild the countryside as a "refuge home" that distinguishes it from urban residences.

Secondly, the image of the main body of the village with the rural aesthetics is used as the blueprint for construction. The Song Dynasty painter Guo Xi talked about the intention of painting, which has four meanings: feasible, hopeful, swimworthy, and habitable; and pointed out that "what is feasible and expected is not as good as what can be traveled and lived in." "Walking" and "looking" are spectators and external; "traveling" and "dwelling" are intervening, internal. Building a village should focus on the overall construction of tourable and habitable villages, rather than attaching to the tourist viewing mentality, and working feasible and promising. Only when the overall construction of the countryside becomes a "tourable" and "habitable" site can the theme of rural aesthetics be realized.

Third, with the local feelings of rural aesthetics as the background. "Creating a village" takes the simple and profound local feelings as the expression and appeal object, and should not only focus on creating a delicate and subtle scenery, but also focus on creating a simple and natural and intimate scenery that is intimate with the land. In "Building a Village", compared with urban facilities, the project (amusement facilities) that do a good job of Daxigong not only violates the main theme of rural aesthetics, but also is bound to form an irreversible damage to the rural landscape.

Finally, rural aesthetics, derived from the Chinese Taoist philosophical tradition, have a fundamental sense of natural life. The inhabitants are in nature and live naturally. This is the realm of no dimension, or the unity of man and nature, life itself. Therefore, how to create this "natural" life itself is a deep construction that needs to be explored and realized in "building a village" - in the final analysis, it is about the construction of the rural dwellers themselves.

Guangming Daily ( 2022-04-08 13th edition)

Source: Guangming Network - Guangming Daily