Author: XIA Guoqiang (Professor, School of Chinese Chinese Literature, Xinjiang Normal University)
Xinjiang Fangzhi has a long history of compilation, and in the Tang Dynasty, the "Xizhou Governor's Mansion Tujing" came out. As for the Qing Dynasty, Fang Zhi's functions of "senior administration, indoctrination, and history preservation" were further highlighted in the governance of frontiers. Scholars realized that in addition to recording local history, Fang Zhi also had the purpose of showing enlightenment and consolidating border defense. Written in the twelfth year of Jiaqing (1807), the "Outline of the Three States" carries this socio-historical function. Editor and Ying Zuo Prologue Yun: "Shi Guan Mingxun, Ru Lin zuo chuan, with the national book and other rhymes, distinguishing the tongue and teeth in the slight; with Han Kai and its voice, The size of Ye Yu Palace." It emphasized the unified role of culture and education in Xiuzhi, and set up a separate "art and literature" in the Zhishu, and concentrated on 106 poems and 258 poems of the Qing Dynasty, changing the style of the previous Qing Dynasty Fang Zhi did not set up a collection of local literary works. The different identities and ethnic groups of the selected authors are the concrete embodiment of the characteristics of Cultural Integration in Xinjiang. The poems received are diverse in themes and complex in mood, and can also be a regional representative of the literature of the northwest frontier of the Qing Dynasty.
As the author said, "The dragon piles the Hanhai, thousands of miles of driving on the same track; Jinling Songtang, tens of thousands of miles of postal transmission", Fang Zhiyiwen, under the premise of the same track and the same rule, gave full play to the role of poetry and education in carrying forward the morality of the people and cultivating the localities. He Ying gallops his imagination in the small prologue, remembers the Han and Tang Dynasties, and uses the selected poems as a continuation of the "Qinglian Shi". These writers from different regions have entered Xinjiang, brought the bones of the articles and the prosperity of the world, and written tang style and Han rhyme in the vast world.
Inheriting the Sheng Tang Yayin Tradition: Yiwenmen contains two special authors, namely the author and reader of the "Western Tuzhi". In the summer and May of the fifty-third year of Qianlong (1788), Wang Qiansun finished reading the "Atlas of the Western Regions" at the summer resort, and lamented that the country's territory was vast, the people were numerous, and the customs and customs that could not be clearly understood since the Han and Tang Dynasties were displayed one by one in fang zhi, which can be described as "once it enters my territory, I am in charge, and I am in full swing", so he wrote sixty "Xi Xi Mu Lyrics". Although Chu Tingzhang, as the compiler, did not personally experience Xinjiang, he was proficient in what Heying called "equal rhyme and harmony", and was able to revise tuzhi by virtue of his familiarity with the literature. The Chu clan divided the twelve poems of the famous cities of the northern and southern frontiers, and the preface "to make up for the history that was not prepared, and to use the chant to be magnificent, and to steal it from the yiyun of the Jianghan and Changwu". The passages of "Jiang Han" and "Chang Wu", listed in the "Book of Poetry and Daya", are symbols of the stability of the four sides and the grandeur of Wende. The Qing people commented that Chu poetry imitated Yuan Bai and was outstanding, and the so-called "Daya" was the Tradition of the Tang People's concern for reality. Li Bai expressed his ambition to revive Daya in "Ancient Wind and Daya Long-Term Absence"; the Tang Dynasty Fan Huang and the Song Dynasty Huang Tingjian both called Du Shi "the sound of Daya"; Bai Juyi admired Du Shi's allusion with six meanings and a tradition of style and elegance. Chu Tingzhang heeled Yuanbai, and his works also continued to write the great ambitions of the Tang people. The two writers praised the strong voice of the times for national unification and national integration, which is the inheritance and continuation of the Tang Dynasty's elegant culture and education. This is also an important reason why the two have not fulfilled the land in Xinjiang, but they can occupy a place in the Xinjiang Fang Zhi Art Literature.
Reproducing the roaming spirit of the Tang people: The roaming atmosphere of the Tang people is one of the driving forces for the formation of the backbone of Tang poetry. Compared with the literati of the Six Dynasties, the Tang Dynasty ascended to a vast and grand realm, and the travel works of Biansai represented by Gao and Cen had their own style. In the preface to Yiwenmen, He Ying lists the extensive travel experiences of Sima Qian, Li Bai, and Zhang Zai, which is the basis for the grand pattern of the work. On the one hand, it is in line with the characteristics of the local history record facts, which is a time and space extension of the long Silk Road in the Tang Dynasty Cen Shan poems; on the other hand, it also integrates the wandering spirit of the Tang people and is a reproduction of the true feelings of Tang poetry.
In addition to depicting the Tongdu Dayi, the Jixing poems of Yiwenmen also retain the characteristics of the Tang dynasty's poems with route descriptions and post road monuments, which are integrated with Fang Zhi. There is not only Hong Liangji's meticulous and vivid description of the journey, "From Ulan Wusu to Anji Haixue, I Have Not Seen any land for more than ten days, because of the longitudinal writing"; there are also qin cheng'en, Yan Jian, and Li Luanxuan, who have the same title, changing the flow of water, and borrowing the long stream of water to recite the cultural thinking of pursuing a stable and harmonious life since the Han and Tang dynasties. These works are based on realistic poems such as "Passing the Moraine", "Passing through the Volcano", and "Inscribed Iron Gate Closing the Building", which add more details and amplify the travel experience of the Tang people roaming. From one person to a group of people, it is the incessant transmission of the Silk Road.
In the Tang Dynasty's biansai poems, there is the pride of "the long wind is tens of thousands of miles, blowing the jade gate pass", and there is also the bitter silence of "the bitter fog of the Yin Mountains is buried in the high fortress, and the river is lonely and the moon is shining on the camp". Cen Shan entered Xinjiang twice and experienced emotional ups and downs. From the melancholy of "doing everything in the sky for the sake of words, and going to Anxi to the west" to the heroism of "knowing the habit of qilian city, how can you be sad to see the moon of the wheel", to the self-confidence of "recently can walk the horse, not weak and state". These naturally revealed feelings are also continued in "Yiwenmen". Yan Guan's "Jiayuguan" yun "out of the plug without pity, but also think of plugging the Weng", and Heying's "Chi Yi Back to The Bitter Water" says that "the north court is bold, and then taste the bitter water is a sweet spring". The melancholy meaning in the Qingren poems is suddenly reduced, and with a more realistic tone, the inherent grandeur of Tang poetry is stretched, and the self-confidence and courage of educating the frontier and making meritorious achievements are strengthened.
Continuing to write The Tang poems: "Han Hai Lan Gan Bai Zhang Bing" and "Thousand Trees and Pear Blossoms" Tang Poetry Miaojing was regenerated in the poems collected by Fang Zhi. The vast desert, the snow that has not changed for thousands of years, and the ever-changing climate have made poets who have just entered Xinjiang personally perceive the realism of the Tang Dynasty's border poems and enhance the pride of the motherland's tolerance of Vientiane. There are vivid emotional changes in Yan Guan's poems: when the poet first came out of Jiayuguan, he sighed that "outside the quicksand of the extreme eyes, cohabitation in the universe", although there is a height of understanding, it has not yet been combined with physical perception. It was not until he walked on the land of Xinjiang that he truly expressed this feeling in "From BariKun to Luquan": "The picture is a strong mountain and river in the western region, and there are many yancheng outside the border. The Mirage is hue-like, and the Han and Tang Dynasties are all-encompassing. ”
The writer's on-the-ground experience makes the experience of Tang poetry more real, and the situation of rewriting Tang poetry is more natural. Hong Liangji's "Arriving at Bali Kun" "Flying snow on a sunny day, that is, there is no axle", and "Hu Tian August is flying snow" for a thousand years; He Ying, when describing the wind Gobi of more than 400 miles from the thirteen rooms of Hami to the seven Ketai of Shanshan, shouted "Shi Fei is lighter than silk, and the weight is like a peng", which is exactly the Tang pronunciation portrayal of "a river of rubble is as big as a bucket, and it is chaotic with the wind and stones".
In addition, Qing dynasty writers also created new landscapes. Hong Liangji saw Wansong standing side by side in Pine Pond, in the same form, and wrote a generous and high "Song of Wansong". The wandering across regions makes the ordinary scenery glow with unique colors in the poet's pen, inspires the author's grandeur, and sweeps away the decadence brought about by the long distance. Looking at the swaying mirage in Ding Di's "Mountain City", "Baoguang stomps towards the Ganquan Bath, relying on the illusion of changing the long sky", there is already a flourishing atmosphere. The depiction of these geographical wonders is more delicate and changeable than that of Tang poetry, which is quite related to the characteristics of local chronicles of strange stories and good scenes, and adds a bit of romance to the realism.
Under the Tang dynasty of the Qing Dynasty, the influence of Tang poetry was everywhere, Cao Linkai 'Hot Spring Night Rain' "Vaguely Talking about bashan Night, Cutting Candles in the West Window to Remember previous years", using Li Shangyin's story; Chang Jun's "Title Dunhuang Ancient Temple" "Gaocheng Moon Falling Flying Qiang Flute, Also See Spring Light Degree Yuguan" There is a shadow of The King's Flute "Qiang Flute Why Should We Complain About Yang Willow, Spring Wind Does Not Pass the Jade Gate Pass"; Chu Tingzhang's "He Khotan" "Tang Family Wind and Rain Han Family Smoke", and also inherit Wang Changling's "Qin Shi Mingyue Han Shi Guan". The geographical imagery and allusions of Tang poetry such as "Hanhai", "Tianshan", "Yuguan" and "Inch Heart" frequently appear in the poems of Qingren collected by Fang Zhi. While excavating these elements of Tang poetry inheritance, we should also pay attention to the inner inheritance of the Spirit of Tang Poetry by the Qing Dynasty's Biansai poems, and the grand atmosphere contained in these poems and the roaming documentary style of paying attention to social reality were passed down from generation to generation on the Silk Road. The authors write the memories of the country's prosperity and the prosperity of the Silk Road with realistic brushwork and romantic emotions, and "Yiwenmen" integrates this emotion with the documentary function of Fang Zhi, comprehensively showing the characteristics of the Qing Dynasty's Border Plug poetry combined with reality, and also making Fang Zhi's wende education function prominent.
Guangming Daily (November 28, 2020, 11th edition)
Source: Guangming Network - Guangming Daily