Poetry of Bide with Jade

1. What is the meaning of Bide Literature

Bide in literature and art was first seen in the Book of Songs and Chu Rhetoric, which is more closely related to the Zhouyi's "taking images", the Book of Songs and Chu Rhetoric's "Bixing". It has a close relationship with the Zhouyi "image", "Poetry" and "Chuji" "Bixing".

"Zhouyi" to the laws of the universe and natural phenomena compared to the personnel, opened up a very broad space of imagination. The various trigrams in the "Zhouyi" itself represents a variety of things in nature, and the interpretation of the trigrams, hexagrams involves a wider field of imagination, so that the fate of the human character and the nature of all things linked together.

For example: "Tian Xing Jian, the gentleman to self-improvement" ("Qian - Elephant Biography"), the dry sky is a metaphor for the gentleman's robust and progressive character; "the ground is Kun, the gentleman to the virtue of carrying things" ("Qian - Elephant Biography"), the Kun ground is a metaphor for the gentleman's generosity of virtue; "The wind travels in the sky. Small animal, the gentleman to Yi Wende" "small animal - Elephant Biography"), to the gentle wind compared to the gentleman's good line of virtue: "Ming Yi in the fly, hanging its wings.

The gentleman in the line, three days without food" ("Mingyi - hexagrams"), to chirping water birds hanging wings flying alone compared to the gentleman's disillusioned solo.

For example, "Daya - Song Gao": "Song Gao Weiyue, steep in the sky. The gods of the Song dynasty have been born in the sky, and the gods of the Song dynasty have been born in the sky.

Vaishen and Fu, the Han of Wei Zhou. The four kingdoms are in the tombs, and the four directions are in the Xuan."

The mountains and peaks were used as a metaphor for Fu Hou and Shen Bo, who served the Zhou family. In the Xiaoya - Jie Nanshan (节南山), "Jie Nanshan (节彼南山), Weishi Yanyan (维石岩岩), Hehe Shiyin (赫赫师尹), and Minwu Erzhan (民具尔瞻).

The metaphor of the towering mountains and rocks is the majestic majesty of Shih Yin.

This is a metaphor for the towering mountains and rocks of Shih Yin.

A bunch of raw ruminants, its people like jade." The name "bright white horse" is used to compare the noble and pure person in the hidden forest.

"Qin Feng - Xiao Rong": "Words of a gentleman, warm as jade." It compares the gentle character of a gentleman with the warmth of jade.

Wei Feng - Ki Ao: "Looking at Ki Ao, the bamboo is green. There is a gentleman who is like a cutter, like a dagger, like a cutter, like a grinder.

Thur Ruoxi, Hur Ruoxi, Glorious Ruoxi, there is a bandit (Fei) gentleman, the end can not be deceived Ruoxi." The bamboo in Qiyuan is lush and verdant, comparing to the gentleman's refined and moral writings, which are splendid.

Xunzi also creatively used the "Bide" aesthetic to portray the artistic image of natural objects. For example, he used the phrase "the garden is in the center, the square is in the center.

The great reference to the heavens and the earth, and the virtue of Yao Yu. ...... virtue thick and not donate, the five picks ready to become a text" and other praising language to write "cloud"; to "the world's work, for the world of text.

Rites and music to become, nobility and inferiority have been divided, old age, to be after the survival of ...... "and so on to praise" silkworms ", in fact, is a metaphor for the natural objects, compared to the ideal of the ruler and ministers should have the character. Bide this is the Confucian view of nature than the human character, later generations of literati will give natural imagery to self-personality Cao Xueqin in the shape of Lin Daiyu character will use the technique of Bide this paper focuses on three aspects of the discussion of Xiaoxiang Bamboo and Daiyu Bide between the view.

In the pre-Qin era, the artistic image of natural objects was shaped by the aesthetics of "Bide", and the most typical one is Qu Yuan. Qu Yuan's "Li Sao" inherited the "Poetry" tradition of "Bixing", in order to express his noble character and feelings of resentment and indignation, a wide range of metaphors, to develop a wealth of associations.

For example, the metaphor of personal virtues and versatility with the herb: "I have this inner beauty, but I also emphasize the ability to repair it. I am not sure if I can do this, but I am sure I can do it," he said.

To the withering of grass and trees, the beauty will be twilight compared to the feelings and anxiety of the country: "The sun and the moon are not drowning Ruoxi, the spring and the autumn of its generation order. But the grass and trees are falling, and I fear the beauty of the late twilight."

And his "Ode to the Tangerine" is a comparison of the orange tree to its noble feelings and independent spirit, the text says: "After the emperor of the Jia tree, orange Lei service Ruoxi. The order is not to move, born in the South.

The solid depth is difficult to migrate, and more One Zhi Ruoxi ...... Su Shi independent, horizontal and not flow Ruoxi. Closed mind self-caution, the end does not lose Ruoxi.

The virtue of selflessness, the heaven and earth." It can be said that the sentence than the moral, the whole than the moral, the whole poem thick pen heavy color shaping of the orange tree this character high art image is actually the objectification of Qu Yuan's own moral sentiments.

In the pre-Qin era, the philosophers had already begun to think rationally about "Bide". According to the existing aesthetics data, in the history of Chinese aesthetics, the earliest theoretical elaboration of the "virtue" should be pushed Guan Zhong.

"Tube water and land" in this discussion: "The water Nao weak to clear, and good sprinkle people's evil, benevolence; see the black and white, fine; the amount of can not be made to the general, to the end of the full, the positive; only no flow, to the end of the flat, the righteousness of the people are all to go to the high, I went to the bottom, mean. The humble is the room of the Tao, the weapon of the king."

Also said: "The precious jade, nine virtues out of it: the jade is warm and moist to Ze, benevolence; neighbor to reason, know; firm and not knit, righteousness; cheap and not knit, line; fresh and not dirt, clean; folded and do not scratch, courage, flaws and see, fine; Maohua gloss, and through and do not phase mausoleum, Rong also; knocking, the sound of the sound of the clear Bo Cher Yuan, pure and do not kill, resignation also. It is so that the Lord of the precious, hidden as a treasure, dissected as a charm, the nine virtues out of it."

Here there is water, jade than the theoretical generalization of virtue.

The text reads: "The Duke of Huan released the spring March view in the wild. Duke Huan said: 'What is comparable to the gentleman's virtue?' Xi Peng said: 'The corn within the armor in order to place, there are rolled city, outside the blade, do not dare to rely on themselves, they are called corn.

This is comparable to the gentleman's virtue?' Tube Zhong said: 'The seedling began its young, dazzled by the dazzle of its children; to its strong, Zhuangzhuang Yu its Shi also; to its success, by the free from the Zi, its gentleman also! The world to get it is safe, not to be dangerous, so the order is called Wo. Here, the author borrowed the mouth of the tube Zhong this is comparable to the virtue of the gentleman.

'Duke Huan said:' Good! Here, the author pointed out that the beauty of natural objects, comparable to the virtue of the gentleman. People from the aesthetic object of the seedlings, can feel "and" (Wo) like a personality beauty.

Yan Ying, Lao Zi, Zhuang Zi also have "than the virtue" of the speech, but, "than the virtue" of natural aesthetics in Confucianism and writings, embodied in a fuller, more diverse, more theoretical color. One of the most representative of the first push Confucius.

Confucius talked about "Bide" more, not counting the later records, only the "Analects" has more than one place to use or discuss "Bide". From the point of view of the theme of "compare virtue", it involves the mountain than virtue, water than virtue, jade than virtue, pine and cypress than virtue, soil and Zhilan than virtue and so on.

Because of its far-reaching fame and eminence, Confucius' "Bide".

2. How to explain Confucianism's Bide

The wise man enjoys the water, the benevolent man enjoys the mountain - Confucianism's "Bide" in Chinese tour culture

Confucius and the mountain

Mencius. The "heart" contained: "Confucius climbed the East Mountain and small Lu, climbed Mount Tai and small world. Therefore, it is difficult for those who look at the sea to be water, and it is difficult for those who swim in the door of the sages to speak."

Confucius and Water

"Passing away is like running water, not giving up day and night"

Meaning: time and light pass like running water, whether it is day or night. This is the wise thought of Confucius due to the landscape.

The wise man is happy with the water, the benevolent man is happy with the mountains

"The wise man is happy with the water, the benevolent man is happy with the mountains; the wise man moves, the benevolent man is quiet; the wise man is happy, the benevolent man lives."

Zigong asked Confucius: why must a gentleman stop and watch when he sees a great river? Confucius replied: a gentleman compares virtue with water. You see the water flowing everywhere without selfishness, like virtue; it makes everything grow, like benevolence; it flows to the lower parts according to the law, like wisdom; it runs to the deep valleys with a single mind, like bravery; it is soft but nowhere, like clear-sightedness; it does not reject anything bad, like forgiveness; it cleanses everything that is unclean, like using kindness to teach people... ...

Landscape than the moral view

It can be seen that Confucianism sees everything under the sun as having the moral attributes of good and evil, and can be oriented to moral thinking, and this kind of thinking is realized on the landscape, which is the view of the moral view that has a great influence on the appreciation of landscape in later generations. This is the Confucian idea of "unity of heaven and man".

3. Liu Zhen's ancient poem "Gift to My Brother"

Gift to My Brother

Wei Jin ● Liu Zhen

Pavilioning pines on the mountain, and the wind in the valley.

The sound of the wind is very strong, and the pine branches are very strong.

The pine is very strong in the wind, and the pine is very strong in the wind.

I am not sure if I will not suffer from the cold, but the pine and cypress have their own nature.

The poem was written in the same style as the original one, but it is not the same as the one in the original one.

② from the brother: cousin.

③ Tingting: high appearance.

③ Pavilion: high appearance.

⑤ 罹：遭受。

⑤: suffer.

⑥凝寒：严寒。

Translation

The pine trees standing tall on the high mountains are exposed to the winds whistling in the valleys.

The wind is so fierce, and the pine branches are so strong!

Let it be full of frost miserable miserable, the pine tree's waist pole all year round end upright.

Is it possible that the pines have not encountered the heavy cold? No, it is the nature of the pine is born with the nature of the cold!

About the Author

Liu Zhen (刘桢?

Liu Zhen (?????), a Chinese poet, wrote more than 20 poems. He was one of the "Seven Sons of Jian'an", together with Kong Rong, Chen Lin, Wang Ch'an, Xu Gan, Ruan Yu and Ying Yang. He was very famous for his poetry at that time, and Cao Pi said that he was "the best of the five-character poems and the best of his time". His character was bold and unrestrained. Zhong Rong said of him: "He was a man who loved oddities and was very active. Chastity bone frost, high wind across the custom."

Article Analysis

Among Liu Zhen's poems, the most famous are the three poems of "Giving to my brother". These three poems use applesauce, pine trees and phoenixes as metaphors for chastity and purity, which are not only praises to his younger brother, but also the poet's self-portrait. The second poem is the best, written in a bold and stern manner, with the air of "standing upright and holding oneself" and "high winds and customs". In the face of a turbulent society and a rough life, Liu Zhen expressed his personal indignation more than anything else, so his works are always full of generosity and open-mindedness. As he said himself, the more severe the frost and wind, the more the nature of the pine and cypress can be reflected. This kind of spirit and spirit created the handsome and beautiful style of Liu Zhen's poems.

Characteristics

This is an aria.

Good lines

1. The wind is so loud, and the pine branches are so strong.

--These two lines inherited the idea of Confucius, who encouraged his brother to learn from the pines and cypresses, the more miserable the sound of the wind, the more they should stand up in the wind.

2. It is the nature of pines and cypresses not to suffer from frost and snow.

--The use of the phrase "the pine and cypress have their own nature" is in fact a kind of "comparison of virtues". The so-called "compare virtue" is to use things in the natural world to compare the moral realm of people, so as to further arouse people's personality realm of self-improvement. Ancient Chinese scholars liked to use pine, bamboo, plum and chrysanthemum to compare their character. Here, Liu Zhen uses pine and cypress as a metaphor to encourage his cousin to be chaste and self-respecting, not to change his nature due to external oppression, and to call on people to have a firm pursuit of character in a chaotic world.

Part of the test questions

1. The one that is not correct is ( )

A. In the first sentence, the word "tingting" means "towering", which describes the image of the pines standing upright in the wind.

B. In the third and fourth sentences, two "yihe" are used in a row, the first highlighting the wind and the second highlighting the robustness of the pine.

C. The use of contrasting techniques is the main feature of this poem, which uses the toughness of the pine on the mountain to contrast the swiftness of the wind in the valley.

D. This poem is a metaphor for pines and cypresses, praising the tenacity of pines and cypresses in standing up to the wind and not falling down, and not withering in the cold, which is an encouragement to my younger brother.

2. In the poem "Gift to My Brother", the verse that describes the strong pine fighting against the wind is:

3. In Liu Zhen's poem "Gift to My Brother", the verse that directly describes the "nature" of the pine and cypress is " " and " ".

Reference Answer

1.C

2. The wind is strong, the pine branches are strong.

3. The pine branches are always strong, and they are always upright in the end of the year

4. Liu Zhen's poem "Gift to My Brother"

"Gift to My Brother"

"Gift to My Brother"

The Wei and Jin dynasties: Liu Zhen's pine on the mountain is in the pavilion, and the wind in the valley is in the serenity of the wind.

The wind is very strong, and the pine branches are very strong. The pine's branches are strong, and the frost is miserable.

I'm not sure if I'm not going to be able to survive the cold, but I'm sure that the pine and cypress have their own nature.

The first thing you need to do is to get a good look at the pines and cypresses.

2, Thurso: describe the sound of the cold wind. 3, a Ho: how.

4. miserable: bitter and harsh. 5、罹（ lí ）凝寒：suffering from severe cold.

The first part of the article is about the cold, and the second part of the article is about the cold, and the third part of the article is about the cold. Pine and cypress have the nature of" two sentences is to say, is not the pine and cypress have not been subjected to severe cold aggression? (But it is still as green as ever,) this is the nature of its decision.

7, from the brother: cousin. Comment: The pine trees standing tall on the mountains, against the winds of the valleys.

The wind is so fierce, and the pine branches are so strong! Let it full of frost miserable miserable, the pine tree waist pole end of the year. Is it the pine tree did not encounter heavy cold? No, it is the nature of the pine tree that is resistant to cold! Author introduction: Liu Zhen (180-217), the word Gonggan, the end of the Eastern Han Dynasty Dongping Ningyang (today's Shandong Province, Ningyang County, Shandong Province, Sidian Town, Gucheng Village) people, the Eastern Han Dynasty celebrities and poets.

Appreciation: This poem is called "Gift to My Brother", but there is not a single word about brotherhood.

This poem is called "Gift to my brother", but there is not a word about brotherly love.

This is because the poet uses symbolism, using the pine tree to symbolize his own interests, sentiments and hopes. The first time I saw this is when I was a young man, and it was a very good thing that I was a young man.

But once the poet injects the landscape, trees, wind, frost, thunder and lightning with his affectionate gaze, and the natural world, some of the characteristics that are common to human beings collide, it will explode into a touching spark. This kind of symbolism was used by Qu Yuan before Liu Zhen, and after Liu Zhen, it is even more common, and forms one of the traditional characteristics of classical Chinese poetry.

Expanded information:

"Gift to my younger brother" (the second) seems to be an aria, but in fact, it is a statement of will, borrowing from the strength of the green pine, to make clear the determination of the steadfastness of the will. The whole poem from the surface to the inside, from this to the other, the moral is far-reaching, strong and vulgar.

The pine's noble attitude moves people's thoughts, and the wind's solemn sound forces people to be vigilant. The "Ting Ting" symbolizes the proud posture of the pine, and the "Thurso" is used to simulate the piercing sound of the wind.

The picture and sound, concise and vivid.

The pine's proud posture is reflected in the "valley" and the "mountain", which highlights the pride of the pine at the center of the poem.

From the fierce wind to the cold frost, from the pine branches of the strong and broadened to the year-round always upright, more and more show the harsh environment and the characteristics of the pine cold and wither. The poem's mood is extraordinarily far-reaching, and the tone is even more tragic and sublime.

The contrast between the pine tree and the environment is also more distinct, and the value of the character of the pine tree is also more prominent. The poet from the outside and inside, from the surface to the deep, the reader's eyes from the "pavilion" "upright" appearance to the inner nature of the pine tree, which shows that the reason why the pine tree is not afraid of the wind and cold, because of the chastity of the high moral character.

The whole poem is centered on the pine tree, written in a concentrated and compact. The song is repeated, but not flat and monotonous.

The words are simple and unadorned, and the bones are strong and powerful. It doesn't emphasize on the detailed description of the brushwork, but is good at penetrating into the core of things layer by layer.

Liu Zhen, if he writes about his inner feelings directly, it will be easy to reveal them, so he borrows the pine tree's purity to imply his feelings, to encourage himself, and to encourage his younger brothers as well. The whole poem is about the brotherhood, but the purpose of the poem is more savorable.

5. Combined with the prose describing the landscape to talk about the understanding of the ancient "landscape than virtue"

"Than virtue" is the natural landscape, grass and trees of the form and some of the human inner character or moral correspondence for the imagery, metaphor, so that the natural personification, spirit, and the spirit of the people.

"Bide" is an imaginative comparison and allusion between the natural landscape and the corresponding relationship of certain intrinsic human virtues or morals, thus personifying and spiritualizing nature, and materializing and objectifying human thoughts and emotions.

In this way, the natural landscape and human temperament will communicate with each other, and the two in the appropriate integration of convective movement of each other into one, thus constituting the unique Chinese landscape culture and landscape art. "Landscape than virtue" began with Confucius, although Confucius did not have much to say about painting, but he would "paint things" and "Tao", "virtue", "benevolence", "virtue", "benevolence", "virtue" and "benevolence".

Confucius was the first to use the term "painting" in the context of "Tao", "virtue", "benevolence" and "art", creating a precedent for the comparison of virtues in landscapes.

Confucius in the "Analects of Confucius - Yong also" said, "The son said: 'The wise man enjoys the water, the benevolent man enjoys the mountains.'" This contains the appreciation of natural beauty, and contains the praise of benevolence and wisdom, both of which are more than dependent on each other, becoming an organic whole.

This is the main contribution of Confucius to Chinese landscape painting. The Taoists also have a similar discussion on "Bide".

Laozi used water as a metaphor for the Tao, communicating the virtues of water and the nature of the Tao, so that the two reached the realm of mutual virtue. Zhuang Zi specializes in the development of the side of "happy mountains" and "happy water", with the attitude of "beneficial to things" and "spring with things". The attitude of devotion to nature has become the spiritual archetype of landscape painting in later generations.

"Bide" was also developed in the Han Dynasty, and Dong Zhongshu and Liu Xiang were the representatives. Dong Zhongshu in the "Spring and Autumn prosperous dew - Ode to the mountains and rivers" cloud: "the mountains ...... seem to be like a man of benevolence ...... water is like a man of virtue"; Liu Xiang's "Saying Yuan - Miscellaneous Words" respectively, from the "seems to have rituals", "seems to have virtue", "seems to be a saint" and other perspectives on the "water of joy"; on the "Le Shan" also has a unique insight, once said: "'Why is the benevolent person to enjoy the mountain'? Said: 'If the mountain ...... of the people of the view of the ...... country to become: is the benevolent so Le Shan also.

'" People's understanding of landscape has a development process. Eastern Jin Dynasty, the famous writer Zuo Si "inviting hidden poems" in the said "not necessarily silk and bamboo, landscape has a clear sound", the geographical meaning of "landscape" has pointed to the aesthetic value of "landscape". "

Since then, it has been a long time.

Since then, people's view of the landscape is transformed into an aesthetic experience of nature. "Landscape Bide" will be "natural humanization" and human "objectification", so man and nature landscape through the "Bide" this intermediary to achieve interaction and integration. This intermediary realizes the interaction and integration, which has a far-reaching influence on the intention of Chinese landscape painting.

The real independent landscape painting was formed in the Eastern Jin Dynasty, which has a lot to do with the "landscape than virtue". Wei Jin advocate humanism is the awakening of people as a sign, the main content of Wei Jin metaphysics lies in the ontological construction of personality.

In the Cao Wei era, due to the prevalence of metaphysics, more attention was paid to the character of the spirit of the character from the comparison of natural objects. From Wei to Jin, the scribes accomplished the proposition of the era of "the metaphysics of landscape".

With the growing maturity of cultural psychology, art theory, formal skills, as well as by the "human object algae", "landscape appreciation will" to the natural empathy, landscape and painting landscape painting theory also came into being. The Southern Dynasties appeared Zong Bing, Wang Wei and other landscape painters, these two people are not only art practitioners, but also art theorists.

Zong Bing's "painting landscape preface", Wang Wei's "narrative painting" and other theoretical works of landscape painting, fully embodies the "landscape than virtue" idea. In the Tang Dynasty, Zhang Zhang was good at painting pines with pendant of jades on coronet, and as a support for life's aspirations.

He will paint the pine and human sentiment organically linked together, its paintings and "Tao" associated, so as to achieve the purpose of Bide. Jing Hao, who entered Liang from the Tang Dynasty, wrote "The Record of Brushwork", which is a painting theory full of "Bide".

It inherited the Confucius "landscape than the idea of virtue", the object to express their aspirations, to the pine as a metaphor, advocating the "gentleman's style". This kind of spirit of relying on objects to express one's will, and emphasizing character cultivation, had a great influence on the painting theories of the later generations and the painters' behaviors.

The idea of "comparing virtues" in painting developed rapidly and became fashionable, appearing in the Song Dynasty. Ouyang Xiu used the phrase "the joy of the mountain and the forest" as a metaphor for the gentleman's style of relaxation and contentment.

The one who succeeded Ouyang Xiu and accomplished the great work of the Poetry and Literature Movement of the Northern Song Dynasty was Su Dongpo. Song Wen Tong is best at painting bamboo, he praised the bamboo of the "false heart", "strong section"; Su Zhe said bamboo "pale in both cold after ...... chasing pines and cypresses to be even The first time I saw this, I was in the middle of it.

Song people on painting is not focused on the art object or object, but on the "Road", "heart", "virtue", focusing on the subject of the inner spiritual world. Deng Chun in the "painting - miscellaneous" on Li Cheng's landscape painting also made a Bide-style evaluation, he said: "Li Yingqiu multi-talented enough to learn the matter ...... of its made cold forest ...... to Xingjunzi's in the wild. "

By the Yuan Dynasty, Huang Gongwang, Wang Meng, Ni Zan, Wu Zhen as the representative of the literati painters labeled "temperament", "escape", advocating "suitable interest", "Self-indulgence", "Three Friends", "Four Gentlemen", "Five Purities" and other painting subjects are increasingly prosperous. Literati painters with objects to symbolize the spirit of "Bide".

The Ming and Qing dynasties, more on "Bide". Wen Zhengming said: "The ancient hermits wrote a lot of snow scenes, the cover wants to pretend to send the cold and bright and clean meaning ear.

; Wu Lili in the "Mojing painting trek" in the cloud: "the bamboo of the precious, to paint its temperament ...... "; Yun Ge words: "Yu painting trees like to make Joaquim ... ... ...can be compared to a gentleman ......"; Shi Tao quoted Confucius's idea of "the benevolent man enjoys the mountains and the wise man enjoys the water" in "The Bitter Gourd Monk's Record of Paintings - Ziren Chapter," which combines "mountains" and "water" into a single work. In his "Bitter Gourd Monk's Record of Paintings - Ziren Chapter", Shi Tao quoted Confucius' idea of "The Benevolent are happy with mountains and the Wise are happy with water", comparing the spirituality of "mountains" and "water" to the spirituality and morality of human beings, thus advancing Confucianism's idea of "comparing virtues" one step further, revealing the relationship between the natural characteristics of mountains and waters and the aesthetic It reveals the relationship between the natural characteristics of landscape and human aesthetics, and points out that natural landscape is the greatest education for artists. From this point of view, "landscape than virtue" has y influenced the aesthetic perception of Chinese landscape painting, and its main contents are as follows.

"Landscape Bide" in the "unity of heaven and man" worldview, aestheticism, under the guidance of the human subjective aesthetic emotions "into" the natural objects that can be viewed, this "empathy", "empathy", "empathy", "empathy", "empathy", "empathy", "empathy" and "empathy". "Empathy" so that nature and man to achieve assimilation and **** Ming, where the subjective and objective, the subject and the object are completely one, thus forming the aesthetic norms of Chinese landscape painting - the organic unity of the creation and the origin of the heart. The continuous infiltration of the idea of "landscape is more than virtue" into landscape painting has strengthened the spontaneity and expressiveness of landscape art, and demonstrated the comprehensiveness and uniqueness of Chinese landscape painting.

Under the influence of the idea of "landscape is better than virtue", Chinese landscape painting gradually formed a relatively fixed subject matter and painting subjects, plum, orchid, bamboo, chrysanthemum and other "Four Gentlemen" image has long been the Chinese literati landscape painting favored by the subject matter of literati painters. The literati painters "to object" into a kind of.

6. On the 'Bide' "empathy" symbolism 'connection and difference

"Bide", simply put, is the characteristics of natural objects such as landscapes, flowers, birds and other analogies, symbolizing the character of human personality, with the natural attributes of the natural objects and the social attributes of people compared.

Tracing back to its roots, "Bide" is derived from the application and derivation of the I Ching's image thinking and the Poetry Classic's "Bixing" technique, which was first put forward by Confucius, the founder of Confucianism, in the Analects of Confucius, and named by Xunzi in the Xunzi - Laws of the Line, two thousand years ago. Named by Xunzi in "Xunzi Fa Xing", more than two thousand years ago, Confucian scholars continue to supplement, play and improve, and even in the revival of Confucianism in the Han Dynasty (Jingxue) and the Song Dynasty (Rixue) to carry forward and expand. Along with Confucianism, "Bide" has influenced people's aesthetic concepts of natural landscapes for more than 2,000 years, the overall face of landscape poetry and painting, as well as the culture of various levels of elegance and vulgarity.

In the view of the ancients....