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Criticize Du Fu and advocate good Han. How can you understand Wang Chuanshan from a poetic school? Author: Meng Ze
Source: Fenghuang Network International School
Time: Confucius was in the 2570s and Jihai Xuanyue Day on the first day of Jisi
Jesus September 29, 2019
【Fenghuang Network International SchoolEditor’s Note】
Wang Chuanshan is a very difficult person. At this point, he is neither Zhu Xi nor Wang Yangming.
Chunshan is not difficult to understand, or it may be related to his extensive knowledge and writing. Although after his experience, he had been buried with loneliness for two hundred years, in the past 100 years, his work and thoughts, including the brothers of the Zeng Guofan, Zhu Sitong, Liang Qichao, Zhang Taiyan, Mao Zedong, etc., were as good as those of Yanwu and Huang Zongxi.
When I point out his words, Zhuang Sitong said it the most: “Those who have learned for five hundred years are truly understand the heavens and man, Chuanshan is one person who has been stalked.” Mao Zedong’s arts are even more international: “There is Hegel in the east, and Wang Chuanshan in the east.” Liang Qichao said: “There is no one to teach Chuanshan for more than 200 years. When I went to Xiantong, I got a little bit of the statue of Zenan in Luoshan. Later, my fear of friendship and fish are so powerful that I studied I was deeply involved in reading Chuanshan books, and I was taught by force. But Chuanshan’s resurrection is probably still in the future.”
“Six times are responsible for me to be born, and seven feet of a pit will be created from the sky”, “Hold Liu Yueshi’s loyalty and fate without any result, I hope Zhang Yanqu’s correct learning but unable to achieve the goal.” The Master of Chuanshan felt that the bitterness, loneliness, mystery, and even over-fire behind it may not be easy for future generations to solve, and may not be suitable for the times of the world. To restore Chuanshan’s original appearance, why not talk about “resurrection”, let alone “resurrection”.
There are quite a lot of articles studying Chuanshan from the perspectives of historical and philosophical science, but there are not many discussions on Chuanshan from the perspectives of literature and aesthetics. At that time, on the 400th anniversary of Chuanshan, Fenghuang Network specially recommended “The History of Yuanyin and Pure Land” taught by Meng Ze of the Central and Southern School – Understanding Wang Chuanshan from Paganism for comrades.
In Meng Ze’s view, Wang Chuanshan, a great scholar of a generation, not only used meanness to learn the combination of literature, but even reached a field that was contrary to common sense. For example, he criticized Du Fu and Han Yu, the most famous poets since the Tang and Song dynasties, and there was a deep reason behind this. And what kind of poems did Wang Chuanshan like in his heart? Why did his aesthetics and poems have a close relationship with some emperors and good Han? What’s even more amazing is that since he has such a pride of aesthetic vision, why is his literary creation like the scattered drama “The Dragon Boat Club” so artificial as if it were a “stylist” from hundreds of years ago? These questions are discussed in this article.
The following is a note:
Picture Note: Wang Chuanshan was born on the first son of the Xuanyue Day on the 47th year of Wanxu (1619), and died on the second day of the first lunar month in the year of Renshen (1692), and was from Hengyang County, Hengzhou Prefecture, Huguang (now Hengyang, Hunan). The original name is Fuzhi, and his name is Jingyuan, and his name is Jiang Yi and Xitang. It is also known as the three major thinking family in the Ming and Qing dynasties.
The authors of “History of Chinese Poetry”, Ru Kanru and Rong Yuanjun, once said: “Among modern Chinese philosophers, only three people can really understand literature, one is Confucius, one is Zhu Xi, and the other is Wang Fuzhi. They have not spoken a lot, and every sentence is pertinent.” As modern scholars with outstanding achievements, the comprehensiveness of the Shu family and Rong family is actually amazing, but it is indeed high above.
Natural, this is not to say, there is no need to make any difference in this. For example, if Wang Fuzhi’s statement about “literature” is “very pertinent”, it may not be correct if he says “not much” about the poem. Chuanshan has many books on poetry; but his proposal and argument “percent” can only be established based on his own specific poetry standpoint. He has many “missing” when he leaves his own ideological and historical logic related to poetry. Tomorrow, it is even difficult to avoid being suspected of being a pedantic “Taoism”.
In general, Wang Fuzhi is indeed “can really understand literature.” Moreover, what he showed was not the mind and hands that ordinary literati had. With this mind and eyes, Wang Fuzhi not only criticized the talented people of the Ming Dynasty, but also criticized the spirit and aesthetic style of the creation of Du Fu, Meng Jiao, Han Yu, Bai Letian, Su Zhen and others who still regard us as masters tomorrow, and criticized it as “pleasant”. This made some students who wore them uneasy, confused, and even wrote about the article and blamed Chuanshan for being distorted by the truth.
While unable to deny the outstanding contributions of Chuanyama’s aesthetics and poetry, the researchers seem to be interested in unintentionally avoiding Chuanyama’s mean criticism of the contemporary poets, whether it is classical or modern.From the perspective of aesthetic standards, it is not as fair as possible, and some people are difficult to avoid misunderstanding the common sense of “literature”. Moreover, this criticism clearly cannot be related to his creative aesthetics and theory.
So, besides a certain understanding of the idea that Chuanshan is beyond or may say that he has left behind the “literary” judgment?
In fact, the investigators’ avoidance of this is not only due to the subconscious strategy of protecting the saint, but also thinking about themselves in Chuanshan. According to Chuanshan’s poems, his harsh comments on poems history are a natural result arranged by this fantasy, and can be said by itself. What is more confusing is that from the discussion of Chuanshan Poetry Stage Stage and Poetry Stage Concept, we can discover a certain unfamiliar Chinese-style “good-theory” concept from classical Poetry and aesthetics. This concept and its hidden thinking methods have a deeper and wider civilization and energy landscape worthy of attention. They have even extended to the modern era and to the aesthetic selection of modern art.
Chuanshan Book (Data Picture)
(I) From “Yuansheng” to “domineering”: Why does he look down on the “Jingling School”?
The entire Ming Dynasty poem creation, Chuanshan disdained the most about the “Jingling School” leader Jingxing and the fish friend Xia. Among them, he criticized Jingxing without any preservation and preserved his sympathy understanding of fish friend Xia. He said: “People are lucky and unhappy, just like those of you, you can do your best to be a living or a sage. You occasionally chant, or get wisdom sentences, and you will roughly use it to the Jade Island and Chen Yu. In Taoism, relying on light and shadow, how could he dare to change the whole country at the beginning? In ancient and modern times, people like to learn from the world. These people also use car to drive and fight, lack of merit and sin. They are born in a state of incompetence, and they are despicable to usurp the style and elegance, and they like to be close to themselves. They follow them and follow them, because they are ignorant of their original aspirations and become leaders. Just like Gengshi’s honor, the crown is tall and the heart is twisted, and those who are ruthless will not be able to forgive them. “
‘s criticism of the “Jingling School” confessed Chuanshan’s emphasis on the creative talent and talent of the creators of poetry songs.In Chuanshan, the most direct reason for the “Jingling School” is that they are the most basic and not equipped with the talent of a generous family. They stand up to the head of the mountain, and their maid’s wife, and their styles are scrupulous. “The poem does not use learning” but “not to have a style, and not to be able to learn from the classics, simple, or tutoring.” Moreover, even if you have talent, it is not difficult to give it to “fame and wealth”: “Yanzhou seeks fame with poetry, and Youxia seeks profit with poetry, and even if you are grateful to the heavens, you may also give it a favor, but it is not bad!” The failure of the “Jingling School” and even the entire Ming Dynasty poems is precisely due to the fact that “the heavens” are not strong a
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