Fang Zhi is a cultural treasure house, which has a non-negligible value in geography, history, sociology, economics, and even culture and literature. On the one hand, we should deeply explore and systematically sort out the inheritance system of Chinese Fangzhi and regional Fangzhi (such as Jiangnan or Suzhou), on the other hand, we should also "Zhi" for the present, the ancient for the present, and strive to explore its historical value, cognitive value, cultural value and even aesthetic value.
Chen Shulu (Professor, College of Liberal Arts, Nanjing Normal University, Chief Expert of Major Projects of the National Social Science Foundation of China)
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<h1 class="pgc-h-arrow-right" data-track="81" >, Fang Zhi and Jiangnan Famous Artists Study</h1>
"Ren Guanglu Zhuxi" is a famous article written by Tang Shunzhi, the leader of the Tang and Song dynasties in the middle of the Ming Dynasty, and Xu Shuofang and Sun Qiuke's "History of Ming Dynasty Literature" pointed out: "Using bamboo as a metaphor for people, praising the scholars and gentlemen who are not harmonious and vulgar, and who are lonely and proud of the world." ...... The whole text is fluent and simple, and it is easy to take shu scrolls, which is a rare and good article in the Tang and Song schools." However, it has not been clear who the owner of the Zhuxi Garden, "Ren Guanglu", is, and the popular Ming Dynasty literary history, ancient anthologies, and ancient literary works of college textbooks often say "to be examined" or "unknown." Xu Shuofang and Sun Qiuke's "History of Literature in the Ming Dynasty" only says "Jiangnan ren Guanglu" for the owner of Zhuxi Garden, calling him an official but not his name.
Since "Guanglu" is an official position (Guanglu Temple, from Qipin), who is this "Ren" surname who once held the official position of "Guanglu"? Tang Shunzhi's "Ren Guanglu Zhuxi Record" says that "Uncle Yu Guanglu Ren Junzhi Garden is above Jingxi", Jingxi, the name of the water, named after the near jingnan mountain, in the south of the Ming Dynasty, in the south of present-day Yixing City, Nanxi. Obviously, "Ren Guanglu" is a Jiangnan native. Lü Wei's "Tombstone of Tang Mother Ren Clan" said: "Tang Mother Ren Clan, the head of the military department Wu Jinren Tang Ying Deshunzhi's mother, Yixing people. Li Kaixian's "Biography of the Imperial History of the Tang Capital of Jingchuan" said: "(Tang) Hun, the character Guoxiu, because of the death of his parents, the late name has a huai, with the township to give Zhizhou, moved to Wailang, Langzhong, and the official to the prefect of Yongzhou. Married to Yixing as a concubine, gave birth to a son Shunzhi, the word Yingde, the number Of Jingchuan. It can be seen that Tang Shunzhi's uncle's family is the Ren clan of Yixing County, Jiangnan. In the eighteenth year of the Ming Dynasty (1590), the Yixing County Chronicle, volume 8, there is a small biography of Ren Qing: "Ren Qing, the character Shichen." Afterwards, the mother took filial piety, light wealth and good charity, built bridges, and did not hesitate to help. Thousands of acres of enrollment fields, there are Qishi Laiqili. He also set up a righteous village in Shinouri and donated thousands of acres of righteous land to support the clan. The attendant Chen Ru made a note of le shi. He also set aside 800 acres of land for the servants of the Li people. Shizhi Dali Temple Left Temple Deputy. Brother Dao, Guanglu Temple, talented, especially good brother Zhi. ”
In the Eighteenth Year of the Ming Dynasty, the "Yixing County Chronicle" mentioned "Chen Ru Zuo Ji Le Shi" refers to Chen Ru's "Yitian Record", which records that the "Zhuxi Le Charity of Yixing No. Xiaoli Village" was built in Yitian, and his brother "Xiaoxi" became his brother Zhi. According to volume 9 of the Yixing Xiaoli Ren Family Genealogy, "(Ren) Qing, Zi Shichen, Zhuxi, Son of Zhen", and "(Ren) Dao, Zi Shi Chong, No. Xiao Xi, Son of Zhen", Ren Qing and Ren Dao are cousins. Although his cousins Ren Qing and Ren Dao successively served in the "Guanglu Temple", the "Ren Guanglu" referred to in Tang Shunzhi's "Ren Guanglu Zhuxi" was Ren Qing of the "Number Bamboo Creek", not his brother Ren Dao of the "Number Of The Little Stream". This is confirmed in the Zhuxi Cemetery Inscription of Hanlin's review of Mao Qi (Chao) during the Ming Jiajing period: "Jun Zhenqing, Zi Shichen ... And the ring dwelling, are all art bamboo, taste 'only this jun'er', so it is not called bamboo creek. The most credible internal evidence is tang Shunzhi's "Records of Ren Guanglu Zhuxi": "Uncle Yu Guanglu Ren Junzhi Garden was above Jingxi, planted with bamboo, not other wood." Bamboo is a small building, and the guests are chanting in it, and the intervening words are Yu Yue: "I cannot compete with the powerful for the victory of the pond pavilion and the flowers and stones, but I can take all the land alone, and I can fill the garden without labor, and it is enough." Because I claim to be the master of Bamboo Creek, my nephew remembers it for me! The Biography of Ren Qing, one of the fifth volumes of the Yixing Xiaoli Ren Family Genealogy, also clearly states that "(Ren Qing)'s residence is all art bamboo, so the name Zhuxi, and the niece Tang Shunzhi is remembered." Needless to say, the "owner of Zhuxi" mentioned in Tang Shunzhi's "Ren Guanglu Zhuxi Record" (also the owner of the Book of The Garden) should be Ren Qing, born in the eleventh year of Hongzhi (1498), and died in the thirty-third year of Jiajing (1554), at the age of fifty-seven.
Fang Zhi and his genealogy and Tang Shunzhi's essay "Ren Guanglu Zhuxi" complement each other, presenting the image of Ren Qing, the owner of Zhuxi Garden with flesh and blood and a distinct personality, deepening people's understanding of the personality and spirit of Ren Qing, the owner of Zhuxi Garden, and also deepening people's understanding of Tang Shunzhi's essay "Ren Guanglu Zhuxi Record": not only "using bamboo as a metaphor for people, praising the disharmonious and vulgar, lonely and proud scholars and gentlemen", but also containing contempt for the imperial court magnates ("Ren Guanglu Zhuxi Record": "The Rich Man of the Beijing Shihou Family"). The pursuit of self-sufficiency personality spirit, and the pursuit of self-sufficiency personality spirit and the emerging citizens (including merchants) consciousness of liberation (enlightenment) in the middle and late Ming Dynasty. In this regard, the author Tang Shunzhi is connected with Ren Qing, the owner of Zhuxi Garden in Ren Guanglu Zhuxi. Therefore, it can be said that the style of "Ren Guanglu Zhuxi" is not only "smooth and simple" and "shu scroll freely", but also the entrustment (bamboo) to send irony, the sense is far-reaching, the high style is cross-customs, and the proud bones are frosty, which fully embodies the wind and bones of the Jiangnan literati, rigid and soft, gentle and beautiful.
"Juvenile fencing is more blowpipe, and the sword qi is a case of dissipation." Gong Zizhen (1792-1841, Renheren, Zhejiang) was an ideological enlightener in modern China, a new generation of wind, and an outstanding representative of Jiangnan culture. The "sword qi" he mentions in the poem symbolizes Shang Wu's strong and ambitious ambition; the so-called "Zhen Xin" symbolizes the deep feelings of grief and tenderness, both of which are spiritual civilizations nurtured by traditional Chinese culture, especially the traditional culture of Jiangnan. The overall characteristic of Jiangnan traditional culture is "sword qi zhenxin", but it is not the division or opposition of "sword qi" and "zhenxin", but a holistic cultural connotation, which complements each other and reflects each other. Tang Shunzhi's "Ren Guanglu Zhuxi Chronicle" is a model of the overall characteristics of jiangnan culture "sword qi zhenxin".
<h1 class="pgc-h-arrow-right" data-track="80" >2, Fang Zhi and Jiangnan folk songs collation and research</h1>
The song and ballad literature of the Late Qing Dynasty and the Republic of China collected in the Compilation of Local Chronicles and Folklore Materials of China, such as the Ming and Qing Zhengshi ("Twenty-Five History Of Ballads and Proverbs"), the Song and Ballad Literature collected in the Wild History, and then zhu Yizun's "Ming Poetry Synthesis", Qu Dajun's "Guangdong New Language", Wang Shichen's "Chibei Occasional Talk", Liu Tingjie's "In the Garden Magazine", Li Dou's "Yangzhou Painting Record", Xu Ke's "Qing Barnyard Copy", "Qing Mongol Chewangfu Collection" and other Middle and Qing Dynasty song and ballad literature. There are also songs like "parasitic" in various dramas and scattered songs (such as "Yongxi Lefu", "Zilin Yizhi", etc.). The song literature published in the newspapers and periodicals of the Late Qing Dynasty and the Republic of China is divided into two situations, one part is directly published in special journals for the collection and research of songs, such as the weekly magazine "Song Ballad" and the "Folklore" weekly, and some of it is scattered in various newspapers and periodicals such as "Embroidered Novel", "New Novel", "Yuxing", "Declaration", "Central Daily", "Yusi" and so on. On the basis of these known documents, the search scope was further expanded, and songs and ballads were searched from a wide range of documents such as the history of the Yuan, Ming, and Qing dynasties, monographs, notes, collections, newspapers and periodicals.
· The first part of the "Ballad of Taicang": "The bowl of flowers (rabbit grass) is open, and now it is moving to The prefecture and county." (In the Yuan Dynasty, Kunshan County was elevated to a prefecture, and the prefecture rule went to the seventy-two miles of the prefecture.) Yanyu middle move Taicang)
The second part of the "Ballad of Taicang": "The yellow wolf walks on the house, and the state and county live for a short time." (During the Yuan Dynasty to the Zheng Dynasty, it moved back to kunshan.) Qing Wang Chang (Jiaqing) Zhili Taicang Prefecture Chronicle, vol. 60)
· "Zheng Maozhong, the true elder, the ban is not bothered with servitude and widowhood." (Hongzhi's Eight Min Tongzhi, vol. 67)
· "Tao Shi has eyes in the sky again, and Xue Gong does not go to the ground without skin." (Chenghua's Brief Chronicle of Ningbo Province, Vol. 4)
· "There is a zhe in Jiangxi, and frost and snow fly in June. There are ten philosophers in the world, and there is no rest in peace. (Kangxi Tongzhi of Jiangxi, vol. 58)
·“ On the third day of March, the cauliflower flowers race peony" (Zhou Estate's "Jiangsu Fengwu Zhi", the third day of march, ancient name 'Shangwei'... Jiangsu is full of green mountains and rivers, pleasant scenery, stepping on green and picking, and the fun is endless)
· "It's dry, and it's raining." The rent of the people is too much, and the public is publicly punished. The western mountains are hungry, and the public is giving relief. There are many thieves in the west mountains, and the public sleeps. Servitude is plentiful, and gongjing is calm. In ancient times, there was a favorable government, and the public was close. (Guangxu "Rebuilding the General Chronicle of Anhui", vol. 191, citing the "Chronicle of Chizhou Fu")
<h1 class="pgc-h-arrow-right" data-track="79" >3, Fang Zhi and Jiangnan Shangjia and Literary Studies</h1>
Ming Chongzhen's "Chronicle of Wu County" Volume 10: Suzhou WuXian people "lived seventeen or eighteen, that is, to blackmail Shang Chu, Wei, Qi, Lu, Jing far less, and those who did not return for several years." ”
Since the middle of the Ming Dynasty, Suzhou has been in a leading position in the country in agriculture, handicrafts, commerce and other aspects, and the Dongting Shang gang, one of the top ten merchant gangs in China, has emerged, which is one of the earliest areas where capitalism such as "machine households contribute, machine workers contribute" appeared in China. In this regional context, the interaction between Suzhou literati and merchants is quite typical. In the early Ming Dynasty, the "Wuzhong Sijie" represented by Gao Qi, and the "Wuzhong Faction" represented by Zhu Yunming in the middle and early Ming Dynasty, each of them won with affection and reason; Wang Shizhen's creation of Shangjia in the middle and late Ming Dynasty was the most abundant, and he was influenced by shangjia's business style of "changing due to customs and keeping up with the news of the times", and there were other factors that contributed to the change of literary thought, which was not only one of the signs of retro theory introspection of the "Seven Sons" school of the Ming Dynasty, but also became one of the pioneers of the spiritual theory of the public security faction in the late Ming Dynasty Wu Weiye's poems and operas on shangjia, which have suffered from the vicissitudes of the Ming and Qing dynasties, have a sense of rise and fall, which have both the characteristics of the times and the characteristics of the region.
Qing (Yongzheng) "Zhejiang Tongzhi" volume 100 "Customs" quoted in the "Longyou County Chronicle": "Jia Qizi took the outgoing as a permanent industry, that is, Qin, Jin, Dian, and Shu Wanli regarded Ruo Bishe, so it is common to say 'dragon tour everywhere'. ”
During the Ming and Qing dynasties, Zhejiang Merchant Jia (Zhejiang Shang) was one of the backbones of China's economy, and its activities spread throughout the country. There are three remarkable characteristics in the interaction between Shangjia and literature in Ming and Qing dynasties and Zhejiang: First, the infiltration of Shangjia literature by Lixue or Xinxue, who either advocated Cheng Zhu Lixue like Song Lian, or personally founded the Ming Dynasty "Xinxue" like Wang Yangming, and Xu Wei taught xinxue from Wang Yangming's disciples Ji Ben and Wang Qi; second, like the "Master of Shaoxing" who attached himself to the lord of the curtain, had a certain attachment to the rich merchants, Xu Wei had entered the shogunate of Hu Zongxian, the military governor of Zhejiang and Fujian, and Li Yan and Hang Shijun were extended to the Yangzhou salt merchants to provide for you. However, there are also mutual support and complementarities between scholars and businessmen; third, under the impetus of the ideological trends of the citizens, including businessmen, there is more freedom, independence and pioneering.
The interaction between Song Lian and Shang Jia in the late Yuan and early Ming Dynasties was one of the motives for his literary thought of "the unity of culture and Taoism", the interaction between Xu Wei, Tu Long and Shang Jia in the late Ming Dynasty triggered the idea of literary enlightenment, and the interaction between the Zhejiang poetry school and the Shang Jia in the Qing Dynasty added the elegance of poetry, which roughly outlined the trajectory of the evolution of Literature in Zhejiang in the Ming and Qing Dynasties from a specific aspect.
<h1 class="pgc-h-arrow-right" data-track="57" >4. Fang Zhi and Jiangnan Religion and Literature Studies</h1>
The monuments and places of interest in the field or literature of Mount Baohua are rich and colorful. Generations of literati and people have integrated these monuments and places into literary works (including poetry, folk songs and legends), forming a distinctive Baohua Mountain literature, such as the scenery on the mountain vagina, which is overwhelming. So, what are the main features of the literature in BaohuaShanzhi?
One of them is the allegory of the object, the blending of scenes, and the pursuit of neutral beauty. The harmony between man and nature is closely related to the idea of "the unity of heaven and man" in traditional Chinese culture, and the literature of Baohuashan often pursues the harmony between man and nature, man and society, and pursues the beauty of neutrality. In the Ming Dynasty Sheng Shitai's "Small Notes on Baohua Mountain" (Baohua Mountain Chronicle, vol. 9), it is said: "The tour of the present day stops in the west of the mountain, and there are still many others who have not yet arrived. However, although there are many tourists in the mountain, the top of the mountain is won by The Zhigong'an, and the top is won by the cave. Outside the cave, the Yangtze River is in sight, the smoke trees are misty, and the look is made people think of clothes. The vision of the Yangtze River with "Smoke Trees and Mist" has triggered people's "Thoughts of Dressing" ("Shijing Zheng Feng, Qiao"),the victory of mountains and rivers and the victory of humanity (Baohua Kaishan's ancestral zhigong creation history, etc.) complement each other and complement each other. In the Qing Dynasty, Liu Jingfu integrated the "Strict Precepts, Ancient Buddha Incense Lamp, Porridge fish tea board" into one of the "Records of Baohua Mountain" with the quiet scenery of "mountain wind, clear fluttering sleeves, rain over the moon, and lancui floating", emphasizing the unity of humanistic image and mountain nature, and pursuing the harmonious realm of "the unity of heaven and man".
In the Qing Dynasty Zheng Banqiao's "Manjiang Hong Sijia", he wrote: "When I dream of Yangzhou, I think of Yangzhou dream of me." Another Southern Song Dynasty Xin abandoned the disease "He Groom" in the words said: "I see how feminine Qingshan is, and I expect Qingshan to see me as I should be." "These are the finishing touches of the fusion of man and nature. There are also some similar good things in Baohua literature, but they often penetrate into the Buddhist Zen machine, which is unique. For example, Wang Zhiqing of the Ming Dynasty's "From the Jingjiang River to the White Gate in the Early Winter of Yihai, the Road Passes through Mount Hua, Stops and Climbs, and the Mind Is Refreshed, and the Four Songs of the Collection of Sentences" (Baohua Mountain Chronicle, Vol. 15) The third is: "The mountain is quiet and the spring is overheard, and the water is not in competition." Idle fish and birds kiss, and the qi is pure and pure. This poem is integrated into the Buddhist Zen machine when writing the scene, and the first sentence is used in the Tang Dynasty poet Wang's book "Into Ruoye Creek" "Cicada Noise Forest Passing Quiet", with the sound of spring water reflecting the static of the mountain forest. The second sentence says that the poet looks at the water and abandons the spirit of competition, and his mentality is quiet, which is quite the opposite of the rationality. In the three sentences, there is the penetration of the Buddhist Zen machine, written because my heart is "idle" and the fish and birds are close, quite like I see the fish and birds more leisurely, the fish and birds see me should be so. The four sentences write that the mind is quiet and "the heavens are quiet", the mind and things travel, the unity of heaven and man, and the meaning of yearning for harmony between man and nature are contained in it.
For example, the qing Dynasty Shi Zhiyan's "Fucheng Huashan Ding'an Monk" (Baohuashan Zhi, vol. 15) poem says: "Less than a few years after Mount Hua, the clouds and shadows are still connected." The tao is stronger than the human feelings, and the moon is in the sky. The first sentence states that the poet and his friend have not been seen for several years, and the scenery of "cloud and shadow day connection" is still there, which also symbolizes that the friendship between the two sides is still connected. The last two sentences are written in a doubling and contrasting way, saying that the friendship between the two sides is like the moon at night, the light sprinkles without change, and it is much higher than the ordinary world's affection. "The moon is in the heart of the waves in the sky", the meaning of the object is allegorical and the scene is blended, quite the meaning of "a piece of ice heart in the jade pot", showing the realm of neutral beauty.
Another example is the poem Wang Shizhen, the leader of the Shen Yun poetry school in the early Qing Dynasty, "To the Seventy Poets Lin Maozhi Huashan, To the Suo Inscription Poem, To The Body Of Huashan Day Forty Years Ago, Thirty O'Clock Huashan Daozhong" poem: "Look at the cloud pine in the ten thousand mountain piles, and qu Song Youxi repeat several times." For the love spring went deep through the forest, I did not know the smoke temple far away to hear the bell. The first two sentences of this poem describe the characteristics of Baohuashan Temple, which is in the middle of the heavy mountain, accompanied by white clouds and green pines, highlighting its noble atmosphere; and reaching the mountain temple must pass through many rugged mountain roads and quiet mountain streams, which also highlights its quiet and secret characteristics. The last two sentences turn the perspective to the self, love the deep spring in the mountain and follow the trail, do not feel that they do not know where the mountain temple is, can only hear the bells in the distance, quite like the Tang Dynasty poet Buddha Wang Wei "Lu Chai" "empty mountain does not see people, but hear people's voices" the realm, the visual and auditory opposites complement each other, in the opposite of the opposite to create a deep sense and neutralized beauty of the realm.
"The Bright Lake is full of sight, and the distant temple is the bell." I don't know the Qinglian Realm, and the hibiscus is the first few weights. Row three paths of grass, sit opposite the four mountain pines. The clouds spread clearly, and the heavenly fragrance fell on the bifeng. (Ming Zhou Rubi's "Two Songs of Mount Hua", Vol. 15, "Baohua Mountain Chronicle") The poet looked far away and was greeted by the mountains surrounding Baohua Mountain, known as the four wonders of "the beauty of the forest foothills, the beauty of the peaks, the depth of the caves, and the victory of the smoke". Thirty-six peaks, like petaled lotuses, rise and concave, and the peaks surround them, and if the flowers contain calyxes, they are like lotuses with houses. I don't know which layer of lotus petals the Baohua Buddhist Temple is located on, among which the ancient pines, the ethereal birds chirp, the miscellaneous peanut trees, the grass warblers fly, and the chanting of monks and the heavenly fragrance of the temple are heard from the towering clouds. This is what a fascinating picture of the flowers of Baoshan mountain displayed in "Baohua Mountain Chronicle"! Jiangnan culture is also contained in Fang Zhi; Jiangnan Is also beautiful in Fang Zhi!
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Review, Release: Zhu Zhenxin