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The Artistic Value of Luo Shen Fu

Brief introduction of Cao zhi

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[Edit this paragraph] Introduction

Cao Zhi (Cao Zijian), a famous literary figure in the Three Kingdoms period, wrote a romantic masterpiece, The Goddess of Lolo [1]. Luo Shenfu, formerly known as Ganzhu Fu, is generally believed to have been written because Cao Zhi was named Juancheng. "Zhen" is also called "Ganzhen Fu", which means "Ju", but some people think that his works involve the complex relationship between Cao Zhi and Wei Wendi's Cao Pi's wife Zhen Shi.

According to Zhao Wenzhen's Biography, Zhen Shi is a promising person in Zhongshan State and a true daughter appointed by Shangcai. During Jian 'an period, she married Yuan Shao's son. In the seventh year of Emperor Xian in the Eastern Han Dynasty, Yuan Shao was defeated and died in the battle of Guandu. Cao Cao took the opportunity to send troops, and Zhen Shiyin became a prisoner of Cao Jun, and then married xelloss.

Liu, the wife of Cao Cao, gave birth to Cao Ang and died in Wancheng at an early age. Bian Shi, the second wife, gave birth to four sons: Cao Pi, who was sincere and respectful; Cao Zhang, brave and foolhardy; Cao Zhi, clever and alert, but addicted to alcohol; Cao Xiong is weak.

Cao Zhi is talented, well-read and knows everything by heart. At the age of ten, he was able to write poetry and fu, which was quite appreciated by Cao Cao and his aides. At that time, Cao Cao was obsessed with his own hegemony, and Cao Pi also had an official position. Because Cao Zhi was still young and did not like war by nature, he was able to get along with Zhen Fei day and night, thus giving birth to a feeling. After Cao Cao's death, Cao Pi ascended the throne in the 26th year of Emperor Xian of the Han Dynasty (AD 220), with its capital in Luoyang, which is Wei Wendi. Wei Jianli. Zhen Shi was made a princess, and she fell out of favor because of her bad color. It is said that when she died, her mouth was stuffed with chaff and her face was covered with hair, which was very miserable.

The year after Zhen's death, Cao Zhi went to Luoyang to see his younger brother. Cao Rui, the prince of Zhenhaosheng, accompanied his uncle to dinner. Cao Zhi looked at his nephew and remembered the death of Empress Zhen. His heart is very sour. After dinner, Cao Pi gave Cao Zhi the jade carving gold belt pillow, a relic of Zhen Xuan.

Cao Zhi sees things and thinks about people. When he returned to the fief, he spent the night on the boat. In a trance, he saw Zhen against the wind coming from a distance. Cao Zhi got a fright and woke up. It turned out to be a dream of Conan. Back in Juancheng, Cao Zhi's mind was still churning with the scene of meeting with Luoshui during the Zhenguan period, so he wrote an essay "Feeling" with myriad thoughts. Four years later (AD 234), Ming Di Cao Rui succeeded to the throne. Because the original name was indecent, it was changed to Luo Shenfu.

Liu Kezhuang, a poet in the Song Dynasty, said that this is a good thing, and people are "doing the things after Zhenguan". Wang Shizhen, a Ming scholar, added: "If Luo Shen sees it, it will make him laugh at his father's ears." In the Qing Dynasty, He Chao, Zhu Gan, Pan Deyu, Ding Yan, Zhang Yun and others rose up and fought.

To sum up their arguments, there are probably the following points:

First, it is impossible for Cao Zhi to fall in love with his sister-in-law. He didn't have the courage to write Gan Zhenfu. Because of the political struggle between Pi and Zhi brothers, they are already very nervous. Isn't "Feeling Zhen Fu" written by Cao Zhi a lust for fear of losing his mind?

Second, plotting against his brother's wife is "the evil deeds of animals". This defiled his brother's wife and his brother Ran Yan, and defiled his brother's mother and his brother Ran Yan. How about being an emperor? "

Thirdly, to quote the words of Emperor Wen Cao Pi in Historical Records, he showed Cao Zhi the pillow after Zhenguan and gave it to Cao Zhi. "Old people don't do whatever they want", not to mention the emperor. Extremely unreasonable, pure nonsense.

Fourthly, Ganzhen Fu does have its own text, but the "town" is not the "town" behind the town, but the "dry" of Juancheng. Feeling is connected with truth, so it is feeling truth. The year before Cao Zhi wrote this article was Juancheng Wang.

Fifthly, the article "Ode to the Goddess of Luo" is "an excuse to show his heart to Emperor Wen", "He also gave up his ambition", and "it is purely a statement that he loves your position", that is to say, "He has been showing his heart to Wang for a long time". Later, people denied that they were just repeating these views. If there is an increase, it just means that Cao Zhi, who is 14 years old, is unlikely to ask Cao Cao to marry a married woman who is 24 years old.

Influenced by this Fu, the love tragedy between Cao Zhi and Zhen Shi was moved by people, so there has been a saying that Empress Zhen is a goddess of Luo since ancient times. Straight matter

[Edit this paragraph] Original text

In Huang San, Yu moved the capital to Luochuan. The ancients said, "The water god is called Fu Fei." Feeling Song Yu's concern for the goddess Chu, he wrote a poem. The word yue:

I returned to Dong Fan from Beijing, carrying a Bian Que on my back, crossing the shaft and the valley, and came to Lingshan. The sun sets in the west and the car is in danger. Second, taxes have promoted Gao, Zhitian, Luochuan. So my mind was frightened and my thoughts were scattered. You can't see it when you look down, but it's different when you look up. I saw a beautiful woman, on the bank of the rock. But he helped the protector of the empire and told him, "Do you trust him? Who is he? If so, it will be gorgeous! " The coachman said to him, "I heard that the god of Heluo was called Fu Fei, but the king saw nothing." ? I want to hear what it looks like. "

I told him, "Its shape is beautiful, graceful, with dragons, glorious autumn chrysanthemums and Song Chun in Hua Mao. Like a light Yun Zheyue, like a romantic return to snow. Looking from a distance, if the sunrise rises; If you look carefully, it will burn like a wave. If the shoulders are cut, the waist is as plain as grass. The neck is beautiful, the quality is exposed, the fragrance is not added, and the lead is magnificent. The clouds are towering, the eyebrows are trimmed, the lips are bright, and the teeth are fresh. A bright eye and a good look will help to inherit strength. It is magnificent, graceful and luxurious, and it is quiet and leisurely. Tender as water, charming language. Stunning clothes are outstanding, and the bone image should be mapped. The glory of wearing a sweater is the glory of Yao and Bi. Wear jade jewelry and embellish pearls to show off your figure. Practice a long journey of writing, gently dragging the fog, walking in the corner of the mountain, with a faint orchid fragrance.

So how can you suddenly jump and travel and play? Leaning on the left, leaning on the laurel flag on the right. I'm busy with my wrist, and I use the mysterious wisdom of turbulent wrasse. Jade Qing is fond of her beauty and beauty, but she is shocked and unhappy. There is no good media to satisfy her joy, so she speaks with the help of microwaves. I hope to be sincere first, and Yu Pei will be understood. The letter of beauty is cultivated. Qiang people practice etiquette and know poetry, while Kangqiong values harmony, which means hiding for a long time. Cling to the money at home, afraid of being bullied by me, giving up words when falling in love, hesitating and being suspicious. Be calm and calm, and be self-sustaining when cashing.

So Luo was inspired, wandering around, the lights flickering. If you are light, you will stand out from the crowd. If you fly without flying, you will be covered with pepper and your steps will be fragrant. Super-long songs are always praised by people, and their voices are sad and long.

I am a bastard, lonely all my life, or playing clean, or to, or picking pearls, or picking up. He took the wanderer of Hanbin from the concubine of Nanxiang, lamented that there was no horse in the melon and sang the loneliness of Petunia. Young people are arrogant and their sleeves are repaired and dragged around. The body flies very fast, like wandering, walking a little step, socks are gray. Unstable is dangerous, advancing is difficult, and going is returning. Into a liquid, smooth and beautiful, with words not spit, gas like blue. Huarong is graceful, which makes me forget my meal.

So the wind was collected under the screen, and after the waves were quiet, Feng Yi sang drums and Nu Wa sang. Teng Wenyu rode the police, Luan died together, and the six dragons appeared for the first time, carrying the capacity of the cloud car. The whale jumps to the hub, and the waterfowl flies to protect it. So I went north, crossed Nangang, took the lead, returned to Qingyang, moved my lips, and asked Chen to hand in the outline. There are different ways to hate people and God, but when you are in your prime, you can't blame others, but you can hold back tears and tears. Mourn the farewell of good meeting, mourn the passing of a foreign land, and offer the wisdom of Jiangnan without loving Xi. Although he is in the moonlight, he has a long heart for the king. Suddenly I didn't realize what I had given up, and I was disappointed that God hid the light at night.

So, I carried the mausoleum high on my back, leaving my mind to God, imagining my feelings and longing for my sadness. The complex shape of the dead body can be traced back to the royal canoe. Floating on the long river and forgetting the opposite side, thinking constantly and increasing admiration, I can't sleep at night and wake up with countless frost. I will go to East Road to take countermeasures, but I can't go because I'm worried.

[Edit this paragraph] Translation

In the year of Huang San, I went to the capital to worship the Emperor and came back to Luoshui. Legend has it that the name of Luoshui God is Fu Fei (Fuxi's youngest daughter drowned in Luoshui while playing, and was named Luoshui God after her death). Song Yu wrote the story of the king of Chu who fell in love with the goddess, and I imitated him to write this experience. Here's the thing:

I returned to the eastern feudal city (Juancheng) from Beijing. Over a mountain, over Tieyuan Mountain, through Tonggu, and up Jingshan Mountain. At this time, the sun is setting, and the horses and chariots are exhausted. So I parked my car on the river bank full of herbs and let the horses graze freely on the grass. I walked safely and leisurely in the Woods, looked around and enjoyed the beautiful scenery of Luoshui. Suddenly, I was shocked and my thoughts drifted away. I suddenly looked up and saw a strange sight: a beautiful woman on the edge of a cliff. So he grabbed the entourage and asked, "Have you seen that woman? Who is she? It's so beautiful! " The attendant replied, "I heard that the god of waterinfo is called Fu Fei. Has the king seen her?"? What does she look like? I really want to hear it. "

I said, "She looks light and soft, like a swan flying after being frightened, and her body is strong and beautiful, like Youlong playing in the air;" The face is as bright and radiant as a chrysanthemum in full bloom in autumn, and the youth is as gorgeous and prosperous as a dense pine tree in spring; If there is no thin cloud to gently cover the bright moon, the image will float like snowflakes blown by the wind; Seen from a distance, this bright white elephant is the rising sun in the morning glow in Ran Ran. Close up, it is as bright and dazzling as the graceful lotus in the clear water. Plump and slim, just right, tall and thin in line with aesthetic feeling; The shoulders are as beautiful as a cut, and the waist is as thin as a bundle of slender white silk; The neck is slender, the chin is beautiful, and the white skin is slightly exposed; No perfume, not enough powder; The thick bun stands upright and the slender eyebrows are slightly bent; In the bright red lips, white teeth are vividly presented; Bright and moving eyes look around, and two beautiful dimples appear on the cheeks; She has a beautiful posture, bright and elegant appearance, quiet appearance and refined posture; Modality is soft, broad and charming, which is hard to describe in words; Wearing strange clothes is rare in the world, and the skeleton looks like a fairy in the painting; She wore bright silk clothes and exquisite jade carving earrings; Jade is hung as jewelry, and precious pearls adorn the beautiful face; She is walking on shoes embroidered with delicate patterns, dragging a thin gauze skirt as thin as fog, faintly emitting a faint blue fragrance, and slowly wandering on the hillside; Occasionally jump and play while walking; There are colored flags on the left and cassia twigs on the right to cover the shade; She is rolling up her sleeves, dipping her white and delicate wrists into waterinfo and picking black ganoderma lucidum in the rushing river. "

I deeply fell in love with her virtue and beauty, and I was in a volatile mood and unhappy. Suffering from the lack of a good matchmaker to convey my love, I expressed my love with affectionate eyes, hoping that my sincere feelings could be expressed to her before others, so I took Yu Pei off my waist and gave her a gift, saying that I would meet her. She is so perfect that she knows not only etiquette but also poetry. She held up Mei-yu and answered me, pointing to the deep pool to agree on a meeting date. My heart is full of sincere attachment, lest the beautiful god derail; Legend has it that two goddesses gave the white jade of Zheng Jiaofu for life by the Han River, but they broke their word and disappeared instantly. So I hesitated, doubted, restrained my joy, calmed my mood, and warned myself to strictly abide by the etiquette between men and women to restrain myself.

So Luo Shen moved, hovering low, colorful divine light flashing, light body holding up like a crane to stay. She lingered on the fragrant path full of pepper orchids and the bushes in Du Heng with faint flowers, expressing her long-standing yearning with a sad and mournful voice. Soon, many immortals gathered relatives and friends together, some playing in the clear river, some soaring on the sandbar where Luo Shen often swam, some picking pearls at the bottom of the river, and some picking beautiful feathers on the shore. After Luoshen, E Huang and Nv Ying, who are ringing in the water, accompanied the Hanshui Goddess to roam by the water, lamenting the loneliness of Papaya Star and sympathizing with Altair Star. She raised her arm and covered the sun with slender sleeves, and her thin coat fluttered in the breeze. She is as light as a bird and unfathomable; Walking on the water waves, there is a misty mist under your feet; The whereabouts are uncertain, and the emotions are unknown; Predictably, I want to go and stay, my eyes are full of tenderness, my eyes are flying, and the joy of love moistens my beautiful face; There seems to be a lot of words in my mouth, and there is a faint orchid fragrance in my breath; She is shy, soft in appearance, and deeply attracts me. I don't know where I am.

At this time, Fengshen stopped the wind, Shuishen stopped the ups and downs of Jiangbo, Yin and Yang gods blew the ancient days, and Nuwa sang a clear song; Warm fish prance in the car, jade bells jingle; Six dragons are neck and neck, carrying a cloud car slowly; Whales and salamanders rushed to protect drivers, and waterfowl shuttled to protect them; So Luo Shen crossed the island in the water, climbed over the south hill, turned his white neck, looked at me with delicate and beautiful eyes, stirred up his lips, slowly stated the truth of helpless separation, hated the situation that people and gods were angry together, and complained that youth love was not satisfactory. He raised his sleeve to wipe his tears, and the tears rolled down and wet his clothes. The sad and beautiful side will be cut off forever, and sorrow will be separated from each other from now on. I didn't have a pledge to give, so I gave the precious Yuhuan in Jiangnan to me. "Although I live in seclusion in heaven, I will miss the king forever ..." Before I finished, I suddenly disappeared, and the divine light disappeared. I felt very lost.

So I went over the mountains, tracked up and down, looking for the footprints left by Luo Shen. Luo Shen is gone, and the scene is still there. Looking around adds to the gloom. I was looking forward to the reappearance of Luo Shen, so I took a boat against the current and wandered around the Yangtze River at will, not knowing my way home. My yearning is endless, which adds to my yearning. I can't sleep at night, and I am covered with thick crystal cream until dawn. Helpless, I ordered the servant to start driving and continue my return trip. I grabbed the reins, raised the whip and wandered in the same place for a long time.

[Edit this paragraph] Appreciate

Cao Zhi has made outstanding achievements in the creation of poetry and ci fu. His Fu inherited the tradition of lyrical small Fu since the Han Dynasty, absorbed the romantic spirit of Chu Ci, and opened up a new realm for the development of Ci Fu. Luo Shen Fu is an excellent work in Cao Zhi's Ci Fu. Through the dreamlike realm, the author describes the sincere love between man and God in a romantic way, but he is disappointed and separated because of the "different ways between man and God".

The whole article of Luo Shen Fu can be roughly divided into six paragraphs. In the first paragraph, when the writer returned to the fief from Luoyang, he saw Fu Fei, a "beautiful woman", standing on the cliff, and such a story was "told". The second paragraph, write "Fu Fei", the beauty of Yi Rong's dress. The third paragraph says "I" worship Luo Shen very much. She is so kind. She knows manners and is good at words. Although she has expressed her true feelings and given her a token, she is extremely fond of her because she is worried about being cheated when she has an object. The fourth paragraph describes the situation after Luo Shen felt sincere about Wang. In the fifth paragraph, the following two sentences "Hating people is different from hating God" is the meaning of this poem. In the sixth paragraph, I miss Luo Shen after I leave.

outstanding features

Feature 1: rich imagination. Imagine: he set out from Luoyang, the capital, and returned to Juancheng, the eastern fief. On the way, on the edge of Luochuan, I stopped to drink horses. While walking, I saw Luo Shen. Her posture is swaying like a wild goose, graceful and gentle like Youlong in the water, more delicious and gorgeous than Qiuju and Maosong, as beautiful as sunrise, as pure and absolutely beautiful as hibiscus. Then, he took a fancy to her, sent her a short message from Shui Bo, and made a promise to Yu Pei. However, her holiness and nobility made him dare not expect anything. Luo Shen was finally moved by his true feelings, met and poured out his feelings. But in the end, because of the different ways of man and god, the combination of the two was hopeless, so I said goodbye. The gorgeous imagination, romantic and sad feelings are light and unchanged, which makes people feel embarrassed and worried. But this imagination is not bizarre, and it is based on Song Yu's Goddess Fu and Gaotang Fu.

The second feature is that the rhetoric is gorgeous but not impetuous, and the fresh air is refreshing. Pay attention to the arrangement of duality, antithesis and melody, and the language is orderly, concise, vivid and beautiful. The conception of Han Fu based on materials has no rival.

Thirdly, the vivid description, combining metaphor and contrast, is ingenious and appropriate, giving people a grand but not disturbing feeling, beautiful but not shocking, making people feel like watching a wonderful painter, in which the characters are flesh and blood, without making people feel nothingness. When describing Luo Shen's figure, facial features, posture, etc. It conveys the appearance of Luo Shen sinking fish and the ability of falling geese. At the same time, there is "clear water gives birth to hibiscus, which is naturally carved." Fresh and noble. In the description of Luo Shen's manner when he saw him, people felt that the Sri Lankan people emerged in front of them and were personable. As for Luo Shen's description when he broke up with him, "the screen gathers wind, the river is quiet, Feng Lai Ming drums, and Nuwa Qing songs." Sincerity and purity of love. Everything is so beautiful that after leaving, people take it to heart and stay, and their feelings continue. Luo Shen's beautiful image and the scene when they met each other are vivid, romantic and bitter, and I am uneasy and reluctant to leave.

There are three reasons for depression.

First, people and gods are different, and lovers can't be well.

Second, "Luo Shen" is his spiritual sustenance, but she can only exist in imagination, which is hard to find in reality and infinite in loss.

Third, he was entrusted with this idea. He was not only deprived of the status of emperor, but also persecuted by his brothers many times. In despair, he felt sad and angry.

[Edit this paragraph] The artistic value of Luo Shenfu

Predecessors spoke highly of the ideological and artistic achievements of Luo Shen Fu, most obviously compared with Qu Yuan's Nine Songs and Song Yu's Goddess Fu. In fact, Cao Zhi's Fu has both. It not only has a strong lyrical component with Mrs. Xiang, but also has a delicate description of female beauty in Song Fu. In addition, its plot is complete, its technique is changeable and its form is meaningful, which is beyond the previous works. Therefore, it has a very extensive and far-reaching influence in history. Gu Kaizhi, a great calligrapher and painter in the Jin Dynasty, showed the spirit and style of "Ode to the Goddess of Luo", which added a rare masterpiece to the bookshop and painting circle. In the Southern Song Dynasty and the Yuan and Ming Dynasties, some playwrights put it on the stage again, and Wang Daokun's Sad Life of Chen Luoshui is one of the more famous ones. As for the writers who used this as the theme in the past dynasties, countless people read poems and songs. It can be seen that the artistic charm of Cao Zhi's Luo Shen Fu is enduring.

[Edit this paragraph] Introduction of Cao Zhi

Cao Zhi (192-232) was a poet of Wei in the Three Kingdoms period, with a strong word, and was born in Peiguoqiao (now Bozhou, Anhui). He is the third son of Cao Cao's wife Bian Shi. Cao Zhi has been brilliant since he was a child. 10 is over 0 years old. He read hundreds of thousands of words of poems, articles and words, and wrote a chapter, which won the favor of Cao Cao. Cao Cao once thought that Cao Zhi was the "most important" among the philosophers, and wanted to make him a prince several times. However, Cao Zhi's behavior was laissez-faire, without self-encouragement, and he repeatedly violated laws and regulations, which caused Cao Cao's anger. However, his younger brother, Cao Pi, was quite pretentious, and finally gained the upper hand in the struggle to establish a reserve army. In the 22nd year of Jian 'an (2 17), he was made a prince. In the twenty-fifth year of Jian 'an, Cao Cao died of illness, and Cao Pi succeeded to Wei and soon proclaimed himself emperor. Cao Zhi's life has changed fundamentally since then. He has changed from a noble son who lives a leisurely life to the object of being restricted and attacked everywhere. In the seventh year of Huang Chu (226), Cao Pi died of illness, and Cao Rui succeeded to the throne, namely Wei Mingdi. Cao Rui still keeps strict precautions and restrictions on him, and the situation has not fundamentally improved. During the period of Ming Ming II 12, Cao Zhi moved several times, and the last fief was in Chen County, so it was called "Chen Wang" or "Chen Siwang".

Poetry is the main field of Cao Zhi's literary activities. The content of the early stage and the later stage is very different.

Early poems can be divided into two categories, one is to express the leisure life of his noble son, and the other is to reflect his feelings of the times when he was born in troubled times and grew up in the army. In his later poems, he mainly expressed his grief and indignation under repression, and expressed his desire not to be abandoned and his desire to make contributions to the world. There are more than 80 poems by Cao Zhi. Cao Zhi has many innovations and developments in the art of poetry. Especially in the creation of five-character poems. First of all, most of the ancient poems in Han Yuefu are narrative, and it was not until Nineteen Ancient Poems that lyric elements occupied an important position in the works. Cao Zhi developed this trend, organically combining lyric and narrative, so that the five-character poems can not only describe the complex changes of events. It can also express tortuous psychological feelings, which greatly enriches its artistic functions. As a master of Jian 'an literature, Cao Zhi had a great influence on later generations. In the Jin, Southern and Northern Dynasties, he was promoted to the position of article model.

Cao Zhi edited 78 selected works before his death. After the death of Ming Di Cao Rui, he collected more than 100 works, including 30 volumes of Sui Shu classic yearbook, 1 volume of ode to women and 5 volumes of painting praise. But it was originally hidden in the late Northern Song Dynasty. Cao Zijian 10, a six-year edition of Jiading, Southern Song Dynasty, has 206 poems, poems and essays. The Ming Dynasty, Wang Shixian and Zhang Yan each carved Chen Ji, which was based on the Southern Song Dynasty. In the Qing Dynasty, Ding Yan's Comments on Cao Jiquan and Zhu's Textual Research on Cao Jikao were revised and revised in detail, and many missing sentences were added, which were two complete and precise works. Huang Jie has Cao Zijian's Poetry Talk, Cao Zhi's Poetry Talk in ancient times, and Zhao Youwen's Cao Zhi Collation today.

Please refer to Cao Zhi for specific articles.

[Edit this paragraph] Calligraphy works

Thirteen Lines of Wang Xianzhi-Luo Shenfu, referred to as Luo Shenfu for short, is the representative work of Wang Xianzhi's lower case calligraphy in the Eastern Jin Dynasty. The original ink was written on a piece of hemp paper, the content of which was the famous poem "Ode to Luoshen" by Cao Zhi, a famous writer in the Three Kingdoms period, but it was damaged and lost when it spread to Tang and Song Dynasties. The prints handed down from ancient times are rubbings of this stone based on the original work in Song Dynasty, including "Jasper Edition" and "White Jade Edition", among which "Jasper Edition" is the best, which was unearthed in the former site of Banxian Hall in Geling, West Lake, Hangzhou in Ming Dynasty and is now in Liaoning Museum.

It is said that Wang Xianzhi likes writing "Ode to Luoshen" and has written more than one book. * * * Thirteen lines, the original no longer exists. Today, only the stone books carved by Jia Sidao have been handed down. Because the stone color is like jasper, it is called "thirteen lines of jasper". Now it is in the Capital Museum. Luo Shen Fu (line 13) is elegant in style and free and easy in brushwork, while Vencent Yang's man of iron Zhai Shu Hao in Qing Dynasty thinks that "the words are beautiful and mellow, and the fine print is not parallel". As can be seen from Luo Shen Fu, Wang Xianzhi's regular script writing style no longer has the feeling of official script, and the font changes from horizontal to vertical, which is a fully mature regular script.

For details of this calligraphy work, please refer to Line 13 of Luoshen House.

[Edit this paragraph] Addendum to Calligraphy and Painting Edition

Gu Kaizhi's "Atlas of the Goddess of Luo" (the color of the silk book in the Eastern Jin Dynasty is 27. 1cm, 572.8cm) is collected in the Palace Museum.

The picture is based on Cao Zhi's Luo Shen Fu, which is a continuous fairy tale painting. Luo Shen Fu is a love poem. The author turned her lover Zhen Shi (who later married her brother Pi according to Cao Cao's will) into an elusive goddess of Luo Shui. This volume depicts the love story of Cao Zhi's meeting with Luo Shen when he returned from Beijing with a touching style and romantic plot. The whole volume is * * *, and four paragraphs are drawn. Here, 1 paragraph "will" and the fourth paragraph "don't" are selected.

"Hui" depicts Cao Zhi stopping by the Luoshui River. The painter drew three tired horses, each with its own characteristics and different postures. A dismounted horse was freed for a while and immediately rolled up dust on the spot. The frightened rider hurriedly dodged sideways, and one horse turned around, while the other horse bowed its head and chewed grass.

Farewell changed the head-up painting method in Han dynasty, and broadened the horizon by adopting a overlooking angle. The author painted Cao Zhi driving and looked back at the beautiful image of Luo Shen. The horse dragged Xiangqian Che under the escort of vehicles, and its movements were very similar to those of horses on brick, stone and mural paintings in the Eastern Han Dynasty, which confirmed the relationship between horse painting in the Eastern Jin Dynasty and art in the Eastern Han Dynasty.

Gu Kaizhi's coloring of the sketches of the characters in The Ode to Luoshen means that Sagittarius characters have the artistic conditions to become independent painting subjects.

The paper version of Ode to Luoshen, 29.5cm long and 192.6cm wide, is now in Tianjin Art Museum. Speaking of the Palace Museum in Beijing, it is said that Zhao Mengfu's Ode to Luoshen in Princeton University Museum is the original. Luo Shen Fu was written in Dade four years (AD 1300), when Zhao was 47 years old. Make the circle beautiful with a pen. Zhao Mengfu's calligraphy style is vividly displayed. Ni Zan, a scholar in Yuan Dynasty, called this volume "round and vivid" and praised Zhao Wei as the first scholar in Yuan Dynasty.

Brief introduction of the author

Gu Kaizhi (about 344-405), long character Kang, small character Tiger Head. He was a painter in the Eastern Jin Dynasty in China and a native of Wuxi, Jiangsu. In about 364, he painted a Vimalakirti statue for the sarcophagus temple in Nanjing, which caused a sensation. In 366, Fu joined the army, in 392, Yin Zhongkan joined the army, and in 405, he was promoted to Zhengqi. Gu Kaizhi is versatile, meticulous in poetry and prose, and good at calligraphy. He was called "unique in talent, painting and infatuation" by his contemporaries. His painting style is unique, which is called "home-based", the characters are thin and handsome, the so-called "beautiful bones and clear images" and the lines are smooth, which is called "spring silkworm spinning". He has written three works on painting theory, Wei Jinsheng's Painting Praise, and Painting Yuntai Mountain, and put forward vivid theories of "describing the spirit with form" and "everything is blocked".

Gu Kaizhi studied painting under the Health Association, and was best at drawing figures. Xie An, a famous figure in the Eastern Jin Dynasty, thinks that Gu Kaizhi's figure painting is unprecedented. Later generations commented on his paintings: it means to save the pen first, full of painting, meticulous handwriting and continuous strength; Its brushwork, such as silkworm spinning, is light and smooth, vigorous and refreshing, and is called "iron line drawing"; There are six methods for modeling layout, with exquisite thinking and unpredictable mind. Lu Tanwei, the successor of the Southern Dynasties, and Zhang Liang, a monk, are also called "three outstanding figures in the Six Dynasties". And "if a person is beautiful, he can get his flesh, and he can get his bones, and take care of his god, which is wonderful and unreasonable, and take care of him." Together with Lu Tanwei, they are called "Lu Gu" and "Shufeng" painting schools, which are different from the "Shufeng" painting schools of Zhang Liang and Tang Wu Daozi in the Southern Dynasties. There are many famous paintings, such as Autumn Water, Lushan Mountain and Xue Ji Looking at Five Old Peaks, among which Xue Ji Looking at Five Old Peaks is highly regarded as the creation of landscape painting. The existing Pictures of Women's History, Ode to Luo Shen and Lienv Ren Zhi are all copies of the Tang and Song Dynasties. In the 26th year of Guangxu in Qing Dynasty (1900), Eight-Nation Alliance plundered this book and collected it in the British Museum in London, England.

At present, his only work handed down from generation to generation is a long scroll "A Woman's History" based on Zhang Hua, a poet in the Western Jin Dynasty. It has nine paragraphs, each of which contains a "model" story of an ancient court woman. He copied Zhang Hua's own fu in front of each paragraph. The original is stamped with the seals of collectors and emperors in the 8th century, followed by inscriptions by Jin Zhangzong and Emperor Qianlong of the Qing Dynasty, and a bunch of orchids painted by Emperor Qianlong himself. There is Gu Kaizhi's own signature on the back of the painting. This painting may be the earliest work signed by a painter in the world.

Suggested map of women's history 1900 was taken away from the imperial palace by the British army when Eight-Nation Alliance attacked Beijing, and 1903 was collected by the British Museum. The first two paragraphs have been lost. The British Museum has asked Japanese experts to repair it, but the Japanese are not proficient in the repair technology of Chinese painting. After repair, the picture scroll can't be rolled up, so it can only be flattened.

In addition, there are two "Luo Shen Fu" copied by Song people, which are based on Cao Zhi's Fu paintings. In the painting, Cao Zhi and his party looked at the graceful Luoshen and all kinds of fairy monsters on the shore. One of them is now in the Palace Museum in Beijing, and the other one was swept to the northeast by the last emperor Puyi. After Japan surrendered, it was scattered among the people and later collected by Liaoning Museum.

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