The literary historical view of Literary Carving Dragon , the literary criticism of Wenxin Carving

The author of "Wenxin Carving Dragon" is Liu Xian, who is in the Southern Dynasty. The book was written in the Qi Dynasty, and the title of the book means "the essence of article writing". The book consists of 50 chapters, divided into four main parts, with the five articles of "Yuan Dao", "Zhengsheng", "Zongjing", "Zhengwei" and "Arguments" as the general theory, and the "pivot of the text", which is the basis of the theory of the whole book.

The last "Preface" is a self-preface, which introduces the motives for writing, the purpose, and the structure of the book.

Textual valueEach part is independent of each other, but also echoes and cooperates with each other. The basic idea is very clear in the sub-tables and fields of each part of the book, which constitutes a fairly complete system of the whole book. Therefore, Zhang Xuecheng, a famous scholar of the Qing Dynasty, praised this book as "shrouded in group words" and "large and thoughtful".

It sums up the rich experience of Chinese literary creation and literary criticism before the Southern Dynasties and Qi dynasties, and creates a new era of literary criticism in China.

Even today, many of these insights are still worth paying attention to. However, due to the fact that Liu Xian was deeply influenced by Confucianism and respected the Confucian classics too much, there were inevitably some limitations in the book. Today's Fan Wenlan has the most detailed view of "Wenxin Carving Dragon Proofreading", which was published by Zhonghua Book Company in 1951 (upper and lower volumes).

In addition, Zhou Zhenfu selected and translated 35 articles, divided into 10 articles in the upper part and 25 articles in the lower part, which can also be referenced.

The book in the eyes of the literati is like a carving in the hands of a carpenter, and the carved dragon is a masterpiece of meaning. Wenxin Carving the Dragon is a theoretically systematic, well-structured, and meticulously discussed literary theory monograph written by the literary theorist Liu Xian (xié) of the Southern Chinese Dynasty, which was written in 501 502 AD (the second year of the reign of Emperor Xingyuan of Qi and Emperor Zhongxing of the Southern Dynasty).

Although Liu Xian's original creation, Liu Xian's aesthetic characteristics of the unity between finite and infinite, certainty and non-certainty have been explained more specifically than those of his predecessors.

Liu Xian also saw that the content of the poems and texts is not the ordinary classic Tao and reason, but the "feelings" related to reason, ambition, and qi, and its form is not ordinary words, but "Cai" words that are combined with "image" and "literature" in the world. The relationship between the two is: "The lover, the scripture of literature; Wordsman, the weft of reason.

Specific sample templates.

The author of "Wenxin Carving Dragon" is Liu Xian.

Liu Xian (c. 465 – c. 520), also known as Yanhe, lived in the Liang Dynasty of the Southern and Northern Dynasties, and was a literary theorist and literary critic in Chinese history.

Liu Xian, a literary theorist and literary critic in Chinese history, was once an official county commander, an infantry captain, and a general secretary of the East Palace. In his later years, he founded Dinglin Temple in Fulai Mountain, Ju County, Rizhao City, Shandong Province. Although Liu Xian's position is a variety of official positions, his name is not official, but he is known as a writer, and a "Wenxin Carving Dragon" has established his position in the history of Chinese literary criticism.

Commemorative for posterity

Liu Xian's memorial hall is located in the Dinglin Villa at the southern foot of Nanjing Zhongshan with the Lu Li, the memorial hall is divided into three exhibition halls: front, middle and back, with three exhibition units: "Zhongshan and the Capital of the Six Dynasties", "Zhongshan Dinglin Temple" and "Liu Xian's and the Wenxin Carving Dragon", revealing the close relationship between Liu Xian and the "Wenxin Carving Dragon" and the capital of the Six Dynasties, Zhongshan and Dinglin Temple.

Liu Xian, who lived in Zhongshan Dinglin Temple for about 20 years, studied and researched here with the help of the rich collection of books in Dinglin Temple, and finally completed the literary theory masterpiece "Wenxin Carving Dragon", which marked a brilliant achievement. Zhongshan Dinglin Temple is also famous in history for Liu Xian's academic achievements.

May I ask who is the author of the masterpiece of classical Chinese literary theory, Wenxin Carving Dragon? It's Liu Xian.

The author of the classic Chinese literary theory masterpiece "Wenxin Carving the Dragon" is Liu Xian, a literary theorist of the Southern Dynasties. He wrote this work from the first year to the second year (501-502) of Emperor Zhongxing of the Southern Dynasty, and the "Wenxin Carving Dragon" consists of ten volumes, ten articles at the age of five good years, divided into two parts, each with 25 articles, including four parts: general theory, stylistic theory, creation theory, and critical commentary.

Wenxin Carving Dragon is one of the earliest extant essays in China, and it is also the earliest extant comprehensive literary criticism monograph written in Chinese. It not only summarizes the experience of literary creation since the pre-Qin period, but also inherits and carries forward the rich heritage of the previous humanities theories, and puts forward its own incisive views on all aspects of literature. Its production is of great significance in the history of Chinese literary and artistic theory, and has had a huge and far-reaching impact on later generations.

Wenxin Carving the Dragon is a work of literary criticism with a rather logical sense of emptiness in the air. （）

a.Correct training.

b.Mistake. Correct Answer: a

Wenxin Carving the Dragon is a literary theory monograph with a theoretical system, rigorous structure and meticulous exposition created by Liu Xian, a theorist of Wenfuhan in Southern China. It was written between 501 and 502 AD. It is the first monograph on literary theory in the history of Chinese literary theory and criticism with a rigorous system.

The book consists of 10 volumes and 50 articles, based on Confucius's aesthetic thoughts, and adopts Taoism, believing that Tao is the source of literature, sages are models for literati to learn, and "scriptures" are models for articles. The formation of a writer's creative personality is summarized into four aspects: "talent", "qi", "learning" and "learning". In the process of exploring and researching the conception of literary creation, it emphasizes the basic characteristics of the specific image of artistic thinking activities, and preliminarily puts forward the problem of image thinking in artistic creation. He has a more conscious understanding of the artistic nature and characteristics of literature, and has set a precedent for the study of literary image thinking.

This paper comprehensively summarizes the aesthetic achievements before the Qi Liang era, and carefully explores and discusses the aesthetic nature of language and literature, as well as the laws of hollow aesthetics for creation and appreciation.

Summary. In Wenxin Carving the Dragon, Liu Xian's different standards of criticism for literary works of different genres provide a basis for people to engage in appreciation and criticism. For example, the article "Discussion Pair" says:

The text is capable of distinguishing cleanliness, not being complicated and skillful; Things are beautiful in the clear core, not strange in the deep. It can be understood that this is the criterion for criticizing the style of "discussion": the rhetoric is concise, the narrative is clear, and the content of what is said is realistic.

Those who meet this criterion are called "Neng" and their works are called "Beauty". On the contrary, the narrative is unclear and the rhetoric is cumbersome, which is a shoddy work. Today it seems.

This should be an artistic or aesthetic criterion, which is more reasonable and can be applied to practical prose in general.

In Wenxin Carving the Dragon, Liu Xian's different standards of criticism for literary works of different genres provide a basis for people to engage in appreciation and criticism. For example, the article "Discussion of Pairs" says: "The text is capable of distinguishing cleanliness, not being complicated and slippery; Things are beautiful in the clear core, not strange in the deep.

It can be understood that this is the criterion for criticizing the style of "discussion": the rhetoric is concise, the narrative is clear, and the content of what is said is realistic. Those who meet this criterion are called "Neng" and their works are called "Beauty".

On the contrary, the narrative letter is unclear and the rhetoric is cumbersome, which is a shoddy work. Today it seems. This should belong to Lu Chong's artistic or aesthetic standards, which is more reasonable and can be applied to general practical prose.

For the actual literary criticism, the "Bosom Friend" chapter puts forward specific methods that can be operated, that is, the so-called "first standard six views", and then only "see the difference and destroy the wax". Liu Xian wrote: It is to read the literature with a smooth and smooth style, and first mark the six views:

One view of the body, two views of rhetoric, three views of change, four views of wonder, five views of righteousness and lack of rent, six views of palace business. If the technique is in shape, the advantages and disadvantages are different.

I hope mine can help you and have a great day. Good.