The culture of eating fish
Zhu Yong
One
The one that best represents the character of Huaisu's calligraphy, I thought it was "Fish Eating Post". This post is now in a private collection, and the door is not out of the door. What I see is just print. Decades ago, Mr. Huang Shang bought a printed copy of "Fish Eating Post" from a bookstore, and complacently remembered: "The weather has been very good in the past two days, and it is the best autumn day in Jiangnan." I went out for a walk and bought the original copy of Tang Huaisu's "Fish Eating Post" newly published by the Cultural Relics Publishing House in the bookstore, and I was very happy. This post is just eight lines in cursive writing, fifty-six characters. The words are well written, and the words are especially interesting. "Fish Eating Post" is written like this: the old monk eats fish in Changsha, and comes to Chang'an City, eats more meat, and is often laughed at, deeply inconvenient, so he has been sick for a long time, can not read more, and is really sparse. I also reported to the kings, and if you want to prosper a good meeting, you should be helped. On the ninth day, Huaisu was really white. Huaisu became a monk when he was young, and the "old monk" refers to himself. When he was in Changsha, he ate fish, and later came to Chang'an City, and there was no fish to eat, so he could only eat meat. The monk ate meat, was laughed at by the mediocre people, and his heart was really unhappy, and after a long time, he became ill. If you are sick, you can't eat much delicious, so you have to tell you that if you want to have a happy meal, you have to wait until you get better. Huaisu in this "Fish Eating Post" is so greedy, how carnal, how honest, how cute, without a little disguise, and it doesn't look "vegetarian" at all. The little joy of eating fish always stays on paper. This "Fish Eating Post" has always been loved by literati throughout the ages. Mr. Huang Shang said: "Huai Su is frank, he openly admits that he often eats meat, in black and white, and is not afraid of being caught by people with pigtails, and he is found out for criticism for violating the precepts of Buddhism, which is very cute." In the old monk's view, the monk's rule of abstaining from meat and wine is simply a lie. It's not worth taking seriously. "In the "Fish Eating Post", I was hungry when I wrote it, as if I smelled the fragrance of fish and meat.
Two
The fish didn't eat well, and my stomach hurt. Huaisu's "Fish Eating Post" always reminds me of Zhang Xu's "Belly Pain Post". Zhang Xu is a friend of Li Bai, Du Fu's "Song of the Eight Immortals in Drinking" (also known as "Song of the Eight Immortals"), Li Bai and Zhang Xu are both listed as "Eight Immortals". In the Anshi Rebellion, the two met in Liyang, and they also talked about it in a restaurant. "Song of the Eight Immortals in Drinking" writes Zhang Xu like this: Zhang Xu has three cups of grass sage, takes off his hat and shows his crown in front of the prince, waving the paper like a cloud of smoke. It is said that Zhang Xu drank three cups of wine, that is, he wrote a book, and he was called a grass saint at the time. He is not informal, even in front of the princes and nobles, he takes off his hat and shows his hat, waving a piece of paper, but he is like a cloud of smoke. Not only did Du Fu write like this, but Li Ji also wrote in "Gift to Zhang Xu": "The top is exposed according to the Hu bed, and he screams three or five times." Xinglai sprinkled plain wall, swiping pen like a meteor. Not only did he not wear a hat, but he also had to scream three or five times when he was writing a book, which was a little nervous. Sometimes he initiates "nerves", and even simply uses his head as a brush and dips ink on the wall to "write hard". Regardless of the wall or screen, as long as he sees a blank, he will fill it with his own words. When he woke up and saw his handwriting, he thought it was the handwriting left by the gods, and even he felt incredible. Zhang Xu's "Stomach Pain Post" has no paper left, Song Jiayou three years (AD 1058) had copied and engraved the stone, and now the stone carving in the collection of the Forest of Steles Museum in Xi'an is re-engraved in the Ming Dynasty. "Stomach Pain Post" wrote: Sudden stomach pain is unbearable, I don't know if it is caused by cold and heat, if you want to take rhubarb soup, both cold and hot are beneficial. How to count, non-clinical. It can be seen from the handwriting of "Bellyache Post" that when Zhang Xu wrote this post, he was full of ink, wrote a number, and dipped it again when the ink was exhausted, so as to maintain the flow between the words and the words, and also controlled the thickness of the pen, so that the whole work was generated, and there was a momentum of "God out of Xiaohan, Xia Yun out of Songhua". The first three words of "Stomach Pain Post" are written relatively regularly, the words are not connected to each other, starting from the fourth word, each line is a stroke to the end, up and down the reflection belt, lingering and connected, the faster you write, the more crazy you write, the more strange you write, the imagery comes out one after another, the taste is full, the three crosses are just three crosses, in the thick and fine, light and heavy, virtual and real, broken and connected, sparse and dense, open and closed, crazy and positive between the loop and reciprocation, this kind of big opening and closing, such as the heaven and earth all things are vibrant, such as the wind and clouds and meteorological waves.
Three
Huaisu is also a friend of Li Bai, Li Bai went to Huaisu's hometown of Lingling, Hunan in his later years, and wrote a "Cursive Song Xing". The poem describes Huaisu's demeanor of writing: the wind and rain are frightening, and the falling flowers and snow are boundless. Get up and don't stop to the wall, and a line of numbers is as big as a bucket. I was frightened when I heard the gods, and I saw the dragon and snake walking all the time. The left and right sides were like shock, and they attacked and fought with Chu and Han. Huaisu is the second wild grass master in the Tang Dynasty after Zhang Xu, and coincidentally, he is also very "crazy" and "crazy". Shi Shizhi's "The Legend of the Golden Pot" describes him: "Drinking to nourish nature, cursive writing to smooth the will." Where nine drunken days a day, people call it the 'drunken monk book'. "Nine drunkenness a day, it is indeed a bit excessive, this day except drunk, they did nothing, but they wrote, only when they were drunk, and they wrote on what they saw. Lu Yu's "Huaisu Biography" said that he said: "Sparse and unrestrained, when the wine is drunk, when the temple walls, clothes, utensils, do not read." Huaisu writes, and even the temple walls, clothes, and utensils are not spared, and he is even more "perverted" than Zhang Xu. Lu Yu also said that he said: "There is no paper to write, so I tried to plant more than 10,000 plantains in my hometown for swaying." "They are drunk and poor, or rather, they have no intention of living a material life. Li Ji also wrote about him in "Gift to Zhang Xu": "The wind in the lower house is depressed, and the cold grass is full of courts. "The humble house, the barren grass is miserable, and the place where he lives is really not very good. But the people of the Tang Dynasty are blessed, because Zhang Xu and Huaisu, the two great calligraphers, wrote on the wall, on the clothes, on the utensils, and even on the leaves of the plantain, tearing off a page everywhere, which is their "authentic handwriting". It's just that these "national treasures" have now disappeared in the clouds of history, and we have no chance to see them again today. Huang Tingjian said: "Zhang Changshi's draft posts are mostly forgeries. People heard Zhang Dian, but they didn't taste his pen and ink. "In the Song Dynasty where Huang Tingjian lived, Zhang Xu's calligraphy was still very little, let alone today. They fell on the paper, through the millennium of wind and snow to survive to this day, only Zhang Xu's "Four Ancient Poems" (Liaoning Provincial Museum collection), Huai Su's "Self-narrative Post" (Taipei National Palace Museum collection), "Bitter Bamboo Shoot Post" (Shanghai Museum collection), "On the Book Post" (Liaoning Provincial Museum collection), "Fish Eating Post" (private collection), "Xiaocao Thousand Character Text" (private collection), etc., are only a few. "Fish Eating Post" is left with paper ink, originally collected by the Ding family in Weifang, Shandong, and later the Ding family moved to Qingdao, caught up with the "Cultural Revolution" to copy the family, and copied this "heirloom" to the Qingdao Museum, at the end of the 70s of the 20th century, Mr. Xu Bangda of the Palace Museum accidentally found it from the Qingdao Museum's "uncleaned", and accidentally caught a big fish. Later, the policy was implemented, and the "Fish Eating Post" was returned to the Ding family. Mr. Xu Bangda's "Ancient Calligraphy and Painting Records of the Eyes" said that the strokes of "Fish Eating Post" are a little sluggish, and there are traces of slow redrawing in the dry brush, which is not the true work of Huaisu, but should be the book of others half and half copying, but the sketching skills are superb, and only the Tang Dynasty copy of "Long Live Tongtian Post" (Liaoning Provincial Museum collection) can be compared with it, and the knotted strokes also maintain the face of Huaisu calligraphy, so that the early copy has the same important academic value as the authentic handwriting. Compared with the agitation and exuberance of "Self-Narrative Post" (collected by the National Palace Museum in Taipei), the tone of "Fish Eating Post" has been much calmer and steady, but it still retains his casual and free personality, as if he was scribbling on the spot, rather than some "creation". So Su Dongpo said of him: "He is a dignified person, and he doesn't ask for work, so he can work like this." If no one is in charge of the boat, there is no intention to help or not, it is to overturn all changes, and behave freely, close to the Taoist? "If you have a stomachache, or eat a fish, you have to write a "post" for such ordinary things, which shows that their nature is splendid, and the letter is freewheeling. Compared with the regular script that sits in a precarious position and is dignified and splendid, such content and writing are a bit "out of line". And calligraphy is supposed to be the expression of this true character, just as he does not shy away from saying that he eats fish and meat.
Four
By the Tang Dynasty, calligraphy had come out of the curly lines like large seals and small seals, and also came out of the horizontal, open and vigorous Han Li, forming a more balanced, symmetrical, and square aesthetic form, as Ouyang Xun said: "Stop evenly on all sides, and have all eight sides." Short and long fit, thickness and thickness are compromised. "The regular script (also called the real book, the main book), appeared. Kai is a model, a sample, a law, and a standard. Writing was originally for practicality, but later it gradually took on the form of beauty, becoming a kind of "consciousness of beauty". Wang Xizhi's calligraphy best represents this "consciousness of beauty". The people of the Tang Dynasty sublimated this consciousness, discovered the law of beauty from Chinese characters, and summed up the formula of beauty. Beauty can also have formulas. It makes it easy to write complex and varied Chinese characters. Our primary school students practice writing, all of which start with Yan Liu Ou Zhao, starting and closing the pen, and the structure of the shelf, like the Pythagorean theorem, there are rules to follow. Beauty is regular, and therefore can be mastered and replicated. The first creator of calligraphy in the Tang Dynasty was Ouyang Xun. Yan, Liu, Ou, and Zhao are regarded as the four masters of regular script, if they are sorted by birthdate, Ouyang Xun is in front, born in 557, Yan Zhenqing was born in 709, Liu Gongquan was born in 778, Zhao Mengfu is a native of the Yuan Dynasty, born in 1254, I wrote about him in "The Beauty of Antiquities in the Forbidden City 2", which is omitted here. Ouyang Xun and Yu Shinan were both born in the Northern and Southern Dynasties, from the Sui to the Tang Dynasty, and Ouyang Xun was one year older than Yu Shinan. The time they lived in the Tang Dynasty only accounted for a quarter of their lives, but this quarter was the glorious period of their calligraphy creation. Their calligraphy is all born from Wang Xizhi's calligraphy, among which Ouyang Xun gradually transformed, and Yu Shinan adhered to Wang Xizhi all his life and never gave up. Mr. Jiang Xun said: "The rules in Ouyang Xun's strict calligraphy are based on meticulous rationality. The strict central axis, the strict starting and closing of the brush, the strict horizontal and vertical make people curious: where does such an absolutely strict line structure come from?" He also said: "Ouyang Xun's ink book can especially see the tension of the pen gesture clamping, and at the end of each stroke, the pen stroke is not the slightest arbitrary, not outward, but often inward. It seems that the chic glyphs, when you look closely, the pen and pen are all lines under control, without Wang Xizhi's free and casual, light and light. "Ouyang Xun's ink on paper, the Palace Museum has "Bu Shang Post" and "Zhang Han Post". These two posts are all written in line, but they can be seen in the general control of regular script, like a righteous gentleman who is well-dressed, behaves moderately, and speaks appropriately. Their regular script has brought solemnity and law to the calligraphy of the Tang Dynasty. In addition to Tang Kai, Tang Dynasty urban planning, Buddhist statues, and even Gelu poems (five-character poems and seven-character poems) witnessed the existence of rules everywhere. These are all brought about by the "great unification" character of the Tang Dynasty, and since the Qin and Han dynasties, this is still the first "great unification" dynasty. The Sui Dynasty was too short, only thirty-eight years, and it was only a historical transition. But this is only one side of the Tang Dynasty, and the other side of it is its openness, enthusiasm, high-spiritedness, and changeability. I wrote about this in "Li Bai on Paper". All the "tight spells" can't actually control the monkeys who go to heaven and earth and make trouble in the heavenly palace. Just like Tang poems, they are clear and strict, but they can't restrain the vastness and splendor of "the water of the Yellow River comes from the sky".
Five
Huaisu eats fish and eats meat, such "free and loose", does not abide by "discipline", from his personality of liberal, grotesque, and unsparing, but there is also a cultural promoter behind it, that is, the popularity and popularity of Zen Buddhism after the Tang Dynasty. As one of the sects of Han Buddhism, Zen Buddhism became mainstream after the mid-to-late Tang Dynasty. The practice of Zen Buddhism pays attention to not establishing words, seeing nature and becoming a Buddha, abandoning complicated procedures and a sense of form, so it is more flexible and mobile, and more easy. From the end of the Tang Dynasty to the Later Liang period of the Five Dynasties, the monks of the Liang period deed this, and became a cloth bag monk in the "Biography of the High Monk" - he frowned and had a big belly, spoke uncertainly, and slept everywhere, like a madman, but his magic power was boundless. "Supplementing the Biography of High Monks" also records that there was a Taoist monk in the Southern Song Dynasty, "drinking alcohol and eating meat, and the ups and downs of the market." likes to do somersaults, does not wear pants, looks dewy, people laugh at it, and look at themselves. In Zen Buddhism, drinking and eating meat, fond of somersaulting, sleeping everywhere, and speaking uncertainly, these behaviors not only do not commit "taboos", but have become a fashion, because these naïve and ignorant, intoxicated, and unabiding "rules" behaviors show that they have quit earthly desires, abandoned the temptations of the world, and maintained a detached, transparent, and free attitude towards the world. It can be seen from this that monks like Huaisu, who ate fish and meat and did not abide by the rules, could catch a lot of them in that era. I think of "Dream of Red Mansions", Lin Daiyu said about the leper monk, "Crazy and crazy, no one pays attention to him when he talks about it." "I think Huaisu is almost like that. But Li Bai did not dislike this respect. He wrote in "Cursive Songs": "In ancient times, everything was noble, so why bother Gongsun and Aunt Gongsun to dance." In his opinion, there is no need for writers to be like Zhang Xu, who is serious about finding inspiration for creation from Gongsun Auntie's sword dance. The kind of freedom that eats fish and meat and challenges the rules and precepts of religion comes from the enlightenment of Zen Buddhism. This enlightenment not only influenced their behavior, but also brought about changes in calligraphy. The art of calligraphy had a great leap forward in the Tang and Song dynasties, which was inseparable from the spread and prevalence of Zen Buddhism in that era. Calligraphers such as Huaisu and Su Dongpo were all immersed in the ideas of Buddhism (especially Zen Buddhism). Foreign Buddhism, through Zen Buddhism, has reached a deep fit with China's native Lao Zhuang thought, forming a cultural ideal of pursuing life consciousness and spiritual realm, and the essential content of Zen Buddhism's theory of mind and cultural thought can be summarized as: nature - inner - transcendence. Zen Buddhism advocates "enlightenment", that is, the so-called "Buddhahood with one thought", and does not value the external forces such as teachings and rituals. Su Dongpo of the Song Dynasty continued this tradition, believing that the complete internalization of "law" required learners to forget their own art and the moment of their own pursuit of perfection. They do not deny the value of the "Fa", their artistic creations have also been painstakingly tempered, and their roots are all very deep. Like Huaisu, practicing calligraphy on wooden boards and banana leaves, "If he were not lonely in the ancient temple in the deep mountains, buried in the trays, planks, and banana forests and silent, there would be no wild and noisy movement of him walking out of the ancient temples in the deep mountains." Su Dongpo has studied Wang Xizhi, but also practiced Yan Zhenqing, Yang Ningshi, Mi Fu has seen two large bags of straw paper in Su Dongpo's study, but in Su Dongpo's view, this is only the level of "knowledge", not the level of "line". The calligraphy thus written comes from someone else, not from the writer himself. Therefore, the process of learning is also a process of forgetting, only by getting rid of the rules and forgetting the rules (Su Dongpo called it "forgetting each other"), in order to "come up with new ideas in the law, and place the wonderful reason in the bold outside", in Buddhist language, it is "the heart is broken, and the heart is destroyed". It is only when he discovers that the power that really binds him is his inner desire, even if the object of desire is liberation, that he will truly comprehend the natural creativity (which can also be called the Heavenly Way or the Dharma), and this ultimate realization must be an epiphany. On a summer evening, Huaisu saw the flowing clouds in the sky, and his heart felt like he had been struck by something, just like the "epiphany" of Zen Buddhism, and suddenly realized the calligraphy samadhi. From then on, the fluctuating clouds and shadows turned into lines and flowed away in his handwriting, and the flickering mountain light was like the dry and wet shade of pen and ink. "Xuanhe Book Pedigree" describes his words: "The words are flying, and the circle is wonderful, like a god." ”
Six
The casual and casual nature of cursive writing makes it more convenient to use and closer to life. A note and a greeting are all smeared and swayed in cursive, achieving the unique hand-writing aesthetics of the Chinese. It is not only the beauty of art, but also the beauty of life, but also the beauty of temperament, like Wang Huizhi (Wang Xizhi's fifth son) "Crescent Moon Post" (Tang copy of the Liaoning Provincial Museum, "Long Live Tongtian Post" one) wrote: "Rain and dampness and heat, what is it like? "Food", is "eat", is "eat"? so easy, so easy-going, so relaxed, but like slush, like a claw, let us move. That is the true color of life, that is the background color of life. Everyone's existence is small and concrete, like the wind, without beginning and end, but with a more real and strong sense of destiny. They are closer to the essence of our existence than the roaring legends. I am reminded of Pamuk's words: "In our lifetimes, thousands of little things happen that are overlooked, and only words can make us aware of their existence." Now, the words of these calligraphers allow us to see their existence, our lives, our lives, our likes and dislikes, and our temperaments. From those posts, I also heard the whispers of those great artists, they are too ordinary, too homely, so that different dynasties, different "handwritten posts", can establish a dialogue relationship - Wang Huizhi asked: "Do you eat?" Wang Xizhi replied in "Cold Cut Posts" (Tang Dynasty Hook Fill Edition, now in Tianjin Museum): "My food is at least, inferior." Zhang Xu continued: "Sudden stomach pain." Huaisu said: "The old monk eats fish in Changsha. Perhaps, it was precisely because of the opportunity to ask Zhang Xu for advice that Yan Zhenqing was enlightened, so that he, who wrote a solemn regular script, when he encountered great sorrow and great pain (as Wang Xizhi's "Funeral Post" said, "Pain through the heart and liver, pain should be helpless", and as "Frequent Sorrow Post" said, "Sadness and cutting, can not win"), finally forgot himself, wantonly vented, and wrote a hearty grass "Sacrifice Nephew Manuscript". In addition to Yan Zhenqing's hard work and understanding, "Manuscript for the Sacrifice of Nephews" comes from the fate of fate, from the gift of the times, from the mystery of art, and even from "providence". The irrepressible pain and spasms of relatives are a great misfortune for individuals, but for calligraphers, it becomes a great "opportunity". To sum up, in the art of the Tang Dynasty, there were two diametrically opposed movements: one is represented by the regular script of Ouyang Xun, Yu Shinan and Yan Zhenqing, which is solemn, solemn, rational, templeal, authoritative, accessible, just, moralistic, toothless, and suitable for monuments; Infinitely varied, even mysterious, incomprehensible. Regular script is the standard, the norm, the universally accepted beauty, the "average" of beauty, or the "greatest common divisor"; cursive script is self-contained, individualized, exclusive, irreplaceable, and is the "least common multiple" of beauty. Regular script can engage in "mass movements", such as "calligraphy competitions", because it has "rules" to follow, and there are "moments" to follow; cursive writing is not so easy to stand up and down, even if it is separated, it is more dependent on intuition and subjectivity, and there are not too many "objective standards" to talk about, such as the second year of Tianbao (AD 743) when Yan Zhenqing asked Zhang Xu for advice, Zhang Xu said to Yan Zhenqing: "The penmanship is subtle, difficult to teach, not a master of lofty ideals, and it is better to read than to say." Much like Lao Tzu said, "The Tao is the Tao, the very Tao." Regular script is neat and orderly, can be engraved on the tablet, written in the "document", while cursive cannot, and even many cursive scripts, because they are too individual, too loose, most people can not directly read and "understand", and need to "translate" to know what is written. The more rational the regular script is emphasized, the more the cursive script shows the mystery and incomprehensibility of its creation, and even Zhang Xu does not know where his characters come from, how to teach them? Therefore, the beauty of regular script is controllable and planned, or in other words, because of this control, its beauty is achieved; cursive script, on the contrary, its beauty is unplanned, unpredictable, its beauty, beauty is in the "accident". In order to challenge the limits of calligraphy, they must find the "breakthrough point" of art from madness, from intoxication, from the "movement of the opposite", and from random accidents, and all of this needs to be fueled by wine. As one commentator put it: "Drinking alcohol can help the poet and ink to relax the self-control of consciousness, to fall into oblivion, and to let him write through the twilight of consciousness." This means that drinking is also used as a 'convenient method' to approach the natural creative realm of art. In "Turbid Mash Has a Wonderful Reason", Su Shi described drunkenness as 'sitting and forgetting', which is the so-called state of Yan Hui in "Zhuangzi Great Master" as 'falling limbs, degrading intelligence, detaching from form to knowing, and being the same as Datong'. Such a state represents the highest state of spiritual cultivation, a state in which the object and self are forgotten, and there is no longer a duality between the self and the external object. ”
Seven
In the Tang Dynasty, there were ups and downs, and there were drunkenness, because there were Ouyang Xun and Yu Shinan in the Tang Dynasty, they were two sides of the same coin, the fish and shrimp in a pond, it seemed that the wind and horses and cattle were not related, but in fact, they were dependent on each other, and if one side was missing, the other side would not exist. In Li Bai on Paper, I said that the culture of the Tang Dynasty was a pluralistic interaction. With these "elements", there can be exchanges, crossovers, and exchanges; only with "mutuality" can there be "movement", the collision of atoms with atoms, and the "fusion" of molecules with molecules. Without any "yuan" and "mutuality", it will naturally not be able to "move". Therefore, in the Tang Dynasty, there were Du Fu and Li Bai; there were near-style poems that adhered to the rhythm, and there were ancient style poems that were uninhibited by the rhythm; there was realism and romanticism; there were Ouyang Xun and Yu Shinan, and there were Zhang Xu and Huaisu; there was the construction of the law, there was the appropriate swaying; and there was the sublime, there was "avoiding the sublime". The characters of Yan, Liu and Ou belong to the temple, representing the solemnity and nobility of the Tang Dynasty, and Yan Zhenqing's "Manuscript for the Sacrifice of Nephews" is the apex of the sublime, representing flawless morality, selfless dedication and sacrifice. As I wrote in the Scarlet Manuscript, this kind of sublime is absolutely necessary in such an era when jackals are in power and tigers and leopards are rampant, providing spiritual nourishment and setting a supreme example for that era of rampant desire and lack of faith. But this sublime, this moral perfectionism, can also be exploited by jackals, tigers and leopards, careerists. The admiration for Yan Zhenqing's nobility has made them know how to use the sublime to gild themselves. They put on a lofty coat and put on the lipstick of moral perfectionism, and then they can walk the rivers and lakes, beceasing the public, so that the people can't tell who is Li Kui, who is Li Ghost, who is Yan Zhenqing, who is Yan Fake Qing, who is Zhen Shiyin, and who is Jia Yucun. That's why there is Li Bai's "life is not satisfactory in the world, and the Ming Dynasty spreads flat boats", and there are also Zhang Xu and Huaisu's ups and downs or drunk, "floating and ungrouped". In fact, what they oppose is not the sublime, but the pseudo-sublime. They are unwilling to wear the coat of the temple and put on moral lipstick, so they pretend to be stupid and stunned, so they have the meaning of breaking the earth, they find happiness, meaning, truth, and self from "madness", from "casual", from ordinary, and even from games. Zhang Xu, who has a stomachache, and Huaisu, who can't eat fish, may not have thought that their words and handwritten notes will become classics that have been passed down for thousands of years. Perhaps it is precisely because of sex that it has become a classic. If Yan Zhenqing was the most respectable person in that era, then Zhang Xu, Huaisu and others were the loveliest and most interesting people in that era, and they achieved the most lively, colorful, and brilliant part of Tang Dynasty art. They are drunkards, paranoids, "modernists", but not "nonsensical". At least in Li Bai's eyes, they are all beautiful, just like a monk in "A Dream of Red Mansions" (a leper monk and a lame Taoist), on the surface, "that monk is lame and unkempt", in fact, as soon as they appear, they are "extraordinary, rich and different". The art of the Tang Dynasty, from any point of view, is very lofty, also Zhuang and harmonious, the east becomes the west, and all become masters. Its tone has been set there, and it can't be rotten if you want to. As a result, it has become a monument to future generations to look up to, and has become an eternal temple.
Eight
That's all for the article about fish, and it's still too much to talk about. In fact, a fish is a fish, and a fish eater is a fish eater. There are so many grand meanings, "nostalgia" may not be able to take care of it. The thing that "nostalgic" is most concerned about is only: when the body is well, you can have a banquet again. My confusion is: When his old man's dinner resumes, should he eat fish or meat? All we can see is this paper "Fish Eating Post", which has no village in front of it, no shop in the back, no context, like an island of language. I don't know what he ate afterwards. The Tang Dynasty on the tip of the tongue is what a tempting Tang Dynasty. I guess he must touch his beard and think: I want the fish, and I want the bear's paw......
Zhu Yong
Writer, documentary director, doctor of art, and currently director of the Institute of Cultural Communication of the Palace Museum. He has published dozens of books such as "Six Hundred Years of the Forbidden City". He served as the chief director of the Information Office of the State Council and CCTV's large-scale documentary "At the Foot of the Tianshan Mountain", and "At the Foot of the Tianshan Mountain" was awarded the "100 Recommended Collected Works of New China's 70 Years of Documentaries".