The legend of "Grinding Dust" is of new value to the study of the story of Emperor Tang Ming
——Talking about the practical significance of the collection method of Chinese narrative culture literature
Li Chunyan
Summary: The Legend of the Dust Mill is a new material discovered in the study of the story of Emperor Tang Ming. The play takes Huang Ha's music as the main line of directing the play and training the disciples of the pear garden, and the story of the palace pear garden of the fifth generation of the Tang Dynasty is aggregated and artistic fiction is made, and the portrait of the pear gardening crowd of "virtue and art double Xin" is created, and the history of the creation of the pear garden in the eyes of an artist is performed. The play enriches the story system of The Tang and Ming Emperor Pear Garden, opens the door to the literary and cultural research of the Pear Garden Story, and provides a research space for the cultural positioning of the Pear Garden and the refinement of the spiritual connotation of the Pear Garden culture. The new value of the legend of "Grinding Dust" to the study of the story of Tang Ming Emperor shows the practical significance of the Chinese narrative culture literature collection method.
Keywords: Chinese Narrative Culture Tang Ming Emperor Story "Grinding Dust Jian" Liyuan Culture
Chinese Narrative Culture is a research method of ancient Chinese narrative literature proposed by Mr. Ning Jiayu of Nankai University, which is characterized by the organic combination of literature, text and cultural research. After nearly 30 years of exploration and practice, we have accumulated experience in the collection and use of literature. Mr. Ning Jiayu believes: "Judging from the theoretical criticism articles of colleagues in the academic circles, on the whole, there is a greater emphasis on macroscopic evaluation and suggestions for the study of Chinese narrative culture, but there is a lack of articles that directly discuss some specific operational methods and steps of Chinese narrative culture research. From the perspective of practitioners, this article talks about the new value of the discovery of the legend of "Grinding Dust" to the study of the story of Emperor Tang Ming, and discusses with colleagues in the academic community, in order to deepen the discussion of Chinese narrative culture literature research.
One
Tang Ming Emperor is a legendary emperor in Chinese history, the Ming Emperor material story has always been much loved by literati and painters, with the title of "Ming Emperor" as the title of the work, miscellaneous dramas include "Tang Ming Emperor Autumn Night Wutong Rain", "Tang Ming Emperor YouYue Palace", "Tang Ming Emperor Qi Fist Crying Sachet", "Tang Ming Emperor Qixi Immortal Hall", etc., paintings include "Ming Emperor Xing Shu Tu", "Ming Emperor Strike Wu Tu", "Ming Emperor Batting Picture Scroll", "Zhang Guo See Ming Emperor Tu", "Ming Emperor Strike Ju Tu", etc., novels include "Ming Emperor Miscellaneous Records", "Ming Emperor Sleepwalking Guanghan Palace", "Kaiyuan Ming Emperor Xing Guangling", "Tang Ming Emperor Good Dao Collection Strange Man" wait. Hu Fengdan, a Qing dynasty, specially edited the 16 volumes of "Ma Songzhi - The Deeds of Emperor Yang Guifei of the Tang Dynasty", and extensively collected materials related to the Tang Ming Emperor Yang Guifei, including more than 530 poems and more than 70 paintings.
The theme story of Tang Ming Emperor has a large number of works, high quality, wide circulation range, and its influence has spread all over the world. Bai Juyi's long narrative poem "Long Hate Song" is a classic work that laid the influence of the story of Emperor Tang Ming, Chinese and Japanese painters have repeatedly expressed the story of long hate song in the form of pictures, and the existing "Long Hate Song Map" by the famous painter Kano Yamayuki in the early Edo period of Japan (now the Betty Library in Chester, Ireland), with thirty pictures of different lengths, three-dimensional vividly show the gorgeous style of the love of the imperial concubine.
Historians and the public were also happy to spread the story of Emperor Tang Ming. Song Leshi's "The Outer Biography of Yang Taizhen" officially opened the tradition of writing the story of Emperor Tang Ming with emotion and secretion, and the novel was constantly rewritten and entered the public pornographic reading in the late Ming Dynasty. The newly discovered British Woodblock Foundation's "Secret Transmission of the Cave House Spring Album of the Beijing Academy" contains an erotic adaptation of the "Outer Biography of Yang Taizhen", entitled "The Outer Biography of Yang Taizhen of the Tang Dynasty", and also "The Outer Biography of Yang Taizhen with Engraved Images", which Professor Wu Cuncun of the University of Hong Kong speculates was printed between 1644 and 1655. This novel vigorously lays out the court fornication between Emperor Tang Ming's father and daughter-in-law and Yang Guifei, shaping Yang Fei into an amorous and passionate beauty image, and influencing the shaping of Yang Guifei's image in the Peking Opera "Guifei Drunk". The theme of the imperial story entered the life of the citizens, and the "Outer Biography of Yang Taizhen, The Emperor of the Tang Dynasty" is vivid evidence, and its textual findings are of great significance for studying the evolution of the story of the Tang Ming Emperor in the Ming and Qing dynasties.
From the study of classic works to the study of story themes, the story of Emperor Tang Ming has always been a popular topic in the study of ancient literature. In 1989, Du Liushi's "discussion on the > of the < Changsheng Hall" listed a total of 24 kinds of poems, novels, operas, raps and other works from "Long Hate Song" to "Changsheng Hall" expressing the theme of Tang Ming Emperor Yang Guifei. In 1994, Sun Yongru's "Legend of Emperor Tang Ming and Its Cultural Implications" divided the legend of Emperor Tang Ming into four categories: Tu Yu Fu Ming, Chongdao Fengshen, Duqu Youyan, and Yang Guifei of An Lushan, using 12 kinds of literature, including the Old Book of Tang, the Song of Long Hate, the Letter of Kaitian, the New Language of the Tang Dynasty, the Miscellaneous Records of the Ming Emperor, and the Taiping Guangji. In 2008, Shi Jiajia's "Three Modes of Tang Xuanzong Genre Novels and Their Evolution Characteristics" divided Tang Xuanzong genre novels into three categories: political deeds, anecdotes, and seeking immortals and asking for buddhas, using 18 novel documents from the Tang, Song, Yuan, Ming, and Qing dynasties.
The search of Tang Ming emperor's story literature from the perspective of Chinese narrative culture studies combines traditional philology with modern electronic retrieval (such as "China's basic ancient books library" and "national treasure book"),collecting narrative literary works centered on Tang Ming emperor or interpreting major characters into a piece, resulting in nearly 50 kinds of novels and about 60 kinds of operas. Compared with previous research, the literature map of Tang Ming Emperor's story research has been greatly expanded. According to these documents, the story of Emperor Tang Ming can be divided into four categories: the story of the queen concubine, the story of the junchen, the story of the good way, and the story of the pear garden. Among them, the story of Li Yang, who expresses the love of the imperial concubine, is the most famous and has the most research results. In 1994, Mr. Bian Xiaoxuan's "The Evolution of the Story of The Soul of Yang Guifei of Tang Xuanzong" opened a boom in the study of Li Yang's love story in the academic circles, so far, there have been more than 10 master's and doctoral dissertations, and dozens of single papers, involving themes, character image evolution, cultural connotation exploration, etc., of which Zeng Lijun's "Love and Politics: The Narrative Transmutation of Yang Guifei's Story and Its Cultural Causes" is the most representative, "Yang Guifei's story has been valued by people based on the special relationship between Yang Guifei and Tang Xuanzong... The union of Yang Guifei and Tang Xuanzong is at this turning point from prosperity to decline, so the love relationship between them often becomes the foreground story for people to discuss the gains and losses of Tang Xuanzong's political rule and the historical summary of the past and the present... The political ethics criticism that runs through it is from the use of the tragedy of the emperor's love to satirize Tang Xuanzong's drowning in government, to the political criticism of 'female sex disaster in the country', and then to the political praise of 'women saving the country', from the perspective of history, to explore the literary evolution of Yang Guifei's story, using a total of 11 kinds of literature in Li Yang's novels and opera texts, but the local drama "Guifei Drunk" is not included in the scope of investigation.
The tang ming emperor and the story of the good way have some single paper results. Comparatively speaking, the research on the story of the Tang Ming Emperor Pear Garden is the weakest, and the research focus is on the historical research of the Pear Garden, such as the historical examination of the Pear Garden, the examination of the disciples of the Tang Pear Garden, the belief of lao Lang God and the belief of Lei Haiqing, etc. The story system of the Tang Ming Emperor Pear Garden has not yet been discovered, let alone the excavation of the cultural value of the Pear Garden.
When the country is prosperous, literature and art are prosperous, the rule of Han Wu is the prosperity of the music house, and the prosperity of the kaitian dynasty has the inheritance of pear gardens. The story of Tang Ming Emperor Pear Garden refers to the poetry, novels and opera works that have been expressed since the Tang Dynasty, with Tang Ming Emperor creating pear gardens and training court artists as the content of performance, with Tang Ming Emperor, Li Yuan disciples, and teaching artists as the protagonists, showing the loyalty and degeneration of artists in the background of the creation of Pear Garden, talent performances and anshi chaos. The story of Emperor Tang Ming and the disciples of Pear Garden exists as scattered points in the notes of the Tang Dynasty, and a single specially interpreted script appeared in the Ming and Qing dynasties, in addition to Deng Zhimo's "Tang Yuan Drum Flower", Tang Ying's "Female Bullet Words", Yang Chaoguan's "Ningbichi Loyal Soul Re-Table" (also known as "Ningbichi Lux Sacrifice Haiqing") and other single-fold miscellaneous dramas, there are also long-form pear garden historical dramas such as the legend of "Grinding Dust Jian" and the legend of "Cockfighting Confession".
However, both historians and literary researchers are accustomed to treating Pear Garden and Pear Garden disciples as a kind of historical existence. Li Changji's "Tang Dynasty Court Musicians Examination Strategy" examines "the deeds of Tang Dynasty musicians in existing historical materials", although he uses "Tang Dynasty New Language", "Sui Tang Jia Dialect", "Tang Que History", "Youyang Miscellaneous Tricks", "Tang Yulin" and other note-taking novel materials, the intention is still in historical research. Zuo Hanlin's "Examination of the Disciples of Tang Liyuan" examines the life deeds of the disciples of Liyuan, and widely uses various documents such as the Book of Tang, the Quan Tang Poems, the Quan Tang Wen, the Supplement to the History of the Tang Kingdom, the Miscellaneous Records of lefu, the Records of the Jiaofang, the Miscellaneous Records of the Ming Emperor, the Biography of the Old Father of Dongcheng, the Biji Manzhi, the Taiping Guangji, the Taiping Imperial Records, and so on. Literary studies, such as Cao Jingyi's "< Changsheng Hall >, < Peach Blossom Fan > the Discussion on the Image of The Excellent People", trace the story of Lei Haiqing, and the only material used is "Miscellaneous Records of the Ming Emperor". The historical drama of the Ming and Qing dynasties that interprets the story of the Tang Ming Emperor's Pear Garden has not yet entered the field of researchers, which has led to the delay in opening the door of literary and cultural research on the story of the Tang Ming Emperor's Pear Garden.
Two
The legend of "Grinding Dust" is the first work in the known surviving literature to comprehensively interpret the story of The Tang Ming Emperor Pear Garden, which reconstructs the story material of the Liyuan disciples of the Fifth Dynasty of Tang Dynasty, conveys the concept of "opera deification" with the scale of twenty-six productions, the ingenious theatrical structure and character shaping, and plays the history of the creation of pear garden in the eyes of an opera artist. This work is an important text in the evolution chain of the story of the disciples of the Tang Ming Emperor Pear Garden, and is of extremely important significance for enriching the content of the Tang Ming Emperor Pear Garden story and enriching the Tang Ming Emperor story system.
It has been 400 years since the legend of the "Grinding Dust Book" came out, and the manuscript has been photocopied into the "Three Episodes of the Guben Opera Series" for more than 60 years, but no one has noticed its value. Predecessors mostly regarded it as historical materials, ignoring the fictional characteristics of "Grinding Dust" as a literary work. From the perspective of opera music, most of the references to the "Grinding Dust Book" are used as materials to examine the authenticity and origin of the "Skeleton Grid", "The only book that records the "Skeleton Grid" is the Qing Dynasty manuscript legend "Grinding Dust Book". This legend often becomes an argument for scholars to argue the authenticity of the "Skeleton Grid", such as Zhou Weipei's "Ancient Genealogy<The Skeleton Grid > Examination" quoted the contents of the "Grinding Dust Book" everywhere, and concluded that the "Skeleton Grid" was not a forgery of Niu Shaoya, and Ren Rong believed that the record of the "Grinding Dust Book" was "not enough to believe". Wei Hongzhou's "Ancient Genealogy of the Han and Tang Dynasties" <The Examination of the Authenticity> and Falsity of the Skeleton Grid" pays attention to scholars' examination that the "Grinding Dust Book" was written by Niu Shaoya, and insists on the "Skeleton Grid" pseudo-work theory. Chen Zhiyong mentioned in the "Folk Investigation of Lao Lang's Belief in the Gods" that "the characters mentioned in the legend, Tang Ming Huang, Huang Hao, Qingyin Boy, and Zhiban Langjun, are all the gods who are the main priests and deserving of the lao lang temple", which shows the influence of the "Grinding Dust Jian" in the theater world, and the researchers' habit of taking the history of pear garden played out in the "Grinding Dust Book" as a historical fact.
Wang Guowei's Qulu, the earliest record of the "Milling Dust Book", is listed as an anonymous work. According to the research of Zheng Zhenduo, Zhuang Yifu, Guo Yingde, Wu Shuyin and other scholars, the "Grinding Dust Book" was created in the forty-seventh year of the Ming Dynasty (1619), the author was a folk artist - opera musician Niu Shaoya, and the extant Qing Dynasty Pear Garden Manuscript "New Compilation of Grinding Dust Book" is from the old collection of Jin Kuai Chen's family, collected by Cheng Yanqiu's Jade Frost, and later photocopied by the "Three Collections of Ancient Chinese Opera Series".
"Grinding Dust Book" is a folk legend created by artists. From a literary point of view, those who evaluate "Grinding Dust" either think that its achievements are not high, and what they describe is small people; or they dismiss its "drama within a play" as "the basis of stringing in, from the fourth out to the ninth out, accounting for one of the four in the whole play, quite suspected that the subject and the guest are not distinguished." It is also meaningless to be related to this drama" and "is the result of improper handling of space". When studying the theme of "Hall of Eternal Life", he mentioned "Grinding Dust Book", and even mistaken the attributes of the work, as Feng Menglong's novel. The lack of attention to the "Grinding Dust Book" can be seen.
The "Dust Book" is divided into two volumes, a total of 26 outputs, the table of contents is as follows:
Volume 1-13 of the first volume: Drama Sect, Dedication, Xingjiao, Drama Yuan, Ledao, Saving Father, Unauthorized Power, Prison, Reincarnation, Promulgation, Morning Makeup, Drunken Concubine, Qingyue
Volume 14-26 of the next volume: Guiyin, Rebellion, Xixing, Embroidery, Sacrifice, Sanyi, Discussion, Thorn, Saying, Breaking, Determination, Greeting, Dreaming, Reward
With Huang Hao's character directing the play and training the disciples of Pear Garden with good moral skills as the main plot line, the first volume of "Grinding Dust Book" plays the creation of the pear garden of Emperor Tang Ming and Huang Ha in the first year of the new year, and the next volume plays the Tianbao Crisis - Guo Ziyi's thief in the Anshi Rebellion, and the retribution of the Pear Gardener.
Acting in the play is the structural feature of "Grinding Dust". The two "plays within a play" in the first volume of the "Grinding Dust Book" are ingenious in the overall theatrical structure arrangement and the expression of the main theme of the play, inheriting the upper and lower levels, which is not only the purpose of Huang Hao's creation of the pear garden - to educate the people in loyalty and filial piety with opera, but also to foreshadow the content of the next volume - the loyalty of the disciples of the pear garden comes from the inspiration of the spirit of the "Grinding Dust Book", taking this as an example, vividly conveying the author's moral-based view of the literature and art of the pear garden, "The purpose of this play is to publicize loyalty, the first half uses Han history, the second half uses Tang affairs, and there is a causal relationship based on history", It can be said in one word.
The legend of "Grinding Dust" is a work in which the plot and character image mutation occur on the chain of Tang Ming Emperor's story circulation.
As far as the houfei story system is concerned, "Grinding Dust Jian" inherits the erotic and secret writing posture of the Tang Ming Emperor's story, interprets the story of the Ming Emperor's noble concubines along the road of the queen concubines competing for favors from a folk perspective, and for the first time in the twelfth "Drunken Concubine", the image of Yang Guifei who is snubbed by the emperor and depressed and drunk, opens the interpretation of the drunken stories of the noble concubines in the Qing Dynasty dramas, children's books and local dramas, and provides a new space for the evolution of Yang Guifei's story.
As far as the Tang Ming Emperor Pear Garden story system is concerned, the plot and character image mutation of the legend of "Grinding Dust Book" are manifested in the following three aspects:
First, the evolution of pear orchards. The Book of Grinding Dust replaces Emperor Tang Ming's pear garden with a xiqu pear garden, saying that Emperor Tang Ming called himself a "disciple of pear garden", and wrote li Pig'er, a eunuch who killed An Lushan in history, as a disciple of pear garden.
Second, the evolution of the story of the Haiqing Martyrdom Festival. The Book of Grinding Dust renames Lei Haiqing lei Jiang cheng, and fictionalizes two pear garden disciples, Qingyin Boy and Zhiban Langjun, and expands Haiqing's scolding of thieves as "three righteous" scolding thieves.
Third, the evolution of the story of the Yellow Hat. The legend of the "Grinding Dust Book" writes the jiaofang musician Huang Hao as the immortal who created the pear garden, he appears as a Taoist priest, carries the treasure book "Skeleton Grid" and "Grinding Dust Jian" under the fan, helps The Tang Ming Emperor to create the pear garden, trains the disciples of the pear garden to rehearse the play, teaches them loyalty, and is named "Qu Sheng Immortal Master" and "Xingjiao Evolution True Person". After being impeached by the courtiers, Huang Ha was returned to the Hidden Yufeng Mountain; An Shi Chaoping, Huang Ha Qi appeared at the end of the play to speak of loyalty, and finally, he left with the loyal soul of the Qingyin Boy and the Loyal Soul of Lang Jun, the Fengbird Twelve Reds; the Tang Ming Emperor built the Old Lang Nunnery to enshrine Huang Ha and three other people with incense.
When using historical materials, or due to the author's limited historical knowledge, the second legend of the "Grinding Dust Book" tells the coexistence of Empress Wang and Yang Guifei during the Kaiyuan period, and Zhang Jiuling and Guo Yuanzhen jointly destroyed Princess Taiping with their uncle Yang Guozhong and adopted son An Lushan, showing the dislocation of time and space with people and events. However, the above-mentioned discrepancies between the story of Pear Garden and history are obviously conscious fictions of the author, of which the variation of the image of Huang Ha is the most prominent.
Huang Haoshi has his own person, is the musician around Emperor Tang Ming, he is good at tonal rhythm, good at humor and ridicule, "Because of the Words" Volume IV praises "Hata Yu people, false jokes warn the Lord, solve the troubles and save the troubles, really funny heroes" . Huang Hata's mocking stories are scattered in the notebook novels "Record of Indies", "Old Stories of the Ciliu Clan", "Miscellaneous Tricks of Youyang", "Records of the Teaching Workshop", "Miscellaneous Records of Pine Windows", "Biographies of Kaitian", and "Records of Karma Drums". Huang Ha is resourceful and good at solving difficulties with knowledge. The "Record of Karma Drum" has a story of his acquaintance and avoidance of disasters, and the sequel volume iv of "Youyang Miscellaneous Tricks" records that "Xuanzong tasted and ordered the left and right Tiyou people Huang Ha to enter the pond water", and after he came out of the water, he said: "To see Qu Yuan's laughing subjects, he met Shengming, why did he come to this point?" During the anshi rebellion in the "Old Tales of the Ciliu Clan", Huang Hao was coerced by An Lushan, and Zeng Quyi yingyi interpreted his dreams. After Emperor Xuanzong was still in power, Huang Hao was exposed. He reinterpreted the dream, causing Xuanzong to laugh, and did not investigate his loss of discipline.
Niu Shaoya abandons Huang Hao's ridicule and does not take it, and deliberately ignores his wit and self-preservation and disorder. In "Grinding Dust", Huang Haqiao is not an artist image representative, but a soul figure who founded the pear garden. In contrast, the treatment of other pear gardeners in the "Grinding Dust Book" is either renamed (such as Lei Jiangcheng), or pseudonymized (such as Qingyin Boy, Zhiban Langjun), or forcibly pulled in (such as Li Pig'er), which shows the author's creative intention, which is to highlight Huang Ha's contribution to the opera pear garden and emphasize his connection with the "Skeleton Grid" score.
In the Preface to the Nine Palaces of the Southern Qu Dynasty, Niu Shaoya records that he escaped from the rain and met strange people, and saw the Skeleton Grid at Wang Shi Weng, while Feng Xuxu of the same book said that the Skull Grid was given by the Niu Clan from the Yellow Banner Miao Descendants. Guotu Collects the Qing Manuscript "Skeleton Grid" Grid Spectrum, and the volume is preceded by the "Direct Description" that the "Skeleton Grid" originated from Huang Ha Qi, and said that the "Skeleton Grid" before the description of Tang Tianzi "is an excellent song, and it is always easy to compose with poetry." Even the scenery and things are the same thing, and hate can not compose music. Long sigh: "When the world is prosperous, the scribes are prosperous, and they want to compose songs, but there is no one who has a definite opinion." The Shiqu master Huang Hao (黄幡) was presented with the Title of Skull Grid. The Ming Emperor opened the reading, forgot the tiredness, Yixing multiplied, and built a pear garden, Daxing songs... Therefore, the children of Pear Garden, the name Zhenzhong and foreign", Emperor Tang Ming immersed himself in music and ignored the government, which triggered the impeachment of Huang Haoqi by the chancellor. Huang Ha was forced to leave the palace and hide in the Yufeng Mountain, after which he fell ill and died.
The experiences of entering the spectrum, creating a pear garden, being impeached, and returning to hiding are not found in the previous stories of huang hae, but they are consistent with the encounters of the yellow haks in "Grinding Dust". The Dictionary of Chinese Writers (Ming Dynasty volume) "Niu Shaoya" article states that "Huang Hao was nicknamed a famous man in the Tang Dynasty, and Shao Ya was compared to himself... This play actually shows itself in sorting out the score and disseminating the Kunqu opera." Combining the prologue of "Skeleton Grid" and "Nanqu Jiugong Zhengyi" with the story of Huang Ha in "Grinding Dust Book", it can be concluded that the "Skeleton Grid" music score is a forgery of Niu Shaoya, and the legend of "Grinding Dust Book" is the largest smoke bomb attached to the ancient score of "Skull Grid".
The legend of "Grinding Dust Jian" fictionalizes the history of the creation of an opera pear garden, and its subject matter value lies in reconstructing the image of Huang Hao, so as to maximize the gathering of Tang Dynasty pear garden disciples for the soul, and in the context of the rise and fall of the dynasty, it performed a story of an artist who can sing and cry, which not only enriched the content of the story of Tang Ming Emperor Pear Garden, opened the door to literary research of the story of Tang Ming Emperor Pear Garden, but also helped to solve the outstanding problems in the opera industry.
Three
The legendary literary research of "Grinding Dust Jian" has opened the door to the study of Pear Garden culture in the story of Emperor Tang Ming, and opened up a new road for the study of Pear Garden cultural positioning and the spiritual connotation of Pear Garden culture.
In the 1980s, the scholar Li Youbai conducted a study of Pear Garden, and defined Pear Garden as "the first comprehensive royal music, dance and opera academy in China's history that not only trains actors (disciples) but also shoulders performances", and believes that in addition to song and dance, Pear Garden also includes ball and competitive sports, representing a kind of palace leisure culture. Most of the materials used in the above research are "Book of Tang", "Quan Tang Wen", "Jiaofang Ji", "Quan Tang Poems" and other documents, and the "Yangzhou Painting Record" is used for discussion and influence, but they are biased towards historical research.
In 2004, He Yuren defined Liyuan culture as "the most personalized traditional culture of the Chinese nation", analyzed the two narrow and broad levels of Liyuan culture, and called for the revitalization of Liyuan culture. However, the study of Pear Garden culture is in a state of embarrassment with high voices and empty interiors. For a long time, the theater industry has paid attention to the broad level of Pear Garden culture and treated it as a generalized opera cultural landscape, resulting in the hollow connotation of Pear Garden culture and its use more casually, such as Li Jiaqiu's "On Suzhou Pear Garden Culture in the Ming and Qing Dynasties" only discussing Suzhou Youling and its background, Wu Xinmiao's "Private Residence System and Late Qing Pear Garden Culture", Li Bi and Peng Zhi's "Guan Opera Poetry and the Transformation of Late Qing Dynasty Beijing Shanghai Pear Garden Culture", although "Pear Garden Culture" is the keyword, but its connotation is not deeply investigated.
The cultural significance of the legend of "Grinding Dust" is first of all that it rewrites the creation of the music and dance pear garden of the Tang Ming Emperor in history into the creation of the opera pear garden, and for the first time connects the narrow level of the pear garden culture (the pear garden of the Tang Ming Emperor's court) with the broad level (the Yuan, Ming and Qing opera pear garden), which provides an open space for determining the cultural nature of the pear garden and deepening the study of the cultural connotation of the pear garden.
Originated from the Tang Dynasty Pear Garden culture, its essence is leisure and entertainment culture, from the court to the folk, Pear Garden culture presents a continuous development trend of citizenization and popularization, and its literary and artistic carrier has also experienced the transformation from tang dynasty court music and dance to Ming and Qing opera. Mr. Ning Jiayu summarized the development process of traditional Chinese culture with imperial culture, scholar culture and citizen culture in the article "Three Paragraphs of Traditional Chinese Culture", and proposed: "Citizen culture is the transformation and deepening period of Traditional Chinese culture, the formation of the urban cultural atmosphere with citizens as the main body, a variety of cultural styles with the citizen class as the main service object, and the corresponding ideological construction constitute the main body of citizen culture. The Yuan, Ming, and Qing dynasties were the formation and development period of civic culture, and also the formation and development period of pear garden culture. Examining the frequency distribution of "pear garden" in the historical literature can verify this evolutionary process. Searching for "pear garden" in the Chinese basic ancient books library yielded 4531 entries. Among them, there are more than 260 articles in the Fifth Tang Dynasty, more than 730 articles in the Song dynasty and Jinyuan, nearly 800 articles in the Ming Dynasty, more than 2600 articles in the Qing Dynasty, and more than 40 articles in the Republic of China. Analysis of the past "pear garden" entries can be seen that the Tang Dynasty "pear garden" mostly refers to the court music institutions set up by the Tang Ming Emperor, the Song and Yuan dynasties began to refer to music and dance, opera and other cultural entertainment, since the Ming Dynasty "pear garden" has become the special name of the opera class, the late Qing Republic of China "pear garden" is frequently used, becoming the "Lingjie" (performing arts) synonym, which can determine the basic connotation of "pear garden" cultural entertainment. Among the more than 4,000 documents, more than 90% are related to the Tang Dynasty court pear garden, the Yuan, Ming and Qing opera pear garden, and it can also be seen that the qing dynasty pear garden culture is the most prosperous.
Emperor Tang Ming was proficient in music, and many artists gathered up and down the court, forming a rich artistic atmosphere, and the disciples of Liyuan were famous and extremely prestigious. Because of these historical materials, the image of artists in later literary works gradually became clear, the artistic taste of song and dance, the professional image of artists gradually became prominent, and court music and dance and court artists gradually separated from political appendages and became an independent existence. Later, although the pear garden was abolished, this tradition of attaching importance to art and artists was retained to some extent. Ming and Qing opera artists honored The Tang Ming Emperor and remembered the glory of the disciples of the Tang Dynasty Pear Garden, so the Tang Ming Emperor's court Pear Garden and the Yuan Ming and Qing Opera Pear Garden were gathered in the legend of the "Grinding Dust Book" created by the Pear Garden Composer.
The cultural significance of "Grinding Dust" also lies in the fact that by expanding the story of the "Haiqing Martyrdom Festival" and creating a portrait of the pear gardening crowd of "virtue and art double xin", it highlights the loyalty of the pear garden and highlights the positive significance of the indoctrination of the pear garden. Evolving into the legend of "Grinding Dust", the story of Tang Ming Emperor Pear Garden has fully demonstrated the spiritual connotation of Pear Garden culture, that is, paying equal attention to indoctrination, artistry and entertainment, which is embodied in the patriotic spirit of sacrificing life and death, the artistic spirit of excellence, and the pursuit of "virtue and art".
The essence of the cultural spirit of Liyuan is entertainment, and the cultural tradition of Lile strives to entertain and educate, and even goes to cover up entertainment with indoctrination, highlighting the practicality of "music". It is the love, proficiency and advocacy of Emperor Tang Ming that have injected artistic pursuit into the cultural spirit of Pear Garden. As a result, the three legs of entertainment, indoctrination and artistry stand together to build the cultural spirit of Chinese pear garden. In the evolution of the story of The Tang Ming Emperor Pear Garden, the scattered records of the Tang Dynasty are basically equal to the three, and the Song and Yuan Dynasties take entertainment as a breakthrough to criticize the Tang Ming Emperor's entertainment disaster; there are many Ming and Qing texts with various themes, but the "Grinding Dust Book" represents the most prominent performance of rewarding the loyalty of the Pear Garden and shaping the image of the virtuous and artistic artists, from which the two-way interaction between the cultural spirit of the Pear Garden and the traditional liturgical culture can be seen.
In addition, as an evaluation language, "virtue and art double xin" is frequently used in modern times, but few scholars pay attention to its connotation generation. Taking "Virtue and Art Shuangxin" as the keyword, the theme search on CNKI can obtain 1115 articles, only Ma Jie's "On Virtue and Art Shuangxin" and Ye Mengting's "On Confucian Concept of Virtue and Art" analyze the meaning of Virtue and Art Shuangxin, which interprets Virtue and Art and expounds the dialectical relationship between Virtue and Art. The legend of "Grinding Dust" is the earliest theatrical work in China to express the story of the artist's role model, and it is the best literary document for the study of the history and literary origin of "Virtue and Art Shuangxin".
The Story of Tang Ming Emperor Pear Garden has formed the most influential artist story group in Chinese history, covering almost the entire entertainment and cultural industry, including the choreography and performance of music, dance and opera, the training of artists, the attitude towards mass entertainment methods, and the attitude towards artists. Studying pear garden culture can provide local cultural reference for the development of modern mass entertainment. Tracing the historical and literary origins of "Virtue and Art Shuangxin" can provide a historical and cultural reference for modern artists, so that they can better improve their skills, cultivate virtue, and better practice "Virtue and Art Shuangxin".
Four
In today's diversified channels of international exchange, the collation of ancient books and the digitization of ancient books are constantly advancing, the difficulty of literature collection is greatly reduced, which provides convenience for the study of ancient literature, and at the same time, new requirements are put forward for research: on the one hand, it is necessary to collect all, on the other hand, to dig deeply, which requires the guidance of research methods.
Since the 20th century, the research paradigm centered on the study of stylistic history and classical works has influenced the professional pattern of ancient literary research, mostly divided by style or dynasty, the research field is clearly divided, the novelists are not familiar with opera, and the researchers are not involved in the vernacular, which is conducive to the refinement of research, but also causes the imbalance of literary research objects and the limited research space. The study of case stories in Chinese narrative culture is different from the traditional research of novels and operas, and the biggest difference is that the focus of research has shifted from works to story themes and plot units. In the collection of literature, the implementation of the concept of "whole" and "tong", through the style, through the dynasty, break through the limitations of classic works, break through the barriers of literati literature, exhaustive and fishing style of literature collection, not to use popularity as the criterion for judging the research value of works, which is a useful attempt to solve the problem of imbalance in literary research objects, explore new fields of ancient literary research, and seek academic growth points.
Mr. Ning Jiayu highly anticipates the study of Chinese narrative culture from the paradigm of "Chinese body and Western use". For the study of the story of Emperor Tang Ming, the discovery of the legend of "Grinding Dust" not only provides new materials and enriches the study of story types, but also opens up a new field of liyuan culture research, showing the practical significance of the chinese narrative culture literature collection method.
The New Research Value of the Legendary Drama Mo Chen Jian for theStory of Emperor Tang Ming-Huang
——concurrently talk about the Practical Significance of Chinese Narrative Culture Collection Methods
LI Chun-yan
Abstract: The Legendary Drama Mo Chen Jian is the new-found material in the study of Emperor Tang Ming-Huang’s story. The main line of the play is Huang Fanchuo 's Song-book tribute and training opera actors, adapted tang pear orchard story, shaped the artist’s example image who had good reputation of behavior and skills and performed a history of the creation of the opera pear garden in the eyes of the artists. It enriches the story system of Emperor Tang Ming Huang Music Officials stories, opens the door of literature and culture research of Music Officials stories, and provides research space for the orientation and spiritual connotation of theatrical culture. The new research value of the Legendary Drama Mo Chen Jian for the Story of Emperor Tang Ming-Huang shows the practical significance of the collection method of the Chinese narrative culture.
Key words: the Chinese narrative culture; the Story of Emperor Tang Ming-Huang；Mo Chen Jian；theatrical culture
(This article was originally published in Literature and Culture, No. 2, 2021)