The Condition of Wei and Jin Landscape Poetry Influenced by Metaphysics 10

The Seven Sages of the Bamboo Forest Wei and Jin metaphysics is a trend of thought that advocated Lao Zhuang that appeared in the Wei and Jin dynasties in China. It is different from the so-called metaphysics and reality in the world. The concept of Xuan first appeared in "Lao Tzu":

Mysterious and mysterious, the door of all wonders. Yang Xiong also talks about Xuan, he said in "Tai Xuan Xuan": Xuan, 幽摛 (read chī) ten thousand kinds, and those who do not see the form also.

Wang Bi's "Lao Tzu's Guidance" said: Xuan, the one who is said to be deep. Metaphysics is the study of profound and far-reaching questions.

During the Wei and Jin dynasties, people paid attention to Laozi, Zhuangzi and Zhaomo Han Zhouyi, calling them the Three Xuan, while Laozi and Zhuangzi were regarded as Xuanzong. The main representatives of Wei and Jin metaphysics are He Yan, Wang Bi, Ruan Ji, Ji Kang, Xiang Xiu, Guo Xiang, etc.

Metaphysics attaches great importance to the existence of the root of all things and other related topics, deeply influenced by the thought of the old Zhuang of the clan, and has in-depth development, Wang Bi's "Notes on Laozi" and Guo Xiang's "Notes on Zhuangzi" are important treatises on Wei and Jin metaphysics You Li, and they are the most important annotations of Lao and Zhuang. At that time, celebrities interpreted Confucian classics, such as He Yan's "Analects of the Analects", Wang Bi's "Zhou Yi Notes", "Analects of the Analects", "Zhou Yi Brief Examples", etc., mostly used Taoist ideas to cite and explain Confucian concepts. It was an important issue at the time.

1.Metaphysics has an impact on literature through its influence on the subject of creation. The popularity of metaphysics prompted the Wei and Jin scholars to "obtain unprecedented ideological emancipation" (Zongbai Hua).

They used metaphysical ontology and cosmology to look at nature, society, and life, forming a worldview that was completely different from that of the scholars of the Han Dynasty. They use the mystery to the tradition and dare to be wrong.

2.The influence of metaphysical aesthetics on the direction of literary style. The formation of metaphysical aesthetics is closely related to the appreciation of characters according to the essence of metaphysics. Compared with the Han Dynasty, the outstanding feature of the Wei and Jin Dynasty people is that they have gotten rid of it.

3.Metaphysical essentials and concepts are immersed in the content of poems and texts. The most typical example of metaphysics immersion in poetry is the popular Xuanyan poems in the Eastern Jin Dynasty. Xuan Yan poem statement.

1 All the words of inheritance, or step by step for you to analyze clearly:

Landscape in a vein: China's first landscape poem is actually Cao Cao's "View of the Sea", after the Western Jin Dynasty Xuanfeng became hot, and a wave of writing Xuanyan poems gradually arose in the society, in fact, it is to write about the metaphysics of landscapes, this kind of poems have been written for more than 100 years (the reasons are not repeated), which indirectly led to the rise of landscape poetry, but these are not real landscape poems. This situation was not until Xie Lingyun wrote a large number of poems that really sang about landscapes in the Eastern Jin Dynasty, and landscape poetry really flourished, but Xie Lingyun's landscape poems focused on the intuitive description of landscapes, just like painting with words, depicting them, although exquisite but boring.

It was not until later that Xie Hao wrote landscapes in Yongming style and wrote delicate emotions in the landscapes, so that the landscape poems had the hazy artistic conception of poetry, and completely got rid of the habit of mysteries or deliberate carving.

Pastoral lineage: China's pastoral poetry should be completed in the hands of Tao Yuanming from its rise to maturity.

The main representative of the landscape and pastoral in the Tang Dynasty is Wang Meng, their landscape idylls have not made a detailed distinction, and the poetry of the Tang Dynasty is called "the spirit comes to the gods", no matter which aspect has reached its peak, but it is also from the imperfection of the past, the development of landscape poetry to Xie Wei, there has been a pursuit of artistic conception, then Wang Meng and others who appeared in the Tang Dynasty can only say that the artistic conception is more perfect. In terms of language, the entire Wei and Jin dynasties have gone through a process from ancient to still sound and color, from the Jian'an style and bones to the soft and glamorous poems of the Qiliang period, this soft and beautiful atmosphere has continued until the early Tang Dynasty, and after the continuous efforts of the scholars, it has slowly come to a zone where color and air and bones coexist, so the landscape poetry and poetry of the Tang Dynasty have developed to a perfect realm of color and bone from the language point of view. In terms of genre, the basic stereotypes of various rhythmic poems were completed in the early Tang Dynasty, Shen Quanperiod, Cui Rong and others, so Wang Meng and others in the Tang Dynasty wrote poems whether they were a few words of rhythm poems or quatrains or ancient style poems, and in the Wei and Jin dynasties, more of them were writing five-character ancient poems.

If you want to talk about inheritance and development in detail, there are many more subtle aspects, such as Wang Wei's poems have paintings, which cannot be said to be without the influence of Tao Yuanming, and they are self-contained. Meng Haoran's Zen interest, in addition to his own good Buddha, has he not been affected by Xuanyan and so on.