Who knows more about the culture and history of the Song Dynasty (Northern Song Dynasty), please help, thank you! !

History can be seen in the history books of the Song Dynasty.

Northern Song Dynasty culture:

I. Discussion on Su Shi's Spirit and the Culture of the Northern Song Dynasty Ouyang Xiu's poem "Reading in Zhenyang" says: "Open your mouth to introduce current events and strive for glory." [1] Ceng Gong "On the merits and demerits of the chaos of ancient and modern times, we must test all the ways and be degraded to the world." [2] Cheng Yi "takes the world as his own responsibility, talks about praise and blame, and has nothing to avoid." [3] Yan Yu's "Discrimination of Cang Shi Lang Petrochemical": called "modern princes" and "taking discussion as poetry". [4] Preface to the History of the Song Dynasty (volume 173) reads: "People in the Song Dynasty are generous if they keep their word." Chen Bangzhan's Chronicle of the History of the Song Dynasty contains 56 volumes: "The Song people have not decided yet, and the (Golden) soldiers have crossed the river." The word "Yi" shows a prominent feature of the cultural spirit of the Northern Song Dynasty.

There are many reasons for the formation of this discussion spirit in the culture of the Northern Song Dynasty. To sum up, there are roughly the following levels: first, it is related to the generous cultural policy of the northern song government; Second, it has something to do with the high cultural accomplishment of the Northern Song Emperor and his respect for tolerant literati. Third, it is related to the comprehensive establishment of the civil service political system in the Northern Song Dynasty. Fourthly, it has something to do with the system of remonstrance made by the Northern Song Dynasty to strengthen centralization and curb mutual rights. Fifth, it is related to the Northern Song Dynasty advocating direct remonstrance, encouraging discussion and opening up the road. Sixth, it is related to the reform of the imperial examination system in the northern song dynasty, abolishing poetry and fu and trying out the strategy theory; Seven, the northern song dynasty imperial examination provides more equal and free competition opportunities are

The discussion spirit of Northern Song culture originated from Song Xue, the core of Northern Song culture, as Lu You said: "In the Tang Dynasty and the early days of the founding of the People's Republic of China, scholars dared not discuss Kong Anguo and Zheng Kangcheng. Were they saints?" Since Li Qing, Confucian classics have been invented, which is beyond the reach of predecessors. However, it is not difficult for us to question the classics, convey the facts and pay attention to them by sorting out the order of conjunctions, destroying the Rites of Zhou, doubting Mencius and mocking the history of Mencius. "[5] From this, Song people not only discuss knowledge and Confucian classics, but also discuss current affairs and politics; Not only with modern people, but also with the ancients. Academic, political, literary and even painting fields also reflect this spirit of discussion. Su Shi called painting theory "common sense" [6]; Shen Kuo said that the beauty of calligraphy and painting lies in "creative thinking" [7]; Mi Youren said: "Ziyun paints with the character as the heart, and the characters of people who are not poor can't be correct. It is to paint for the sake of saying and painting with heart. " [8] and so on, saying "common sense", "making reason" and "poor reason" are the core propositions of the spirit of cultural discussion in the Northern Song Dynasty. The "principle" painted here, the so-called "thing is a principle" by Shi [9], the so-called "everything is a principle" by Su Zhe [10] and "everything is a principle" [1 1] all reflect the spirit of cultural discussion in the Northern Song Dynasty from one side. Su Shi's Poems of Xu Yi declared that Yan Taichu's poems were "wrong in the contemporary era" [12], and Su Zhe's Epitaph of Mr. Dongpo declared that Su Shi's theory of "managing chaos in ancient and modern times is not empty talk", which is exactly the same as the pulse of cultural discussion spirit in the Northern Song Dynasty. Su Shi's Spring and Autumn Annals said, "Why are saints so extraordinary? "? I don't know his likes and dislikes, but I don't ask for the joys and sorrows in his words. Is the so-called chaos. "[13] This assertion has sounded the alarm for those scholars who worship the pre-Qin classics.

Argumentation is a remarkable feature of Su Shi's poems. Zhang Jie, a poet in the Song Dynasty, pointed out this feature of Su Shi earlier, and Zhang Jie advocated that words should be reserved and unobtrusive. Starting from this expensive and implicit proposition, he criticized in "Poetry in Old Cold Hall": "Zi Zhan writes poetry by argument, ... a scholar can't be long, but he gets short first, and the poet's meaning is swept away." [14] A more systematic and influential criticism was put forward by Yan Yu. His "Cang Shi Hua Bian" advocated: "The so-called people who don't care about Tao and don't talk about things are also superior. Poets sing about love. In the heyday of the Tang Dynasty, people were interested in nothing but interest. Therefore, its beauty is thorough and exquisite, and it cannot be parked together, such as the voice in the air, the color in the phase, the moon in the water, and the image in the mirror. " Then, he pointed out to Su and Huang: "Modern kings made strange interpretations, so words are poems, learning is poems, and discussion is poems." After [15], many commentators criticized that being argumentative was Su Shi's shortcoming. There are two reasons for this:

First, the default position is to take the Tang poetry (especially the poems of the prosperous Tang Dynasty) as the orthodox eye, with local accent and local flavor. In their minds, the subjective and non-subjective aesthetic taste represented by Tang poetry has become a standard and habit accumulated over time. Reading Su Shi's poems with this mentality, even if the arguments are superb and brilliant, will eventually feel that it is a deviant and unconventional language, rather than the lyrical nature of Tang Yin or poets in my hometown.

Secondly, although in Su Shi's poems, discussion does not mean rejecting discussion and purely pragmatic language, such as metaphysical poems and Neo-Confucianism poems, after Su Shi's poems, discussion divorced from image and emotion and was pushed to the extreme of "reasoning obstacle", so Su Shi was widely criticized as the initiator.

As far as the first point is concerned, Tang Yin and Song Diao have their own merits, and the previous theories are also fully prepared. As far as the second point is concerned, in fact, Su Shi's argumentative style is not water without a source and a tree without a root. Ye Xie pointed out in "The Original Poem": "Those who have not commented on poetry will soon extend the Tang Dynasty and short the Song Dynasty. There is a saying that' Tang people take poetry as poetry and dominate temperament', which is close to' 300 articles'; People in Song Dynasty take literature as poetry, and the main exposition is far from "300 articles". What a fallacy! Commentators on Tang poetry, Du Fuye and Du Fugu, have a lot of comments. Long's works, such as Love in Fengxian, Northern Expedition and Eight Sorrow, why talk about it? And the discussion belongs to the Song people. Why? He doesn't know what is discussion and what is not discussion, but he points out the evil of the times! Moreover, in the Three Hundred Articles, there are two "elegance" as discussants, which is quite a lot. He didn't know that "Three Hundred Articles" came first, so he could know the poems of later generations! If the Song people take prose as poetry, then Li Bai's Yuefu long and short sentences are not prose! Du Fu's front and back dikes and Tongguan history. There are no sentences that look like articles! For this statement, I didn't see either the Song poetry or the Tang poetry. It is really the scholars in the village who listen to them and steal a word to surprise them. " [16] Shen Deqian criticized it in "On Poetry", but said briefly: "It seems that people say that poetry is mainly about temperament, but not about discussion. This is also true, but it is not entirely true. Think about the second "elegance", where is it not discussed? Among Lao Du's ancient poems, there are many works, such as Yong Huai, Northern Expedition, Eight Sorrow, Shu Xiang, Yong Huai, General in Recent Times and so on, which are purely argumentative. "[17] On second thought, there are more clues in the Book of Songs than in Er Ya, which can be called typical arguments into poems, such as Cutting Tan, Eating Mice, July and Shuo. Since the Han and Wei Dynasties, Zhao Yi's sick poems, Ban Gu's and Zuo Si's epic poems, Cao Cao's Walking Out of Xiamen, Bao Zhao's it is hard to go and many Tao Qian's poems are also full of discussions. Chen Ziang's Youzhou Tower in the early Tang Dynasty is a masterpiece, but it is purely a discussion. Li Bai's "Shu Dao Nan" begins: "Hey, shh! High risk! It's hard to fly to heaven! " There is no lack of discussion in the middle. In addition to Shen Deqian's remarks, Du Fu's poems include "Play is six quatrains", "Wang Zai paints a landscape song" and "Yang Jian shows Zhang Xu's cursive script in the temple", which will be further popularized in the field of poetry and painting. Later, Han Yu took Wen as a poem and integrated the discussion of Wen into his own poems. Bai Juyi's works, full of arguments and winning by reason, actually opened the door to discussion in Song poetry. By the Northern Song Dynasty, "all the literati lived in Bai Letian's poems except the country at the beginning of the Five Dynasties." [18] With the arrival of the king of Europe and America, both Du and Han are highly valued, and the tendency of discussion in Song poetry is quite popular. "Preface to Linchuan Song Poetry Collection" bluntly said: "There are too many monographs (on Wang Anshi's poems)." From the endless clues of poetry development, it is not difficult to see the historical evolution process of poetry from gestation, production to development. With this history, the discussion style of Su Shi's poems is clear at a glance, such as the Book of Songs, his works and the origin of Li, Du, Han and Bai's poems. It can be said that Su Shi's discussion style is the inheritance and development of the above-mentioned inherent poetic tradition.

Although Su Shi's poetry discussion has the historical origin of the above poetic tradition, it can become the most prominent feature of poetry in the Song Dynasty, and it is the direct and profound influence of the spirit of cultural discussion in the Northern Song Dynasty on the times. Of course, the spirit of cultural discussion in the Northern Song Dynasty is related to the seven external factors mentioned above, such as cultural policy, but when it comes to the influence of this spirit of discussion on Su Shi, its relationship has not been directly touched. For example, the Tang Dynasty was also emancipated and politically broad. Why didn't Tang poetry become argumentative? In essence, the specific meaning of the discussion spirit in Song Dynasty is embodied by the spirit of rationalism culture, which is speculative and subjective, which is a spiritual element that Tang Wenhua really lacks and an important difference between the two cultures. Although the Tang Dynasty embraced Confucianism, Buddhism and Taoism, in the history of China's philosophy, only Buddhism flourished in the Tang Dynasty, while Confucianism, Buddhism and Taoism were relatively indifferent. Especially for Confucianism as the core of traditional culture, the Tang Dynasty paid more attention to righteousness than reason. On the whole, his philosophical speculation is far less developed than that of Zhao and Song, and his critical consciousness and rationalism of academic thoughts are far less developed.

It can be said that Song-style culture represents the promotion of rational factors in traditional culture, while Tang-style culture represents the promotion of perceptual factors in traditional culture. Forged from the Song culture, it is a reflection on the life universe and an understanding of intuition and sensibility. Therefore, even if there is a spring flower-like life sentiment, it often ends in a humanistic realm of indifference and brilliance. What emerges from the culture of Tang Dynasty is the singing of the life universe and the touch of intuition and sensibility, so even experienced rational thinking is often reduced to a perceptual image in expression. This difference is not only the irresistible influence of the specific political and economic background, but also the inevitable result of the innovation of traditional culture since the middle Tang Dynasty. One of the important factors is that the dominant position of cultural development has been transferred from the imperial clan to the common people. The cultural spirit dominated by the aristocratic class in the Tang Dynasty is consistent with Tianyu's heroic and martial arts. It is a divergent and high-spirited style, which is strongly controlled. In the wonderful wine and songs, Bob developed a vigorous flame of life. The cultural spirit shown by civilian intellectuals in the Northern Song Dynasty is in line with their poverty-stricken and weak national conditions. It is a kind of concise and invisible style, sincere and introspective, sipping tea books deeply and tasting the supreme life of the universe.

Su Shi's poems, like a barometer, sensitively reflect the shift and evolution of the cultural spirit of this era, actively adapt to the needs and calls of the rationalization of the theme of the times, carry forward the poetic tradition of aesthetic criticism since Han and Confucianism, and at the same time pay attention to giving up his pale view of pure education and integrating the poor aestheticism since Wei, Jin and Six Dynasties into his creative thinking. Endless meaning, see beyond the text "[19]; While carrying forward the spirit of ideographic freehand brushwork, don't neglect the work of praising things and strengthening scenery. On the one hand, accept the inherent difference between situational interaction and rational discussion; At the same time, I began to explore the organic integration and mutual penetration of interest, rationality and temperament, trying to combine metaphor, implication with discussion and expression to express endless significance in lyric scenery writing. Therefore, we say that the main contribution of Su Shi's poetry is not to abandon the tradition of "poetry should think in images" before the Song Dynasty and replace it with abstract and tasteless discussion, but to reasonably inherit the tradition of thinking in images and reflect and carry forward the discussion spirit of this era culture. Only by reflecting the spirit of the times can we represent the times; Carrying forward the spirit of the times can lead the times. At this point, it is precisely because Su Shi's argumentative style timely reflects and carries forward the spirit of the times of the Northern Song Dynasty culture that it represents and leads the new exploration of China's classical poetry in artistic style and meteorology during the transformation from Tang Dynasty to Song Dynasty. It is precisely because of this that Su Shi expanded the original expression range of classical poetry and enhanced the original expression ability, thus opening up another realm of classical poetry. This state makes people feel and realize that the charm of poetry can not only lie in the blending of scenes, but also in the interest.

We say that the expression of temperament is one of the basic characteristics of poetry, but from the perspective of psychoanalysis, people's psychological world is a complex organic whole system, and there is no boundary between knowledge, emotion, will, intuition, reason and subconscious. In aesthetic activities, they especially penetrate and communicate with each other. Among the basic elements of poetry, any one of image factors, emotional factors, intellectual factors and rational factors will change obliquely, which will lead to different styles and weather of poetry. Su Shi once said: "At first, curiosity was religion, and abnormal harmony was interest." [20] Su Shi's poetry is the concrete embodiment of Su Shi's aesthetic ideal and pursuit. In the poetry system, perceptual factors and intellectual factors are indispensable. Su Shi's poems integrate arguments into poems, highlighting, emphasizing and inclining the latter, opposing the normality of Tang sounds and creating the interest of Song sounds. Interest in reason is one of the important manifestations of this interest, and discussion is one of the important manifestations of this interest.

To say the least, discussion and poetry belong to two different categories, but they are not incompatible. As a means of expression, the former is juxtaposed with lyricism and narration. As a literary genre, the latter is on a par with prose and ci-fu. The relationship between the two is similar to the relationship between "writing carries Tao" and "poetry expresses ambition", which seems to be tit-for-tat, but in fact, they are incompatible, and can even be said that their wings complement each other. Every literary genre can be expressed through discussion; Every technique of expression can be applied to poetry. There may be a problem that a certain expression is more suitable for a certain literary genre, but there is no natural gap between expression and literary genre, between discussion and poetry. If necessary, we can discuss poetry, and the discussion can be poetic. As long as you use it properly, you can fully and appropriately show your extreme thoughts.

From the inside of poetry, Chen Xiangyin is by no means a proper way to develop the art of poetry. In the early Northern Song Dynasty, the pattern of Tang poetry was blindly imitated and copied, and it was very biased. Therefore, whether it is white style, Kunxi style or late Tang style, it is a flash in the pan with limited influence. Fan Zhongyan said: "If you can't walk, there will be many influences, which will make you decadent and arrogant." [2 1] Mei said: "The Tao has been quite lost recently, and everything is empty. Smoke clouds write images, and flowers are green and red. " ("Answering Han Sanzi's Flowers ...") That kind of empty romantic scenery has really been difficult to adapt to the new aesthetic taste of the Song people who are not amazing and sensible. The times urgently need a new revolution in the aesthetic concept and consciousness of poetry.

Judging from other literary genres besides poetry, the revival of the ancient prose movement and the rise and growth of Song Ci in this period were attacked from both sides, which prompted Song people to explore new ways in poetry creation and concept. Ci made Song Ci feel ashamed in expressing mysterious feelings, and had to give up part of lyric territory and occupy part of freehand brushwork territory instead. The ancient prose movement further accelerated the pace of taking prose as poetry and opened the gap between poetry and prose. The former makes Song poetry retreat from lyricism in content, while the latter makes Song poetry advance in form. The combination of the two contributed to a new liberation in the history of classical poetry.

As a result, the standard-bearer of this revolution and the leader of this liberation, Su Wan, appeared in time. The dual identity of a politician and a master of Shu studies is an important factor for Su Shi to be good at argument. Su Shi has been "striving for the ambition of the present world" since he was a child (Su Zhe's Epitaph of Mr. Dongpo), and after becoming an active participant in the political arena of the Northern Song Dynasty, he even advocated that "poetry should do something" (the second of Liu Zihou's two poems); "Because of the poet's intention, he sought it with irony and made it up for the country" (Su Zhe's Epitaph of Mr. Dongpo); "Concise and to the point, no pains are spared, and what you say must be a mistake in this world" (Preface to Mr. Xuanyi's Poems); "What contains irony reaches the top after several times" ("Qi Jun Miscellaneous Son"). He also said: "Fresh as a courtyard, though beautiful, I never forget it" ("Two Rhymes of Zhu Guangting's Happy Rain"), "The ancient history of the Spring and Autumn Period is a family law, and poetry pens are also used when Lisao is away" ("It's too expensive to send books and wine ..."). Su Shi's understanding of the relationship between poetry and politics is in the same strain as the spirit of the new Yuefu since Du Fu and Bai Juyi. However, the political ambition and determination of "I was full of ambition at an early age and dared to save when I was young" ("Let Liu Ziyu refuse to eat when he was old") and "I dare to make an appointment for a chicken and want to discuss it in the Jade Hall" ("Two Rhymes of Jiang Yingshu") made the discussion in Su Shi's poems more and more striking.

The famous Wutai poetry case was triggered by the discussion in Su Shi's poems. Song Peng's "Dongpo 90,000 Wutai Poems Case" records "prison miscellaneous children", which says: "Your Majesty Gai gives money to help the poor with his own business, and (Su Shi) said,' The sound of winning the child is good, and it is better than the city in one and a half years'; Your majesty knows the law and judges the county magistrate with lessons, then he says,' Read thousands of books without reading the law, so that you know nothing'; Your majesty built water conservancy projects and said,' If there is a clear mind in the East China Sea, it should be taught to turn brine into mulberry fields'; Your majesty wanted to ban salt, so he said,' smell salt and forget the taste? In the last March, you ate salt-free food. Other people who touch things are all supposed to say, and they are mainly slandering. [22] Criticism of political opponents is far-fetched and profound. For example, Wang Jue's misinterpretation of Su Shi's "Two Poems of Wang Fuxiu's Double Pavilion" is even inconsistent with Song Shenzong's. [23] However, it is not completely unfounded to refer to the works involving political affairs in Wutai Poetry Case listed in Volume 21 of Chronicle of Song Poetry. "Houshan Poetry Talk" once commented: "Su Shi began to learn from Liu Yuxi, so he complained a lot." [24] After being frustrated and repeatedly relegated in the officialdom, the bumpy situation made Su Shi have a profound understanding and observation of society and life, and the discussion in the poem became an effective weapon and way to sum up the past, learn from the present world, dispel sadness and transcend himself.

As a giant of Shu school, Su Shi is complacent in speculative philosophy and proficient in Confucianism, Buddhism and Taoism. Huang Tingjian called Su Shi "going deep into the grottoes" [25]; Qin Guan also said: "The way of Su (Dongpo) is the deepest when life is proud." [26] Su Zhe, who knows his younger brother best, recalled Su Shi's scholarship and said, "At the beginning, Jia Yi and Lu Zhi wrote a good book to control the chaos of ancient and modern times, not for empty talk. After reading Zhuangzi, he sighed and said,' I have seen it in China before, but I can't speak it. "It's my heart to see Zhuangzi today." ……? After reading Shi's book, I have a deep understanding of the reality. I have no difficulty in arguing, nor have I seen its limits blankly. "(Epitaph of Mr. Dongpo) Hong Tong's extensive knowledge, complacent knowledge and rich cultural accomplishment have undoubtedly become the internal basis for Su Shi's successful argument.