This article is an intensive reading of Chinese history in series 263, and the History of the Song Dynasty is serialized in 31, welcome to watch. (The Song history serial is temporarily over, two weeks later, the Yuan history returns, so stay tuned)
The Song Dynasty was a brilliant period of literary and artistic achievements in China's history. The development of literature and art during this period not only had the social and economic prosperity as the material basis, but also had a certain connection with the development and changes of the political situation.
In the early Northern Song Dynasty, first the rulers, out of the need to strengthen their imperial power, encouraged the big bureaucrats to indulge in the sound and color of the feast, and later filled the imperial court according to the atmosphere, and the idea of Huang Lao's inaction was dominant.
In line with this political and ideological atmosphere, it floats in the literary style and occupies a dominant position in the literary world.
This style of writing began in the five dynasties of the late Tang Dynasty, and was characterized by its beautiful rhetoric and empty content. The representative work of the early years of the Northern Song Dynasty is the "Xikun Tribute Song Collection".
The authors of this collection of poems, Yang Yi, Qian Weiyan, Liu Yun and others, were all court attendants and Hanlin scholars, who, in addition to drafting and revising books, picked up the "Fangrun" in the works of their predecessors, recompiled them into poems, and sang harmony with each other. They are committed to "carving chapters and sentences", playing with allusions to words and chapters, praising the excellent life of the courtiers of the inner court, with Hua Lantern, Qi Feast, Lan Feng, Hui Tent, etc. as the main themes, and the content is empty and empty.
This style of writing in the "Xikun Remuneration Collection" is called "Xikun Style". Because this style of writing adapted to the life of the scholar and doctor at that time who had nothing to do and was keen on feasting, it had a great impact on the literary world as soon as it appeared. According to Ouyang Xiu, "Since the "Xikun Collection", people have competed for results, and the poetic style has changed", "Yang and Liu Style, sensationalizing the world".
The influence of the Xikun style not only made the once brilliant and dazzling poetry of the Sheng Tang Dynasty become rigid and lifeless in the early Song Dynasty, but also because the good at that time was a stepping stone for the middle and famous literary style, and the piao body text, which had been criticized by Han Yu and Liu Zongyuan in the Tang Dynasty, also became "Shiwen" at this time, and the lively prose was in a state of suffocation.
Words developed from folk songs in the Tang Dynasty continued to develop in the early Northern Song Dynasty. The song and early song lyrics represented by Yan Shu are good at describing the short tone of the scene lyricism, using beautiful words to depict the picture of the integration of the scene, and the expression technique is subtle and rhymed.
However, this kind of word composition, like the five dynasties at the end of the Tang Dynasty, is still a tool for bureaucrats and doctors to drink and have a teatime, and the content mainly reflects the leisurely and self-satisfied life of the scholar and the boring mood of the sad scene, and the style of words almost completely inherits the soft style of the late Tang Dynasty and the five generations.
By the middle of the Northern Song Dynasty, with the prosperity of the feudal economy, a large number of talents were cultivated in the literary world. Among them, outstanding representative figures such as Ouyang Xiu, Wang Anshi, and Su Shi successively demanded political innovation to varying degrees, and in literature, they opposed the pompous Xikun style and set off a new movement of poetry.
Ouyang Xiu was the standard-bearer of this movement, and he supplemented and printed the forgotten Hanyu anthology in the early Song Dynasty and circulated it, called for the study of the Korean style and inherited the traditions of the Tang Dynasty's ancient literature movement, and put forward the viewpoint that wen and Tao should be equally important, and Tao preceded Wen, advocating that articles should be both ideological and artistic, ideological before artistic, and articles should be used as tools of "Ming Dao" to serve society.
At the same time, he also pointed out that those Xikun writers who only paid attention to "article beauty" and "speech workers" and were obsessed with the game of "between words" would sooner or later "perish with everyone", and sharply criticized the literary and artistic ideas of the Xikun school that only emphasized art forms and despised ideological content.
In terms of poetry, Ouyang Xiu opposed the diseaseless groaning of the Xikun school and admired Han Yu's style of using poetry to "narrate human feelings and material states" and "bend to the best of its ability".
Wang Anshi believes that the article should strive to be "complementary to the world". Su Shi also put forward the slogan that the article should be able to "save the way of time".
This poetic reform movement, which opposed the style of the Xikun school, achieved major results in the literary fields such as prose and poetry, which made the literature of the Song Dynasty radiate dazzling brilliance.
In terms of prose, six of the famous Tang and Song Dynasties (Han Yu and Liu Zongyuan of the Tang Dynasty, Ouyang Xiu, Su Xun, Zeng Gong, Wang Anshi, Su Shi, and Su Rui of the Song Dynasty) appeared in the middle of the Northern Song Dynasty, and their achievements also surpassed those of Han and Liu in the Tang Dynasty.
Ouyang Xiu's essays such as "The Tale of drunken Pavilion" and "Autumn Sound Endowment" are easy and smooth, euphemistic, flexible and vivid, harmonious and beautiful in tone, full of poetry, and blended scenes. His political and historical treatises, such as "On the Party of Friends," are thorough and eloquent and fascinating.
These essays of Ouyang Xiu are refreshing, and those floating and boring Xikun style articles are dwarfed and eclipsed, and scholars around the world compete to recite Ouyang Xiu's prose and learn his style, which has dealt a heavy blow to the Xikun style.
Zeng Gong's prose has a rigorous and well-layered style, which makes people endlessly reminiscent and profound. Wang Anshi is known for his political theories. His writings are pithy and profound, with a sharp and vigorous yet condensed artistic style.
Su Xun, Su Shi, and Su Rui are known as the "Three Sus" and have their own artistic styles in prose. Su Xun's style is strong and strong, and he is good at repeated analysis. Su Rui's article has a profound meaning, a great style, and beautiful colors.
In the "Three Sus", Su Shi's achievements are the greatest, and his prose, no matter what the subject matter, is as natural as the flowing water of the clouds, and like the waves, the changes are endless, which can introduce the reader to a beautiful and picturesque mood and make people feel relaxed.
The brilliant artistic achievements of the six great essayists of the Northern Song Dynasty, such as Ouyang Xiu, not only swept away the style of the Xikun school like a strong wind sweeping away the leaves, but also fundamentally changed the style of the Northern Song Dynasty, but also made the prose system tend to be perfected, and provided a model for the development of prose for future generations.
In terms of poetry, through the Poetry Reform Movement, the formalistic decadence of the Xikun school was also swept away. Ye Mengde's "Poetry of the Stone Forest" said: "Ouyang Wenzhong's public poems, starting with the Correction of Kun Body, are mainly based on temperament, so their words are more common and easy to be smooth."
The style of Ouyang Xiu's poetry is plain and beautiful, and the expression method is mainly to use the text as a poem, breaking through the shackles of the poetry style, so that the poetry can express thoughts and feelings more freely. He and Mei Yaochen and other poets followed the path of realism and created some poems that exposed the social contradictions at that time.
In the poem "Bad Eaters", Ouyang Xiu exposes the dark social reality that the government forcibly expropriated peasants' grain and brewed wine, making it impossible for the peasants to eat, and having to reverse the dark social reality of the government buying bad food.
Mei Yaochen's poem "Potter" uses only 20 words: "The pottery exhausts the soil in front of the door, and there are no tiles on the house; ten fingers do not stick to the mud, and the scales live in the building", which profoundly exposes the class antagonism that the working people at that time were all deprived of the fruits of their labor and the exploiters did not get it for nothing. His poems such as "Tian Jia Yu" and "Poor Girl of Ru Tomb" have also left a deep impression in exposing the reality of dark society.
Wang Anshi, Su Shi and others also touched on many issues in social life at that time in their poems. Wang Anshi's poems are rich in content, artistically handsome and approachable. Su Shi's poetry was admired by the times for its open realm and unrestrained style.
The poetry of Ouyang Xiu, Wang Anshi, Su Shi and other famous artists has dealt a heavy blow to the poetry style of Xikun. The work-crafted, majestic and artistically accomplished poems produced under the guidance of the path of realistic creation became the mainstream of poetry in the middle of the Northern Song Dynasty. The unique style of Song poetry's "Shangli" and "discussion as poetry" was basically formed in the middle of the Northern Song Dynasty.
The development of words is not directly related to the poetic reform movement. The words created by Ouyang Xiu, the standard-bearer of the Poetry Reform Movement, belong to Yan Shu's vein, which is very different from his prose and poetry styles.
However, the development of words in the middle of the Northern Song Dynasty, due to the development of the urban economy and the need to adapt to the increase in the number of citizens, and the influence of the poetic reform movement, both in terms of the scope of the subject matter and the style, there were major breakthroughs.
Although Liu Yong and Su Shi had fundamentally different styles, they both made great contributions to the development of Song Ci during this period.
Liu Yong was the first professional lyricist of the Song Dynasty. Although his words are still limited to the parting thoughts of men and women, they are full of melancholy sounds. However, he broke through the narrow theme of the previous words only describing the leisurely life of the scholar, and successfully used the art form of words to reflect the life of the middle and lower classes of citizens, which was well received by the general public, and it is said that at that time, "where there is well water to drink, you can sing willow words".
The word expands from the courtyard of the bureaucrat to the society, and the influence expands, and the positive effect on the development of the word cannot be underestimated.
Liu Yong also developed the long tone system of words, so that words can organize more complex content, and the asanas of words are more complete.
Long-tuned words became popular after the middle of the Northern Song Dynasty, thanks to Liu Yong's advocacy. Later generations believe that the Song Dynasty changed from Liu Yong to Liu Yong, and this estimate is true.
Su Shi's contribution is to further expand the theme of words, open up new fields for the development of words, and create a bold style of words. In the Southern Song Dynasty, Liu Chenweng said in the "Xin Jiaxuan Word Order" that Su Shi's words "fall like poetry, like literature, like the wonders of heaven and earth." He "used poetry as words" and used certain expressive techniques of poetry to compose words, so that words also have the function of chanting and speaking like poetry.
Su Shi's famous work "Water Tune Song Head" sang the sentences "When is the bright moon, ask the wine to the blue sky" and "I hope that people will be long, and thousands of miles will be cherished together", which is still loved by people. He sang in "Nian Nu Jiao Chibi Huaigu" that "the great river goes east, the waves are exhausted, and the characters of the ancient winds..." and other words and phrases, the heroic feelings overflowed into words, and became a song for eternity.
In the early years of the Southern Song Dynasty, Hu Yin commented: "The Meishan Su clan washed the state of QiLuo Xiangze, got rid of the degree of silk and silk, made people ascend to the heights and look far away, and raised their heads to sing, and Yi Huaihao was arrogant, beyond the dust and dirt." This kind of comment is very incisive.
The vibrant scene in the literary world that emerged in the middle of the Northern Song Dynasty, accompanied by a surge of political innovation, did not continue to be carried forward in the late Northern Song Dynasty. With the failure of the Xining reform and the increasingly corrupt and dark rule of the Northern Song Dynasty, scholars and doctors generally fostered the ideological tendency of reading behind closed doors, talking about Confucian principles, and detaching themselves from social reality.
Correspondingly, in the literary world, the creative tendency of formalism has re-emerged. Huang Tingjian, one of Su Shi's disciples, advocated writing poetry to be "wordless and without a source", to "turn iron into gold" and "to be reborn".
This style of poetry was all the rage because it adapted to the ideological tendency of scholars and doctors to detach themselves from reality at that time, and formed a very influential literary genre, the Jiangxi Poetry School, which ruled the poetry circle at the end of the Northern Song Dynasty. The creation of words also embarked on the road of pursuing regularization in the last years of the Northern Song Dynasty.
Qin Guan, known as the famous poet of Sumen, although he has considerable achievements in art, his style is similar to Thatu Yong's, and he does not inherit Su Shi's bold style of words.
Zhou Bangyan, who was known as the titan of the word world at that time, although he had great achievements in artistic skills, his lyrics emphasized twists and turns, loops, changes, elegant and subtle language, and created a custom of using long tones to chant, especially in terms of grammar, but the content was mainly to describe the leisure of children, appearing empty and poor.
Although the famous female lyricist Li Qingzhao is talented and good at creating a distinct and perfect artistic image with beautiful and vivid language, she opposes Su Shi's bold style of words. She herself is very particular about the rules, and in terms of lyrics, she has also become the authentic lyricist of the "gentle school" that opposes the "bold school".
This negation of the bold style of words and the formalistic tendency to pursue the law and ignore the ideological content of the works are a regression of the poetic reform movement in the middle of the Northern Song Dynasty.
In the early years of the Southern Song Dynasty, due to the invasion of the Jin army to the south, many scholars, inspired by the fall of the Northern Song Dynasty and the fall of the homeland, used poems, words and other literary and artistic forms to express their voices of resistance to Jin and oppose surrender, and the realist road opened up by the poetry reform movement in the middle of the Northern Song Dynasty was also carried forward under new historical conditions.
Patriotic passion became the main theme of poetry and words in this period. Even Li Qingzhao, who was known as the authentic poet of the "Gentle Sect" at the end of the Northern Song Dynasty, also wrote at this time that "born as a master, and died as a ghost." To this day, thinking of Xiang Yu, he refuses to cross Jiangdong", "I am willing to send blood and tears to the rivers and mountains, and go to Qingzhou to sprinkle the soil" and other tragic and fierce poems, expressing his patriotic passion and indignation at the capitulation faction.
Lu You was an outstanding representative of the patriotic poets of this period. His poems are passionate and unrestrained, and most of them are based on the theme of recovering lost land. He wrote many poems expressing his own deeds, such as "All the soldiers who died in battle, shame on their wives and children," "The heart of the rebel Hu has not been destroyed, and the head of the lone sword has a sonorous voice," "The strong heart is not old with age, and the dead can still be a ghost male," and so on, singing the highest song of the nation and the people of this era, which has been stirring the hearts of all generations of patriots for hundreds of years.
Lu You's poems are not only full of patriotic passion, but also have high artistic attainments, and many of them have unique styles and have become famous works for people to recite.
Xin's words are excellent representatives of patriotic words in this period. He inherited the bold style of words created by Su Shi, and with strong patriotic enthusiasm, brilliant talent and diverse artistic styles, extended the realm of words to reflect all fields of social life. In his place, there is no unusable subject, no indescribable thing, no unexpressible mood.
His lyrics sang the strongest voice of the era when the broad masses of people demanded resistance to gold. He used phrases such as "To save the galactic heavenly waves, wash the husha in the northwest", "The Dao boy is as iron as iron, look at the test hand, and mend the cracks in the sky" to express his ambition to turn the tide of the tide and restore the rivers and mountains of his homeland.
At the same time, he also uses things such as "hate the pole, hate the pole can not be worn,...... His blood turned into bi in three years" and "everything was re-taught, the floating clouds came and went, and he entrusted the crown hair" to express his sadness and indignation that his ambitions were difficult to reward under the exclusion of the decadent rulers of the Southern Song Dynasty.
Xin's words are not only much more ideological than Su Shi's, but also more ideological than Su Zi, and their expression techniques are rich and colorful. The richness of the applied vocabulary in other words is unmatched by other words. Whether ideological or artistic, Xin Ci was the authority and model of the word world at that time.
Patriotic poems and lyric works represented by Lu You and Xin Zhiyi made the early Southern Song Dynasty a brilliant period of Song Dynasty literature.
During the Southern Song Dynasty, due to the rulers stealing the years, many big bureaucrats were immersed in the sea of song pond wine, and at the end of the Southern Song Dynasty, the word Wenren and Weng Zeng said with emotion: "A spoonful of West Lake water, crossing the river to sing and dance for a hundred years, a hundred years of drunkenness."
To meet the needs of the corrupt life of the upper-class bureaucrats, a group of literati and pilgrims who were attached to the ruling class appeared in the literary world, and their representative figures included Jiang Kui, Shi Zuda, Wu Wenying, and others in the literary world. They themselves never served as officials, and often traveled to and from the eunuchs' houses, serving as doormen to the great bureaucrats.
Most of their lyrics are also intended to socialize with the high-ranking officials and nobles to whom they depend. This determines that their works only talk about grammar and sculpted rhetoric, carefully and deliberately between words, or revel in natural scenes, or focus on their own sorrows and hatreds, venting helpless sadness.
The words of Jiang Kui and others were welcomed by jiang fu and others because they met the needs of those scholars and doctors who stole from the world, and were very influential at that time, forming a style of Jiang pai word that mainly paid attention to the law.
In terms of poetry, there is the so-called "Four Spirits of Yongjia" and the jianghu school formed under its influence. The "Four Spirits of Yongjia" is named after Xu Zhao (Linghui), Xu Jie (Lingyuan), Weng Chuan (Lingshu), and Zhao Shixiu (Lingxiu), all of whom are Yongjia people, and all of whom have a lingji in their names. Like the Jiang Pai poets, they also like to climb up to the official nobles.
Their poetry is mainly some social works, poetry is only a means for them to hunt for the laurels of famous artists, so they also pay attention to the refining of sentences and words, and the ideological realm is very narrow. The jianghu school formed under their influence, except for a few writers, are mostly so-called "mountain people" and "diners", who write poems mainly with words for travel food, so the artistic conception is shallow.
In the late Southern Song Dynasty, the poetry altar was mainly ruled by the Jiang school of lyricists, while the poetry altar was shrouded in the influence of the "Four Spirits of Yongjia" and the Jianghu School, and the formalistic literary style occupied a dominant position. It was not until the end of the Southern Song Dynasty, due to the invasion of the Yuan soldiers and the tragic and fierce anti-Yuan struggle set off by the soldiers and civilians of the Southern Song Dynasty, that patriotism became the melody of some poems and lyric works that cared about the fate of the southern Song Dynasty, and patriotic writers such as Wen Tianxiang, Liu Chenweng, and Wang Yuanliang appeared.
However, at this time, the Southern Song Dynasty was already facing extinction, and this kind of patriotic literary work did not fundamentally change the sluggish habits and atmosphere of the literary circles in the late Southern Song Dynasty. Both poetry and words went into decline in the late Southern Song Dynasty.
At the same time as the development of literary forms such as prose, poetry, and words, folk rap literature, including "script" and opera, also flourished.
"Talking book" is a vernacular novel, which is the base book of the "speaker" when performing. The "speaker" is a storyteller who appears according to the needs of the citizens of the city. They speak of the contents of the book, including short vernacular novels, long stories of history, and Buddhist scripture stories. Among them, the content of "novels" is the most abundant, with eight categories, such as spirit monsters, fat powder, legends, public cases, simple knives, rods, immortals, and magic. The history of storytelling is based on historical stories.
The content of the "speaker" book began as folk oral literature, and after some cultural people recorded and sorted it out, it became a "talk book". Because the language used in this kind of folk literature is close to spoken and vernacular, it is easy to understand, and the content is mainly the things that have happened in social life and wonderful historical stories that the citizens are familiar with, which is vivid and vivid in art, and is loved by the general public. Even the emperor used the novel as a tool for pastime.
According to the statistics of Luo Ye's "Drunken Man's Talk", there are more than a hundred kinds of Song Dynasty dialects. This shows the prosperity of this folk literature. There are still 20 or 30 Song Dynasty scripts preserved today, which are scattered in books such as "Jingben Popular Novel" and "Qingping Shantang Dialect Book". Although these words have the dross of propagating Buddhist karma and feudal ethics, many of them expose the darkness of feudal rule at that time and reflect the wishes and demands of the people to a certain extent.
The emergence of this literary and artistic form has opened up the road for the development of vernacular novels for future generations, and is the precedent for the emergence of various excellent novels in the Ming and Qing dynasties, which has brought about a completely new situation in Chinese classical literature and is a major event in the history of Chinese literature.
Before the Tang Dynasty, opera was only budding, and it was not until the Song Dynasty that it adapted to the needs of citizens' lives and developed unprecedentedly. The operas of the two Song Dynasties were mainly miscellaneous operas and southern operas.
Miscellaneous dramas, also known as burlesque, are mainly based on satirical stories, and there are generally four or five actors, who use white powder and black ink makeup when they take the stage.
Southern opera, also known as "Wenzhou miscellaneous opera", first appeared in Wenzhou, the Southern Song Dynasty was popular in the south, there are performances and singing, can perform more complex plots of miscellaneous drama and the development of southern opera, laid a good foundation for the Yuanqu.
The puppet (puppet) drama that appeared in the Tang Dynasty developed into a hanging line puppet, a staff head puppet, a medicine puppet, a meat puppet, a water puppet and so on.
The song and dance of the Song Dynasty, there are songs and dances, as well as the recitation of white performances, the big songs and songs that narrate the story, compared with the songs and dances of the Tang Dynasty, there are also significant developments and innovations in art.
The art of the Song Dynasty has outstanding achievements in sculpture, painting and other aspects, presenting a scene of flowers blooming.
The forty-four Song Dynasty painted sculptures of the Shanxi Jinci Temple, through the different expressions of eyebrows and mouth corners, as well as the movement of waist and hand, show the different ages, personalities, looks, and states of those palace women one by one.
These painted sculptures look at each other left and right, moving in silence, silently conveying the gods; their clothes are loose and natural, the paintings are rich and distinct, reaching a high artistic realm, and are a representative group of Song sculptures.
The Song Dynasty Moya Grottoes in Beishan, Dazu County, Chongqing, are refined in carving technology, folded in the plane of clothing patterns, clear in the rational road, exquisitely carved and finely carved in Huaguan pei, sharp in knife technique, and clear in edges and corners.
Compared with the local Tang Dynasty stone carvings, these Song Dynasty stone carvings are more exquisite, reflecting that the level of Song Dynasty stone carvings has a new development on the basis of the Tang Dynasty.
In terms of painting, the Song Dynasty set up the "Hanlin Calligraphy and Painting Academy" according to the legacy of the five generations of "painting academies", and recruited a group of scholars and painters to engage in painting creation.
Many famous painters of the Song Dynasty served in painting academies. Those painters in the "painting academy" mainly accompanied the emperor to paint some neat and gorgeous flowers and birds in the court for the rulers to enjoy, forming a "courtyard painting" based on painting flowers and birds, and some literati painters outside the painting academy followed each other, so that the Song Dynasty flower and bird paintings appeared prosperous.
Landscape painting also developed greatly in the Song Dynasty. Famous painters of the Northern Song Dynasty include Li Cheng, Fan Kuan, Guo Zhongshu, Yan Wengui, Guo Xi, Wang Yi and others. The common characteristics of the landscapes they paint focus on showing the panorama of the mountains and rivers, giving people a strong feeling of "looking at their situation from a distance", but each has its own strengths, explores the natural beauty from all aspects, and makes the ideological content and natural image of landscape painting more abundant.
Li Cheng's "Reading the Stele Stone Map" and Fan Kuan's "Map of the Journey to the Mountain" are all masterpieces passed down from generation to generation. Zhang Zeduan's "Map of the Upper River of the Qingming Dynasty" at the end of the Northern Song Dynasty reproduces the prosperous scene of Kaifeng, the capital of the Northern Song Dynasty, and is an immortal picture.
The landscape painters of the Southern Song Dynasty, including Liu Songnian, Li Tang, Ma Yuan, and Xia Gui, were mainly used in the art of seeing the big in the small, and they deliberately depicted the wood and stone at the foot of the mountainside and the water, and the expression methods were more diverse, and the conception and techniques were more mature.
The achievements of landscape painting in the Song Dynasty have gained a lot of experience for the development of landscape painting for future generations and have a great influence on future generations.
The art of printmaking also developed to a new stage in the Song Dynasty. The Carved Buddhist Paintings of the Song Dynasty, which were developed on the basis of the Buddhist portraits of the Tang Dynasty and the Five Dynasties and the illustrations of the scripture scrolls, are quite exquisitely carved, and some are also applied with pastel colors to make the picture more brilliant and gorgeous. The Northern Song Dynasty "Maitreya Bodhisattva Statue", discovered in Japan in 1955, is an engraved Buddha painting, and from the delicate style and soft lines of this print, it can be seen that the printmaking at that time had reached a fairly high level.
With the development of the engraving and printing industry at that time, woodcuts, which were originally only used for illustration of Buddhist scriptures, were also widely used in various types of books as illustrations and embroidery. At the end of the Northern Song Dynasty, Li Jie's "Building the French Style", as well as the Song Dynasty government's revision of the "Historical Evidence Of the Great View of Materia Medica" and other scientific and technological books, there are a large number of woodcut print illustrations.
Printmaking breaks through the shackles of religious themes, which is of great significance to the development of printmaking in China.
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The content of this article is compiled from the "History of the Song Dynasty" of the Chinese reading book "Classic Chinese General History" jointly created by China International Broadcasting Publishing House and "Reading History".
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