【黃阿莎】實由造化得心源——再論南軒詩歌一包養網站比較與輞川遺韻

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In fact, the source of the heart is obtained from creation – a discussion on the Nanhua Poetry Song and the Sichuan Fu Wei

Author: Huang Asha (Shenzhen Graduate School of Harbin Industrial Major)

Source: Original from “Wenya: Zhang Feng, Confucianism and the Construction of the Family”, edited by Zhou Jingyao, and published by the Book Club in May 2016

Time: Confucius was in the 2568th year of Dingyou June 21st, Renyin

           Jesus July 14, 2017

Zhang Feng was a famous ologist in the Southern Song Dynasty. He was a representative figure of the Hunan and Xiang School. He was named Zhu Xi and Zu Zu, and was called “Southeast Three Ceremonies”. In addition to a large number of scientific works, Zhang Feng left behind 490 poems, and there were poems. Later generations disagree with the comments about the lyricist. Those who swear it are like Zhang Wenjing’s “The Preface to the Elegant Preface of Lianluo Feng” says: “It is the environment, the mind, the things are the principles, and it is also the things that cannot be defeated by people”; those who suck it are like Liu Kezhang’s “The Book of Shu Yi” says: “The one who sings the word “repeats” tell the word “repeats” tell the word “repeats”. As one of the most influential scientists during the Southern Song Dynasty, how should Zhang Feng’s poems be treated? How should the relationship between his poetry thinking and rational thinking be explored? What is the connection with the Song Dynasty poetry? This article will explore the above questions from a wise man, and use Zhang Fengshan and rivers as the important discussion object.

Yang Shen of the Ming Dynasty said: “Song poetry is not as trustworthy as the Tang Dynasty, but there is no such thing as the choice? In the eyes of the selector.” He believed that Zhang Feng’s “The South of the City”, “Tongzhu”, “Lizhe”, “Xi Ling”, and “Cailing River Boat” “five poems have the meaning of the river. Who said that Song poetry is unspeakable?”[1] Huachuan refers to the place name that Wang Wei, a poet of the prosperous Tang Dynasty, lived in the Huachuan. Wang Wei created a large number of works of spiritual and clear mountains and rivers, and thus won the title of “People Buddha”. Yang Shen believed that the Zhang Feng Mountain and River Poems preserved the exquisite flavor of Wang Wei Mountain and River Poems, and these five Mountain and River Poems can represent the highest achievement of Song Dynasty Poems. Yang Shen’s evaluation has been recognized by contemporary scholars. If any commentator writes an article on this, “The Rivers of the Mountains and Rivers of Zhang Bai” and compares it, it says that “the mountains and rivers are quiet, simple and remote, and extremely rich.” [2] If we only look at the words and systems, Zhang Bai’s poems like to use absolute sentences, compositions, quiet scenes, mediocre words, and unlimited risks., the truth is similar to the mountains and rivers of Wang Wei. But if we conduct further research and study on the Zhang Fengshan River Poem, we can better read the differences. As a master of science who is deeply influenced by Confucianism, the mountains and rivers that Zhang Feng saw and the mountains and rivers expressed in words are very different from the kind-hearted and philosophical understandings that Wang Wei passed on in the “Collection of the Rivers” and the mountains and rivers. Through this layer of differences, we have a deeper understanding of the aesthetic characteristics of Zhang Fengshan and the poetic thinking and the theoretical thinking behind it.

Before the discussion, let us have a brief understanding of the two’s life experience and the creation and landscape of their respective mountains and rivers. Wang Wei was born in an official family. His father died early and was influenced by the mother who was the last Buddha. Wang Wei became a pious believer. After half a lifetime of ups and downs in officialdom, Wang Wei was half-official and half-obstructed by the blue fields of the river in the river. His representative poems of the river were created in this period. Shi Jian’s career in his twilight years was: “I got Song Zhi asked about the blue field villa, and I was in the mouth of the door. href=”https://sites.google.com/view/sugardaddy-coding/”>Baobao.com… I went to the boat with my fellow Taoist Pei Di, playing the piano to sing and sing the final day.” “There is nothing in the silence, only tea, mortar, case, slime, slime, The bed was shaved. After retiring from the court, he sat alone with his nose and thought that his parents were stolen. His wife died and he did not marry another person. He lived alone in a room for 30 years, and his screen was extremely exhausted. ” (“Old Tang Book·Wang Weiwen”) From this we can see that Wang Weiwen’s creation time was his semi-official and semi-observant period. The background of the creation was teaching thinking, and the reading target of the poem was his friend Pei Di and others. “I have suffered a lot in my life, so where can I sell it to the space?” (Wang Wei’s “The White Departure”) “The Sky” forms the landscape of Wang Wei’s mountains and rivers. Zhang Feng was born in a wealthy family. His grandfather Zhang Xian became the judge of the Xichuan Dudu in the south of the Yangtze River. His father Zhang Jun became the prime minister. He advocated the resistance of the Jin Dynasty and organized the Northern Expedition. He was a famous prime minister of the Southern Song Dynasty. He was later slandered and was praised as a Hunan enthrone for more than 20 years. Since Zhang Jun was a famous prime minister, his words and teaching had a profound natural impact on Zhang Jun. When Zhang Jun was 28 years old, Zhang Jun even set up his teacher to serve Hu Hong, a famous jurist in the Southern Song Dynasty, and learned from the Cheng family in Henan. After learning, Zhang Feng successively founded Chengnan, Daoshan and Nanhua Schools in Hunan and Hunan. The instructor said that he eventually became the masters of the Hunan School. Zhu Xi and Zhang Feng, who had been in the third year of Qiandao, had a lecture on it, which became the ambition for the grand affairs of the Hunan School. From this we can see that Confucianism is the most basic thing for Zhang Feng to pursue and teach teachings in a long time, and his creation time of the mountains and rivers and poems was based on his time in charge of the school education. At that time, “the traveler had difficulty asking for business problems”[3], in addition to the friends who had been in contact with him, such as Zhu Xi and others, the traveler was also the potential readers of his poems. Above, let’s take a look at Zhang Feng’s mountains and rivers in detailThe difference between Song and Wang Wei’s poem.

1. The state that Wang Wei seeks is “emotion and beauty, and his heart is as calm as empty” (Wang Wei’s “People’s True Writing”) is mostly the state of emptiness and brightness and the beauty of calmness. “Empty” is the focus theme of Wang Wei’s poem about the mountains and rivers [4]: ​​”After the new rain in the empty mountains, the weather is coming to autumn in the evening.” (“Autumn in the Mountains”) “The mountain road is full of rain, and the green and wet clothes are everywhere.” (“In the Mountains”) “Sitting in the empty forest at night, the pine wind is as straight as autumn.” (“Infection and Inspiration Temple”) “Empty” is not only considered empty or empty here, but is taken as a main teaching language, taken from Buddhist scriptures. The Sixth Patriarch’s Sutra says: “I am empty, the Dharma is empty, and the emptiness is the three emptinesses.” The Vimoji Sutra says: “Form and emptiness are two, and form is emptiness, and not form is emptiness, and form nature is emptiness.” In Buddhism, “emptiness” is the essence of things. Wang Wei writes this teaching in a lot of detail into the poem. What he expresses is not just the emptiness of the scenery, but the “immortality” of his mood and the “empty” of all things in his understanding of “empty”.