Text|Contains winter and summer
Edit|Contains winter and summer
The scholars of the Tang and Song dynasties all had a deep Jiangnan identity psychology. However, the focus of their identity is different from economic and cultural. In the Song Dynasty, Jiangnan was able to flourish because of "literature", not only by carrying forward local culture, but on the basis of preserving and absorbing a large number of traditions, shaping into a new type of culture. Between the Tang and Song dynasties, there were five generations of turbulent times when ritual music withered, and the one who inherited civilization and gave birth to new changes during this period was the Southern Tang Dynasty.
In this regard, the Southern Tang Dynasty has a significance to Jiangnan culture in modern times. However, Jiangnan culture generally includes not only the poetic aesthetic side, but also the subjective sentiment to infect others, the application of social groups, and even the mellow and elegant side of traditional Confucianism. What role did the Southern Tang play in these areas?
The entanglement of Jiangnan scenery and politics in the Tang Dynasty of the Six Dynasties
As many scholars have noted, since the unification of the Qin and Han dynasties, it is clear that the "Jiangnan" region has had political intentions to compete with the Central Plains. However, due to the limited terrain and resources, the political strength of Jiangnan at that time was not enough to keep pace with the Central Plains. This prompted the scholars to shift their focus to "soft power" in terms of cultural aesthetics, so as to recreate their advantages. For example, "two lands enter Luo, and three are reduced", which is not only due to the advantages and disadvantages of literary works, but also means the competition between the Jiangnan scholars and the Central Plains scholars.
Erlu also intends to use words to shape the unique beauty of Jiangnan, hinting at the theory that the south is superior and the north is inferior. "Lu Ji said to Wang Wuzi, Wuzi preceded a number of sheep cheese, pointing to show Lu said: 'Qing Jiangdong why is this enemy?' Lu Yun: 'There are thousands of miles of soup, but there is no salt and soybean!'" Compared to Lu Yun's image of "between the clouds", he hazy expresses the unique beauty of the south of the Yangtze River.
The food is used as a metaphor for aesthetics, focusing on the use of food materials to symbolize the scenery of the south of the Yangtze River. The Six Dynasties was the stage of the evolution and maturity of mainland landscape aesthetics, and the more common phenomenon of scholars was to directly use the scenery of the south of the Yangtze River as the theme, presenting the dual meaning of regional nature and talent literacy. The concept of "Jiangnan Genius" is germinating from this time. But its original meaning refers to the author who is good at determining the beauty of Jiangnan scenery, and even shapes the style of a country with this.
The north Gu Tower, the clouds, and the willows are all the scenery of the south of the Yangtze River or the scenery rich in the beauty of the south. In fact, the aesthetic prominence of Jiangnan in the later period can still be regarded as a kind of political deformation and detour.
However, it can be said that the revelation of political significance depends entirely on the interpretation of literature, rather than on the literal consciousness of the work. Once this interpretation loses its dominance, later generations will interpret it as a non-political work of art based on the themes of mountains and rivers and scenery written in the literature of the Six Dynasties. Furthermore, "Jiangnan" is understood as an aesthetic object, which is in opposition to the political meaning of the Central Plains.
The writing of Jiangnan scenery in the literature of the Six Dynasties was often driven by political intentions. The Tang Dynasty seems to have given "Jiangnan" an absolute aesthetic color, confronting the political connotation of "Central Plains". As the Jiangnan regime, the Southern Tang Dynasty is also known as the inheritance of the orthodoxy of the Tang Dynasty, so it will inevitably go back to the political writing of the Jiangnan scenery of the Six Dynasties, and inherit the shaping of the Jiangnan sense in the Tang Dynasty. As for the emerging art and cultural trends at that time, it promoted the further creation of the sense of Jiangnan in the Southern Tang Dynasty, and ultimately influenced the Song people.
The writing and possession of Jiangnan scenery in the Southern Tang Dynasty
Politically, the Southern Tang Dynasty proclaimed itself a "descendant of the Tang Dynasty" and was geographically located in the homeland of the Southern Dynasty. Although it is a short country, it has absorbed the cultural heritage of the Southern Dynasties and the Tang Dynasty at the same time. The aesthetic significance of the Jiangnan scenery molded by the previous generations, as well as the political significance of the side-by-side reflections, are all common metaphors for the Southern Tang scholars.
Not only that, the monuments of the Six Dynasties have formed the "humanistic" scenery of the south of the Yangtze River, which stands side by side with "nature". They intervened in the daily life of the Southern Tang people and became a part of life. For example, Xiumu's poem says: "The monk leans on the six dynasty trees", and the plants and trees around him are Qiliang antiquities, which is because the monks' understanding of poetry not only relies on written records, but also can be mutually referenced with personal real scenes. This is even more common for the monarchs and ministers of the Southern Tang Dynasty.
In the hearts of the Southern Tang scholars, they were real and specific places, so the authors of the Southern Tang Dynasty could "possess" them through writing. Mr. Yuwen Suo'an once analyzed the concept of "possession" of the landscape in the Tang Dynasty, pointing out that the scribes believed that economic purchase was not absolute "possession", but rather through the literary works to determine the characteristics of the landscape, and add their own subjective color, so that the scenery could be marked with a private mark. This concept was also inherited by the Southern Tang scholars.
When the author intends to highlight not only the private, but the style of a country, the political image of the Southern Tang Dynasty is inseparable from the image of Jiangnan scenery. In this regard, the Southern Tang Dynasty surpassed the Six Dynasties and the Tang Dynasty's concept of Jiangnan scenery. Regardless of the pure aesthetic consciousness of the Tang Dynasty, even if the people of the Six Dynasties intended to gain political advantages by virtue of the scenery, their way was only to prove the superiority of "Jiangnan" and compete with the "Central Plains". The Southern Tang Dynasty, on the other hand, borrowed the beauty of the scenery in the field or in previous texts to shape its own politics. As a result, all kinds of scenery in the south of the Yangtze River are deeply rooted in the political color of the Southern Tang Dynasty. While immersed in its beauty, the viewer also subtly identified with the Southern Tang Dynasty.
Xu Xuan believes that the victory of the landscape is a sign of political prosperity, so the perceptual experience triggered by the scenery may also touch the political thinking. In particular, Xu Xuan counted the specific scenery one by one, and no longer talked about the mountains and rivers. Xu Xuan has also put this theory into practice in writing.
As Xu Xuan said above, "there are many people who have time to spare, and things are also rich", attributing the prosperous scenery to the politics of Changming, and thus extending the visual beauty of Jiang Qiaoyun and the shallow tide ditch to a kind of political aesthetics, which is another aspect of intellectuality. In this way, Beiyuan combines the perceptual space of materiality with the conceptual space shaped by ideology.
In "Miscellaneous Poems of the Beiyuan Banquet", the natural scenery such as bamboo, pine, water, and chrysanthemum is listed and admired, but when the wind parallel to the four is described, it is lamented that "no one knows Dili, who knows the playthings". This shows that the seemingly concrete landscape in Xu Xuan's poems and texts that brings us full perceptual experience is still the embodiment of abstract ideology. The perceptual experience given by writing creates an illusion for the reader, that is, "Beiyuan" becomes a transparent and visible existence through the presentation of art and literature, while ignoring the landscape as a carrier that allows political concepts to penetrate people's hearts.
The politics of the Jiangnan landscape is not only reflected in the royal gardens. "Spring and Autumn of the Ten Kingdoms" quoted the "Phoenix Chronicle" and said: "The old city of the Six Dynasties is close to Zhoushan, goes to Qinhuai for five miles, and is rebuilt when it reaches Yangwu, crossing the north and south of Qinhuai, and returning twenty-five miles in a week. "Qinhuai is the moat of Jinling City, and it has a lot to do with politics. According to Ma Ling's "Book of the Southern Tang Dynasty", when the Song Dynasty attacked the south of the Yangtze River, "Wang Shi repeatedly attacked the Qinhuai Koushui Gate, and (Lu) Jiang rejected it", which can be seen as a military important place. However, Qinhuai is also a good place for banquets, and "Diaoji Standing Talk" contains: "On the day of the meeting, the court and nobles will travel to Qinhuai" can be proven. In the consciousness of the people of the time, the same Qinhuai River bears the dual meaning of politics and tourism.
After the death of the country, the army was destroyed, and the connection was the loneliness of the building. Conversely, in the prosperous era of the Shengyuan Dynasty or the early period of Baoda, the prosperity of the Qinhuai scenery can trigger the feeling of a strong regime.
The consciousness and behavior of the Southern Tang Dynasty in shaping the landscape inherited the production mode of Jiangnan culture in the Six Dynasties and Tang Dynasties, and deepened the mixing and integration of the experience of visiting and political utilitarianism. The poetry of Jiangnan is not just an object of viewing and playing, but can be infected through the transmission of aesthetic experience and play a practical role.
A new type of art and culture carrier with a sense of Jiangnan and its cross-domain preparation
The Southern Tang Dynasty inherited the cognitive model of the Six Dynasties and the Tang Dynasty on the scenery and culture of the south of the Yangtze River, forming a new concept. Correspondingly, the Southern Tang Dynasty coincided with the period of the Five Dynasties, and a large number of word styles emerged, and the painting techniques and content also broke through the original achievements. Therefore, when Nantang presents the sense of Jiangnan, it also adopts these two new media. Words and paintings not only broaden the expressive possibilities of "Jiangnan", but also guide the mode and thinking of contemporary people to look at "Jiangnan".
The author of the Southern Tang Dynasty wrote about the mountains and rivers in the south of the Yangtze River, which is common sense. But it is worth noting that they have also recreated the Jiangnan space. Yuanren Tang Yuan said that Dong Yuan was "flat and deep", that is, the so-called "color of Pingyuan is bright and obscure" and "the meaning of Pingyuan is mellow and ethereal", pointing out that Dong Yuan's paintings are sparse and not lacking in the layering of light and darkness in the mountains and rivers south of the Yangtze River. Zhao Gan is also famous for "all the scenery in the south of the Yangtze River". Chen Baozhen pointed out the spatial characteristics of Zhao Gan's "The First Snow on the River" from dense to sparse, and the intricacy of virtual and real, and believed that this conveyed the desolate and bleak aesthetics of the Southern Tang Dynasty. Zhao Gan was already a later emperor, and the sad atmosphere in his paintings may be the product of the political sorrow of the Southern Tang Dynasty poured into the landscape of the south of the Yangtze River. The natural perceptual space and the ideological conceptual space once again converge into the space of the author's experience, which is implemented on paper.
Also in the Southern Tang Dynasty, the rise of literary literature, and attention was paid to the description of the scenery of the south of the Yangtze River, which has been discussed and analyzed by predecessors. What the author would like to add here is that the cognition of the layered interval of the Jiangnan space and the meaning of its atmosphere in the Southern Tang Dynasty paintings has also extended to the body of words. Feng Yansi's words, like "the hall is very big", are not completely slumped into the dense form of "heavy and clumsy" because of the depth and richness of emotion, but through the embellishment and combination of scenery, it has a certain effect of "melting and ethereal" similar to "Pingyuan".
Here the style is contrasted with the spatial hierarchy, and the natural geography shows a different beauty. For example, the imagery used as a clue to guide the whole text in Li Yu's words often has the quality of the "Jiangnan Kingdom" of the Southern Tang Dynasty: idle dreams are far away, and the southern country is in the clear autumn. Thousands of miles of rivers and mountains are cold and far away, and there is a lonely boat in the depths of the reeds. Flute in the Yueming Building.
The sense of space in the whole word is almost similar to Zhao Gan's "Picture of the First Snow of the River": first, there is a "thousands of miles of rivers and mountains" that are far and deep, and the distant peaks and mountains are cold, forming the "invasion" feeling of the muscles and bones of the head. Then the author unleashed his pen and ink, transcribing a piece of river, a few "reed flowers" on the riverbank, and then a "lonely boat" in the depths of the "reed flowers", which turned from dense to sparse like Zhao Hua. The lonely boat moored in the depths of the reed is tantamount to looking for an unreliable self-sheltering barrier. The long natural space distance of the mountains and rivers in the south of the Yangtze River is internalized by the author as a mental image, which is manifested as the psychological distance between the invasion and obstruction of beautiful ideals. The similarity between the latter subject and Zhao Gan's painting does not mean that the former imitates the latter, but shows the internal influence of the natural space of Jiangnan on the art and literature of the Southern Tang Dynasty.
Feng Ci also presents a kind of flat and distant spatial distance, which is slightly different from Li Ci and Zhao paintings, which is first sparse and then dense. The beginning of the word sets a bleak atmosphere with the sound of "blue" and "jade flute", and the person who plays the flute is written in the vast river to create the sadness of sending off guests. Through the two images of "reed flower" and "frost moon", which are exactly the same as Li's "Remembering Jiangmei", the "separation" of Guanshan tomorrow replaces the "sparseness" of the river, setting up another barrier for the long psychological distance. The transition of space, distance, and mentality in Li and Feng is naturally triggered by the scenery of the south of the Yangtze River, which proves that the great realm of the Southern Tang Dynasty and its sparse and elegant form are not unrelated to the space of the south of the Yangtze River.
Further, the spiritual thinking of the Southern Tang Dynasty people forms a certain isomorphism with the mountains and rivers in the south of the Yangtze River. Therefore, the presentation of political elements in art and literature has a sense of beauty originating from the Jiangnan space. The confusion and loneliness of the partial security regime are expressed by the cold color of the mountains and rivers and the lonely boat moored in the depths of the reeds. Although we can see it as a change in the tradition of "Bixing", we should understand that it is not just a "technique" that imitates an external tool, but a "mental method" rooted in the hearts of the authors of the Southern Tang Dynasty.
The view of the scenery by the scholars in Jiangnan is not just a juxtaposition of subject and object, but a process of shaping the identity of the scholars and the image of the regime. However, in the process of discovering the meaning of nature, the pleasure of contemplative aesthetics dilutes the dominance of power, and instead provides a path beyond power and allows the self to face the world. Jiangnan culture guides politics with aesthetics, and absorbs the depth and loftiness given by political quality.
The cultural and educational significance of the Southern Tang Dynasty to the south of the Yangtze River
From the Southern Dynasties to the Southern Tang Dynasty, the way in which the Jiangnan regime shaped the superiority of the regime's image in terms of culture seems to be mainly to interpret the beauty of the scenery. However, the Southern Tang Dynasty attracted Tang Dynasty scholars to join in the troubled times of the Five Dynasties, preserved the Tang Dynasty system and academics, and cultivated many Confucian scholars. Its cultural significance to Jiangnan in modern times cannot be ignored.
Under the guidance of Li Yu, the warriors of the Southern Tang Dynasty transformed into civil affairs. Yuanzong and Houzhu, the two Shangwen monarchs, advocated the promotion of culture and education. For example, Li Yu "feared the difficulties of fortune and learned from it for a long time", wrote 100 articles of "Miscellaneous Sayings", and promoted the writing of a series of works such as Han Xizai's "Later Maxims", "The Emperor's Essentials", Guo Zhaoqing's "On the Governance of the Country and the People", and Chen Pengnian's "Huanggang Jing".
Even after the fall of the Song Dynasty to the Southern Tang Dynasty, the Song people were still willing to recognize the merits of the Southern Tang Dynasty in preserving culture. For example, Ma Ling's "Book of the Southern Tang Dynasty" believes: "In the past, Han Xuanzi was suitable for Lu, and knew where the Zhou rites were." And the ceremony of the week is not Lu can survive, and Lu Guo can save its ceremony, which is also close to the Tao. Why is the collection of books in the Southern Tang Dynasty different?" Ma Ling also mentioned earlier that the Southern Tang Dynasty "often had learning", so Ma Ling's words in this passage are not only a collection of books, but a general judgment on the cultural and educational significance of the Southern Tang Dynasty. Jiangnan was the only one in the turbulent times of the five dynasties, that is, the place where the Tao was at that time.
Judging from the clues of modern culture, the Southern Tang Dynasty and the Song Dynasty sent a large number of scholars to the latter, and played a role in carrying forward the fashion, editing books, and guiding the poetry style. However, the significance of the Southern Tang Dynasty to modern culture lies in the recruitment of Tang Dynasty scholars to the south of the Yangtze River, so that they can take root and develop into a local cultural family.
The Southern Tang Dynasty preserved scholars and documents in the troubled times of the Five Dynasties, that is, at the cultural level, it created a situation of "protecting Jiangnan is protecting China". The inheritance of the cultural family formed by it in the south of the Yangtze River has not only been unshaken by the Song Dynasty, but even extended to the Yuan and Ming dynasties. As Mr. Qian Mu said: "The advocacy of the opposition school, the vigor of the Chaofeng Festival, the prosperity of the article, and the rise of the friends are all by Nanshi." "Among them, except for the friends, they are all the merits of the Jiangnan scholars, and the Southern Tang Dynasty plays the role of a hub and intermediary in this process.
epilogue
Because the Southern Tang Dynasty was very short, scholars often ignored it in the process of analyzing the cultural history of Jiangnan. In fact, the Southern Tang Dynasty played an indispensable role in the evolution of Jiangnan culture from the Middle Ages to the Modern Era. From the perspective of culture and education, the Southern Tang Dynasty not only preserved talents and classics in the war, but also created a series of Jiangnan Shangwen families.
As far as the discovery of the sense of Jiangnan in art and cultural works is concerned, the Southern Tang Dynasty combined the modes of the Six Dynasties and the Tang Dynasty to visit the scenery of the Jiangnan River, and used art and culture to shape the landscape. The new contribution of the Southern Tang Dynasty to the aesthetics of Jiangnan scenery is presented through the new genre of lyrics and paintings, especially the absorption of the Southern Tang Dynasty's grasp of space in painting. To sum up, the Southern Tang Dynasty should occupy a pivotal position in the cultural history of Jiangnan.