Feminine and wind and purple karma
One of the stylistic characteristics of the Japanese nation is femininity and meticulousness. Therefore, Japanese literature is also good at expressing faint sorrow, mournful melancholy and implicit joy through delicate emotions, microscopic objects and momentary perceptions, presenting a soft and elegant beauty, rather than focusing on exaggerated events or sharp contradictions and conflicts between characters like European and American literature, and "The Tale of Genji" in the Heian period is the best example of this literary charm. Zi Shibu has a deep knowledge of Chinese language and literature, not only has a deep basic literacy in learning, but also has personally experienced the highest level of cultural life.
As a result of continuing to receive the nourishment of Chinese Sui and Tang culture for 200 years, it reached the most brilliant and splendid heyday of Hanfeng culture in the history of Japanese culture in the early Heian period. In the second year of Kōhei (890), sugawara Michimasa, the right minister known as the "god of learning", asked the imperial court to stop sending envoys to Tang, and the emperor approved it. Since then, the relationship between Japanese culture and Han culture has undergone changes, and Japanese culture has formed a unique heian culture on the basis of gradually digesting and absorbing Han culture, and has completed the transition from Han style culture to Japanese wind culture, which is of great significance in the history of Japanese culture. Purple Style Department believes: "Mortals must always be based on learning, and those who have a peaceful soul and see the world are strong." What she calls "learning" is "Hancai." It shows that she not only attaches importance to the knowledge based on ancient Chinese books, but also emphasizes the peace soul of the national spirit, so for Chinese culture and literature, pay attention to learning and absorbing the essence, and at the same time discard the dross according to the needs of her country.
The Tale of Genji is based on realism and is different from popular novels and folk tales. Zi Shibu advocated that literature should be written truthfully and reflect people's feelings and sophistication, and she used the mouths of the characters in the book to show that she advocated the "real" literary theory, criticizing the monogatari at that time for only emphasizing myths and legends, and lacking real people and psychological descriptions. She wrote: "Although the original story novel does not truthfully record the deeds of a certain person, whether good or evil, it is a real thing in the world. It is not enough to see and hear, but it feels that this kind of plot cannot be closed in the heart of one person, and it must be passed on to future generations, so I write it. Therefore, when one wants to write about a good man, he chooses the good deeds of his people and highlights the good side; when he writes about the evil side, he selects the rare evil things, so that the two are compared with each other. It's all true, not out of the ordinary. Of course, the truth of literature is not a copy and record of the real people and real events seen in daily life, but emphasizes that the fiction and imagination of literature should be based on reality, that is, the truth of an art.
The author's original name was "Fujishibu", in the "Tale of Genji" to create a number of elegant and beautiful female figures, she gave the three heroines - Kirito, Barnacles (purple flowers), Purple Hime (comfrey) names have "purple", through the same "purple" symbolizes the beauty of the characters gentleness and the identity of personality interests, of which the description of Zi Ji is the most prominent. Because of the excellent portrayal of the heroine "Zi Ji", it is called "Purple Style Department". The Tale of Genji depicts Genji teaching Zihime to write calligraphy, expressing Genji's longing for barnacles. Zi Ji had been intently watching Genji's handsome calligraphy on purple paper. And Genji, facing the purple hime who looks similar to the barnacles in front of him, can't help but think of the blood relationship between barnacles and ziji, and then think of the purple karma, that is, the source of the waka of the word "purple のゆかり", and the waka in the "Ancient and Modern Waka Six Posts" came to mind: "Zhi らぬども武蔵野とと "Meaning: Although I don't know how you feel, when I think of Musashino, I can't help but complain about the ruthless Purple King. So he involuntarily wrote: "武蔵野といへばかこたれぬ." In Genji's mind, "Musashino" refers to Zihime, and "Purple" refers to barnacles. Genji transferred his boundless longing and love for barnacles to barnacles' niece, Zi-hime.
Judging from the composition of Chinese characters, the word "purple" can be decomposed into two characters, "this" and "system", and it can be understood that its meaning is "this + 糸" or "此 (こ)の糸", which is literally translated as "this line" (see "Da Ci Lin" Three Provinces Hall).
The Tale of Genji revolves between him and his two wives based on Genji's beloved barnacles, and the first known wife to appear along this main line is Shihime. The Tale of Genji, Volume 10, "Heart Sincerity Rong HaiKuo, True Intention Manshu Mill", clearly states: "What do outsiders call you? Didn't you call you 'Lady of Nijo-in'? This shows that they all recognize that you are my Lady Genji. Before leaving, Genji, who had been exiled to Suma, entrusted the affairs of the family to Zi-hime, indicating that Zi-hime was the most trusted wife in Genji's heart. Zi Ji is related to barnacles and has a similar appearance, and Genji adopted and carefully cultivated Zi Ji along the main line of barnacles.
Genji's second wife, who appears along the main line of barnacles, is the female Sannomiya. The Tale of Genji, vol. 31, "Mountain Vegetables for Juncai, Who Knows Love and Sorrow", narrates that Genji was originally hesitant about being entrusted to the female sannomiya, but later Zuo Zhongben expressed: "Speaking of which, the mother of the three princesses, the female empress, is the sister of the barnacles empress, and I heard that it is also very beautiful. No matter who the three princesses resemble, she must have the shadow of the barnacle queen on her. Hearing this, Genji's eyes began to flutter, and he seemed to have an inexplicable affection for the three princesses, which lingered in his heart, and finally decided to marry the three princesses.
The Japanese word "purple" derives from the name of the plant "comfrey", which is a group of plants, so the combination of the word "group (むら)" and the flowering word "咲き(さき)" constitute the word "むらさき (purple)". There is also a saying that the cultivation and dyeing technology of comfrey was introduced from Chinese mainland through North Korea, so it got its name from the Korean word for purple "Pora-Sak". Ancient Japanese wasaka often used imagery of purple or comfrey (japanese for "むらさき") to express love or longing. For example: "ManyoJi" "紫の帯の結も解きも見ずもとなや妹に恋ひ渡りなむ", "武ൄ" in the Later Writings and Songs Collection野は袖ひづばかり分けしかどわか紫は尋ねわびにき"等。 In the Heian period, purple was called "the color of karma," probably because it was easily color-shifting with the things it came into contact with. Purple is dyed from comfrey roots, wrapped in a thin piece of Japanese paper, and color shifts where the two touch, rendering a faint purple color. A Japanese song in the Ancient and Modern Japanese Song Collection: "紫の一本ゆゑに武蔵野の草はみながらあはれとぞ見る". Meaning: Because I like one of the grasses, all the comfrey in this field is lovely. Musashino is the wilderness of the former Musashi Kingdom, and comfrey is a famous local grass, and the comfrey cultivation garden here during the Heian period was famous far and wide. The purple color of Japan's Heian period symbolized elegance, elegance, and elegance, and the court people greatly appreciated and worshipped him as the king of color. Several female characters associated with purple in the Tale of Genji, "Kirito", "Barnacles", and "Ziji", are of aristocratic descent (Tongju: the father is according to the ChaDa Na dialect, and the mother has royal blood; barnacles: the fourth imperial daughter of the former emperor; Ziji: her father, Prince Bingbuqing, is the brother of barnacles). The "barnacles" are in the middle palace and are extremely noble; the "Purple Ji" is both virtuous and fallen into the country, equivalent to Genji's wife; both show their honor in purple.
In the eleventh year of Tuigu (603), Prince Shengde, the ancestor of the Japanese color system, formulated the "Twelve Orders of The Crown", which represented the order of the ranks of officials in the six colors of the crown, purple was the first of the six colors, showing the difference in status levels, and the six colors corresponded to virtue, benevolence, etiquette, faith, righteousness, and wisdom, and prohibited those with lower class identities from using superior colors. In the forty-third year of Dahua (647), purple was divided into dark purple and light purple. Both in the East and the West, purple is regarded as a noble and mysterious color, and is used as a forbidden color and is not allowed to be used by civilians. The "purple" of the Chinese also means the meaning of honor, such as: the imperial court or the palace where the immortals live is called "Zi Chen", "Zi Wei", "Zi Ting", and there are also idioms such as "Purple Qi Coming East". The Japanese also uses the word "Purple Garden" to refer to Miyagi Castle, Forbidden Garden, Imperial Courtyard, etc. In Japan, the nobility of purple is also related to the high price of purple dyes. Because it was not easy to cultivate comfrey at that time, the "dark purple" crown of an official position required a lot of comfrey roots and took a lot of time to dye, so it was regarded as a luxury color.
4. Artistic conception and imagery
The Tale of Genji can occupy such an important place in the history of Japanese literature not only because it has created many characters with distinct personalities, but also because of its lofty artistic conception, long charm, and meticulous brushstrokes. "The Tale of Genji" adopts a combination of prose and rhyme writing techniques, and intersperses poetry and song, integrating prose and rhymes with poetry, which greatly increases the meaning and interest of the article. Most of the lyrics in the book are easy to understand, mainly appearing in the answer between the characters. There are nearly 800 Japanese songs in total, most of which were written by the author himself, except for a small number of them, which are quoted from the ancient Japanese waka "Manyoshu" and "Ancient and Modern Waka Collection". As a novel with love as the main line, the key role of love songs in the book attracts attention. In addition, a considerable number of Chinese poems are quoted, and 131 verses selected from ancient Chinese literature are incorporated into 152 important plots. Among them, Bai Juyi has the greatest influence on the author, with more than 90 white poems quoted in the book, and Bai Juyi's representative work "Long Hate Song" almost runs through the whole book, becoming the keynote of the development of love in the three generations of Genji. The book has both bold and simple verses like "Manyo Song" and straightforward lyrics, as well as "ancient and modern tunes" such as lingering and implicit mournful japanese songs. More than 800 Japanese songs are embellished in the "Tale of Genji" book, just like the dazzling diamonds set in a dazzling necklace, giving the magnificent, delicate and elegant "The Tale of Genji" more artistic beauty.
In the aesthetic consciousness and basic words of Japanese literature, most of the most important concepts come from plants, such as: beautiful, gorgeous, delicate, delicate, prosperous, vigorous, desolate, thin, withered, etc., most of which describe the shape and posture of plants in various periods of the four seasons and abstract concepts. In the 54-volume "Tale of Genji Monogatari", there are 25 volumes of volume names that are plants, including trees represented by "broom trees", "yangtong", "pine wind" and "cypress", as well as wild flowers and plants such as "last picking flowers", "Xiyan", "vine flowers", "comfrey" and "orchid", and others such as: silence, afterglow, cold silence, and qingling, which are also related to the state of plants in autumn and winter. Imamichi Nobu also believes that in the Japanese song commentary, the aesthetic category of the word "tall" is equivalent to the "sublime" of Western aesthetics, which originally refers to the wild grass that grows in the summer and the tall tree. These plant names appear repeatedly in the "Tale of Genji" under the pen of the Purple Style, and these plants are no longer just products of nature, but also incorporate the imagery of the author's feelings. Using plants instead of personal names, Xiyan is the most representative image. "Xi Yan" volume: He sat in the car and looked around, and saw that the door of the man's house was also made of thin plates, it was open, and the interior was very shallow, and it was a very simple house. He felt very pitiful, but remembered the ancients' sentence that "life is everywhere is home", and thought: Isn't the Jade House Golden House the same? There are green and lovely vines growing next to the slab fence wall of the yard, and there are many white flowers in the grass, and the lonely smile is self-congratulatory. Prince Genji groaned alone, "Flowers are unknown and very delicate! The attendant prayed: "The white flowers that bloom here are called Xiyan, and the flower names are like human names, all blooming at the root of such a dirty wall." "This area is indeed a simple hut, in tatters, crooked from side to side, unsightly, and this kind of flower blooms next to the house. The Prince of Genji said, "Poor thing! This thin life flower. Pick one for me! "The flower of the sunset, pure and holy white, blooming at dusk and withering in the next dynasty, is a symbol of beauty, petiteness, fragility, and transience. In the eyes of Genji Gongzi, the first thing is to examine the natural beauty, to see the beautiful Yume flower, and the aesthetic emotion triggered by this plant as an aesthetic object, and then to be born in the "Yume Flower House" is a thin-lived woman. This is an emotional process of emotion from things and people, from scenes to moods, and out of pity for Yume, Genji's love for Yume is also heartfelt. When Genji first saw Yukihi, he said, "Poor thing! This thin life flower. Pick one for me! In fact, it reveals the tragic life of Xi Yan in the future, and perhaps just like Xi Yan Hua, it is not suitable to live in this world of intrigue. A woman as simple and clean as a white paper, with a simple temperament and no ingenuity, she was not suitable for a life of working with the women of the Rokujō-in temple and secretly fighting for the wind and jealousy, nor was she suitable for being the wife of the "Rokujō-in Genji", and Yu-yan's death was precisely because of the jealousy curse of Rokujō Concubine, another lover of the Genji. So the author can only make her death an eternal, pure landscape. The concept of "aesthetics" abstracted from the plant characteristics of "Xiyan Flower" is applied to the depiction of female figures, and naturally forms an aesthetic category of "beauty" and "pure beauty".
5. Scene description
In the "Tale of Genji", you can see the author's feelings about the world's human feelings very clearly, such as: "Hibiscus" volume, the Light Source Clan visits the five princesses on a snowy day, and the five princesses order the door to open, but the servants are shivering because of the cold, and the door lock is rusty and cannot be opened, and then secretly curse the rusty lock. This place was originally the residence of the aunt of the Light Source clan, and the death of the prince caused the courtyard to fall apart. The Guangguang clan sighed that although the prince had just died, it seemed that he had experienced thousands of years of changes, and the years or wealth were just passing smoke and clouds, but people were reluctant to this wind and moon, which was really the sadness of life. Depicting the exile of the Hikari clan, nijo-in became increasingly desolate and desolate, and everyone was afraid to avoid it, which was in stark contrast to the original prosperity, as well as the experience of Suzaku-in's downfall, all described the cold and warm world of human feelings. In the pen of the Purple Style Department, the observation, sensibility, and descriptive power can be said to be very delicate and accurate, and the descriptions of the scenery, characters, environment, atmosphere, and state of mind are each other's surface and completely integrated, such as the use of words such as autumn wind and autumn rain to describe the frustration of the light source.
Zi Shibu pointed out that there is no distinction between beauty and ugliness in all things in the world, but because people's moods are different, they have different feelings about landscapes, scenery, and scenery, some of which are beautiful and bright, and some of which are sad and desolate. This aesthetic concept emphasizes that natural beauty is produced because of the existence of human beings, that beauty and ugliness are not natural phenomena or attributes, but the feelings of nature in human life, natural beauty is the expression of human empathy, it is people who integrate their feelings into the objective objects of existence, and emphasize that natural beauty is produced because of the existence of human beings. The characters depicted in "The Tale of Genji" are often unable to control themselves because of the scenery, and the natural scenes described are often cultured by people, reflecting the author's state of mind and feelings for the social environment. For example, in the fourth volume, Xi Yan died because of the rashness and lustfulness of the Light Source Clan, with the phrase "The night shift is windy, and from time to time there are several screams... The lights flicker and go out, and there seem to be footsteps everywhere on the edge of the mountain house", the description of such an environment and atmosphere outlines a mysterious and terrifying scene, reflecting the mentality of the characters from the side, and blending with the feelings of guilt, panic and fear of the Light Source Clan. The book also fully borrows natural scenes to describe the character and fate of the characters, such as: in Zi Ji's palace, mandarin ducks and other water birds are used in pairs to play on the spring waves, showing that Zi Ji is deeply loved; and in the cold house where the flowers are picked at the end, it is used to depict the miserable life of the last flower picking, suggesting its tragic fate; all of them use the scenery to describe the material sorrow of life.
6. Evaluation and influence of works
"The Tale of Genji" opened the era of "material sorrow" of Japanese literature, influenced a large number of Japanese writers including Natsume Soseki, Yasunari Kawabata, Hayao Miyazaki, and artists in various fields, and the spirit of "material mourning" based on "truth" was inherited and carried forward by generations of literati, and formed a deep and extensive influence on Japanese culture, known as "The Dream of the Red Chamber of Japan". Yasunari Kawabata: The Tale of Genji is the pinnacle of Japanese fiction. Ye Weiqu, a Chinese expert in Japanese literature, said: "The Tale of Genji" is the crystallization of Sino-Japanese cultural and literary exchanges based on Japanese traditions, and is a model for the integration of Chinese and Japanese culture and literature.
III. Conclusion
The Purple Style Department, which is known as one of the Thirty-Six Song Immortals of the Middle Ages in Japan, is not actually surnamed Zi. "Shibu" was the official title of his father and brother, and because he entered the palace to serve Empress Fujiwara Akiko, he followed the fashion and replaced the real name with "Shibu". After the birth of "The Tale of Genji", people crowned the "purple" character of the heroine of the book, Ziji, before the "Shibu", and the name "Zishibu" became an irreplaceable and difficult symbol in the history of Japanese literature. Originally born in the middle aristocratic class, Zi Shibu studied Chinese poetry and japanese songs with his father Fujiwara from an early age, was familiar with Chinese classical books, had a deep knowledge of sinology, was good at musical instruments and paintings, and also had a certain study of clothing and Buddhism. Such talent and fame made Chikuzen Taishou Fujiwara Nobutō, who was 26 years older than her and already had a large number of wives and concubines, come to propose marriage at all costs. Zi Shibu fled with his transferred father to escape the discussion, but this Fujiwara still followed her and even painted her love poems red to show that "this is the tears of Wu Siru". Such persistence and tenderness eventually inspired The Purple Division, and the two married in the fourth year of Nagatoku (998 AD) and gave birth to their daughter Fujiwara Kenko in the first year of Nagaho (999).
In the summer of 1001, Fujiwara Nobutaka died in a menacing epidemic, and Purple Shibu was widowed, despair and sorrow have been inseparable from her ever since. Talent is not enough to make up for the shortcomings of real life, through the study of Buddhism, she learned to lurk sorrow into the heart, disillusionment from the depths of the soul. Male and female love is just a fleeting illusion for her, "I am difficult to correspond to my body and my heart, but I have not reached a thorough understanding", in her song, there is no pursuit of suffering, no struggle against fate. In her life, she could only sacrifice herself, and worship the moral gods like walking on thin ice, even if she was lonely to death. For her, life is no longer a joy of life, but a catastrophe full of eternal loneliness and disillusionment, she can only walk on the clogs to the end of fate, from then on she took her young daughter, following the traditional rules and precepts, and began a quiet widow life.
However, the god of fate did not ignore her talent, did not want to give her the lonely peace of the ancient Buddha dry lamp, 3 years after marriage, her husband died. In his widowed life, he became famous for his creation of the Tale of Genji and was highly regarded by high-ranking officials such as Fujiwara Michiaga. Fujiwara Sakiko, the eldest daughter of Fujiwara Michiaga, was crowned empress, and Zi Shibu was summoned to the palace between the second and third years of Hirohiro's reign (1005-1006) to become Akiko's tutor, explaining to her ancient Chinese books such as the Nihon Shoki and the Shirashi Anthology, as well as poems and songs. The official name was Fujishibu, which was later renamed Purple-style. Purple is the name of the protagonist of The Tale of Genji, and Shibu is derived from his father's official name "Shibu Shō". He left the harem in 1013. The Tale of Genji was not written until his death. The appreciation of the emperor and the empress did not ignite her long-buried enthusiasm, and even the elegant title of "Japan Discipline Bureau" given by the Emperor could not dispel the loneliness and bitterness in her heart in addition to giving her more courtesy.
The picture shows the former residence of the Purple Division at Omotoyama-ji Temple, Located at Omotoyama Temple in Kyoto, Japan
"Gazing into the middle of the water bird pond, I am like duckweed." The deep palace is lonely and the years are long, and the Purple Style Department single-mindedly wrote "The Tale of Genji", which was born more than 700 years before the "Dream of the Red Chamber", which is an epic poem and a beautiful song. In that silent and noisy red dust floating world, the protagonist of "The Tale of Genji", Hikari Clan, has a unique beauty that coexists with beauty and silence. Hikari's life is like a butterfly looking for flowers, circling between many beautiful women, but after searching for Fanghua, he completely abandons the world that has constantly caused him expectations, memories and pain, or is abandoned by this world. Purple Shibu only used two words "Yunyin" to end the protagonist's beautiful and fragrant life, and this is nothing more than the court society seen from her eyes. Seeing the abyss in heaven, seeing nothing in all eyes, grinding and shattering beautiful things and beautiful characters, and finally destroying them, is the most turbulent and gorgeous court legend left by Zi Shibu and her "The Tale of Genji" to posterity.