Author: Liu Shilin, president of the city Department of Shanghai Jiaotong University Institute of Science, Professor
May 2021 to July, the Palace Museum and the Museum Suzhou Wuzhong cooperation “organized under the south – the Exhibition Palace Museum Qianlong period,” Wu exhibited in the museum. National Palace Museum exhibition featured closely related to the court of Emperor Qianlong Tibetan cultural relics 116 (sets), including the palace artifacts and Suzhou closely related to more than 60, not only demonstrates the Qing Dynasty silk weaving dyeing Suzhou embroidery, jade, lacquer, etc. unique technology, also carries the cultural memory Qianlong six southern tour.
Qian running script “front imitation Zhengming Ode volume” (partial) Palace Museum
Qianlong six southern, it was later relish a piece of history, and today still people continue speech. Why repeated Qianlong down the south? In addition to political and economic reasons, he, urban life and the fine arts of love for the natural beauty of the south, is also an important reason, which you can get a glimpse of a generation longing and pursuit of imperial Jiangnan poetic culture.
In 1784, between lunar and Qianlong’s southern tour Hangzhou Grand Canal to the southern tip, this is his sixth and final trip to the south. Qianlong himself probably realized that the future will not come again, so in Hangzhou issued the famous “southern tour imperial mind”, the emperor gave to his long career in an overall assessment: “Linyu fifty years, who held two event, said a West division, second southern tour. “” West division “refers to the two years between 1755 to 1757 to enter the Ili, Junggar finally put down the rebellion, the lifting of the border scourge. “Southern tour” refers to his life six southern, live local forces, soothe the people, the southern region has become the most powerful support Kangxi and Qianlong. These two aspects, one is the “martial arts”, is a “sandwich” the highest ideal of Chinese emperors, Qianlong are basically here. This is a deep-seated reasons he published “southern tour imperial mind” smug in Hangzhou.
New Zealand jade dragon pay “seventies emperor treasure” Palace Museum
About Qianlong southern tour is not always have to Hangzhou, has views of academia is not the same, but each will to Suzhou is certain. Although the once-great Wenzhiwugong gradually submerged in history, the legendary emperor but did not completely exit the arena. Qianlong six southern is not only history, but also an ongoing cultural scene is constructed. Qianlong had stopped along the pier, ranking the building stopped, wrote inscriptions and other mark, a variety of perspectives, opinions, theories, text, etc. constantly being refurbished and “reproduction” come out, we can see the history of Qianlong six southern and not because of the emperor and even career the end of the Manchu dynasty and end. About 240 years later, in 2021, the museum Suzhou Wuzhong first collaboration with the National Palace Museum’s “under the south – the Palace Museum Qianlong period of the Exhibition”, a selection of the Palace Museum and Heritage Qianlong palace close to 116 (sets ). These artifacts return visit, this is the grand historical narrative “Speak.” Although not a monarch Yu Jia in person, nor was a walk along the Grand Canal in a while, but the so-called “Duwusiren” by Choi Jin Kesi dragon clip toward the male gown, jade dragon cross New Zealand “Royal den treasure”, Qianlong bodiless daisy-style red lacquer tray, etc., people can not only relive the history of the scene when the emperor’s southern tour, is also looking for cultural karma between the city of Suzhou and the Forbidden City.
Bright yellow tapestry clouds gold dragon robe male clip towards the Palace Museum
“Only people, only aesthetic.”
In discussing the principles of Chinese literati aesthetic life, I have put forward the “freedom outside the temple,” the proposition, that the ancient literati free or not, and their involvement in the political reality is inversely proportional to the depth. Chinese scholar’s freedom is not in their official red-hot, but often after they retire and return home, away from the battle and storm the court, will it be possible to live a not contrary to the wishes of their lives. For the purposes of the emperors, the law also exists. The impact of traditional culture, mainly literati way back to nature, swim in the arts and fled to Zen. Southern and southern culture, both beautiful natural landscape, embodies the aesthetic beauty of ancient Chinese art, there are “Southern 480 Temple,” the Drum and bell, becomes emperors in struggling campaign and governance, need to rest and get spiritual comfort choice.
Wen Zhengming “snow landscape axis.” Palace Museum
In this regard, it can be understood by comparing the Kangxi and Qianlong. Kangxi had six southern life, some people even think Qianlong’s southern tour intends to follow in his grandfather. But they also have differences. If we say, Kangxi southern tour mainly to control river traffic, rectify the official, understanding of economic production, look for discoveries that are available such as the “practical” purposes, then, Qianlong’s southern tour even though there are these basic demands, but also includes more more rich content, the core is a natural beauty of the south, urban life and the fine art of joy and longing. In other words, although the southern tour has a political purpose, but the reality of utilitarian Qianlong at least less direct and naked. For this reason, we can say that Emperor Qianlong better understand and feel than the southern United States, southern Qianlong is a more complete and closer to “Jiangnan essence” of the south. In a sense, this is on the south by two different cognitively and needs of the decision.
“Money given to the southeast, Esa humanities Tau.” This is the Kangxi southern officials wrote a poem. Poetry as voice, real southern exposed Kangxi mind. As Marx said, “worried the poor even for the most beautiful views are indifferent,” Kangxi attention to the south, mainly because of huge material wealth and human resources to the southern region, rather than the mountains, poetry, fireworks and other features and details of the marketplace .
New white jade dragon “affair Mastery”, “calm”, “Tang Poem” groups India Palace Museum
I think, due to the utilitarian purpose, Kangxi’s southern tour did not touch the essence of the south.
This is because: first, “Choi Fu” Jiangnan not unique characteristics, “Land of Abundance” Basu also Empire “money given to.” Second, the “scholar” is not considered a specialty of the southern region, the Central Plains, Yu Zhang and other places of the same “old times.” The reason why the much-loved south, on the surface, one compared to the economically backward regions, the south and more fish rice consumer goods such as silk; the second is economic development, cultural lagging regions compared to the south and more out of the granary after enrichment Chongwen education atmosphere. But in essence, a true southern culture “Poetry eye” that it has a practical reason and pragmatism beyond, representing the highest ideals of freedom and artistic life beyond the aesthetic spirit. To Mohist represented by pragmatism and Confucianism as the representative of practical reason, is the spiritual core of the Central Plains culture, the former primary problem is “there is no food,” that is, “Kazuo unturned, or subject to the hungry; not a woman weaving, or by the cold “; the latter priority concern is the” drive and the good “, ie, after satiate” enlightenment “problem, but on” how to live a more useful and meaningful “this fundamental life issues, especially how to “move towards freedom through art” and “enjoyable by aesthetic” this aesthetic issues, the two virtually no access to. In the area of culture in our country, this is precisely the question raised by the southern culture, and to find the answer by the practice of production and life of the southern region. This is why we say “Jiangnan poetic culture is the culture” roots.
In a sense, the problems and shortcomings of Emperor Kangxi, Qianlong here to a certain extent make up. As supreme ruler of the empire, Emperor Qianlong’s southern tour natural and ultimately “political” and “economic” considerations, but with different Kangxi and Qianlong has not been abandoned love and concern for the southern painting, calligraphy, temperament, garden, food, etc. “Guanfeng asked the vulgar style of the old Code, the new lake Lan color exploration capital” ( “Southern Italian”), which is under the Qianlong Jiangnan in Suzhou, wrote the poem. Each to the south, he would like to become a poet from the emperor artists. He stopped everywhere enjoy the natural scenery, a lot of poems, writing, some are not “write poetry that worry,” but there is a real inspiration and emotion out of it. Suzhou, for example, as “over bridge with Po has Chant”:. “Jin Chang Qing Xiao put a boat trip, Po spring storm Yang Yi light hole fifty-three catharsis, mark up and still see the bridge level”; as “title Wenyuan lion Grove six King · lion forest “:” Nee Shi Lin Mao-Yuan deposit, fax Royal Lakeside Villas de facto into two because of a carry, the co-Xi is not divided love to see this original gull life companion, he still wins the deer. swim group of water, said Wu out mountain male plug, should the River Park Ji with the text “; as” Yin peach Blossom Temple map “:” Wu love to watch Wu Ren painting, the status of Wu people up painting in the world only a period of scattered wood, hut. peach blossoms new complex before suspected. An loose tea at Diao cold, stone cold spring deep groove tasting Seven Zi Zhihuai has been quite Road, Hing Ning cloud River gully worthy Tao. “bridge Suzhou, a chant, a chant Suzhou garden, a Wing Yin’s paintings, there is the poet’s interest to send and aesthetic innovation, both flowing out of his true love and indulge southern culture, but also the release of the psychological and aesthetic sensibility of his personality repressed under imperial mask.
In comparison, although Kangxi attaches great importance to Chinese culture, but only completed the transition from the northern grassland culture of the Central Plains practical reason, even to the beautiful south, his main concern as the country is still ruled the basis of “fiscal Fu” and may be worthy of Dayong “talent.” In contrast, the Qianlong can be described as more and more know how to appreciate the beauty of the south, in addition to care about what he’s concerned about his grandfather, also looking to the liberation of the soul and the spirit of freedom in the spirit of the Chinese nation on behalf of the aesthetics of Jiangnan poetic culture in the south. It just shows a different spirit behind the great-grandfather of two generations of consciousness in the face of northern culture, Central Plains culture and Southern culture, in which the different stages of development and obtained.
The people in this ground a testimony, night clothes Gansi emperor, for bridges, apricot spring, sunny southern farming rain read a knowing even some crazy emotions, somewhat “worthless.” But the history of this phenomenon and a few, some of which illustrate the spirit of the law or password. From an aesthetic principle point of view, can be traced back to Kant “Only people, only aesthetic” – this reveals the highest aesthetic principles of freedom and rule of human nature. Different people and animals, is that people can take place with a non-utilitarian objects in the world, disinterested, free pleasant aesthetic practice. Since only disinterested, disinterested aesthetic and artistic, to repair and treatment of individual trauma and alienation in the real world, so the historical development of aesthetic activity in all his needs in life will become more and more important that Some would rather do this at all. As Western societies as “not Sacrifice for Love,” the prince, the emperor of China, “Jiangnan” fond, also revealed the “aesthetic needs” it is timeless and basic human needs. On the southern culture is essentially an aesthetic in line with the principle of human emotions can activate the function of art and nature, people can directly generate a sense of freedom and a pleasant sense of poetic culture.
“Suzhou Jiangnan better to say”
In “The Scholars” twenty-ninth gyrus, wit Du Shen Qing famously said: “Zhennai dish commission bartender, has Six smoke water vapor.” Why on to the emperors, down to ordinary people, will be on the southern culture fascinated even find themselves unable to do? This can be understood from differences in culture and Central Plains of southern culture.
Chinese culture to the north or south of there, and embodied in the Central Plains and southern differences. And I wrote this difference between the two is called the confrontation between pragmatism and aestheticism. The core values of the Central Plains culture to Mozi “precursors then the text” as the representative, established that “food will often full, then for the United States; clothing will often warm, and then seek Li; ranking will be very safe, and then find music” production order of life, that is most important in life is hard work after the rich have enough material basis, considered again for the United States, Korea and seek music seek spiritual needs. Despite the emphasis on the material basis it is undoubtedly correct, but they can not go and absolute extreme. If culture deeply influenced by pragmatism will go into reverse, the resulting chain reaction is no longer know how to cherish and everyday life, the abolition of sublimation and artistic possibilities. This is the root of Mo Zi criticism “make people worry, people sad, the line can not do anything,” the.
In the southern culture, this extreme overcome and get some adjustments. Although the southern people also understand “precursors then text” or “Life is different from the art”, but due to the belief that “life should be in line to art” rather than to real life at the expense of aesthetic needs, so in dealing with “substance” and “spirit” of conflict and it is more flexible, rather than “either-or”, or that the two “incompatible.”
I think Li Yu “Yu ‘principle is the southern culture or a textbook of life, because it well illustrates the thinking and value system of southern culture. For example, the issue of women not to wear flowers. General view of the Central Plains culture is rich to wear, do not wear no money, if the blind pursuit of vanity, will be harming life. But Li Yu very different view of this, he said: “The rich family, such as beauty too, when I visited flowers, planted in cyberspace, so that cold overnight blind …… prime home, as was Mei Fu, hut a little open space, flowers and trees would also be conducted to prepare for its shallow embellishment purposes. he can be thrifty things, the matter alone can not be thrifty. “(” Yu ‘Volume) in their daily lives, material needs and spiritual needs sometimes violent clashes, but sometimes can be peaceful coexistence, and therefore should not be absolute opposition to both.
From an aesthetic principle, really pleasing aesthetic and spiritual freedom, we must be able to resist the pragmatic, practical reason erosion, but also to prevent from one extreme to another extreme, that exclusion practical, the pursuit of sensual liberation indulgence toward instinct and flesh carnival. For example, the former as “Scholars” Discussion on Mr West Lake, despite living in the south of the ancient “to punch”, but by the influence of the spirit of Confucian ethics moralists, and beauty of West Lake but “look do not look at. ” The latter is as arty merchants, although they can build gardens, build comedian, but the essence is still a group of upstarts and bumpkin. Truly meet the aesthetic and artistic principles, it should be the most important in the ancient southern region of Suzhou. Suzhou good deal of cultural contradiction Culture and the Central Plains culture, construction of a benign complementary relationship, both with a pragmatic spirit to absorb the practical reason of the Central Plains culture, but also to maximize the aesthetic heritage to carry forward the spirit of Southern culture, such as in dealing with the “Road relations “and” device “, not only beyond the Confucian, but also beyond the hamlet. Confucianism and the village school although quite different, but both the “Road” and “an” opposition to the concept is the same. Suzhou culture is a good solution to this problem, Suzhou can put “five tombstones in mind” such a tragic story, Suzhou Flirting can be born with the representative Merry celebrities.
Suzhou culture is an aesthetic form that has accumulated historical content, carrying the real-purpose aesthetic form, which is both intensive and thick. It is both eternal in the world. It has achieved good balance between beautiful and practical, art and life. Unlike pure art or aesthetics, Suzhou culture is similar to today’s technical aesthetics or crafts, essentially uses Jiangnan poetic cultural principles to guide specific production practices and daily lives, but make material objects not only achieve its most direct practical function. It also implements its higher aesthetic value. This is the essence and soul of Jiangnan culture represented by Suzhou. For example, it respects the Confucianism, but it can also put down the body to do Confucianism, rather than only “all the best, only reading high”. For example, there is a high spiritual realm and aesthetic taste, but it doesn’t light the craftsman and actual work. Not only don’t underestimate, but also use a high spiritual realm and aesthetic cultivation to engage in “crops” and “skills”. This is the social soil that forms “Yili Jade, I will push Su-gun”. Jiangnan culture represented by Suzhou creates a fine-selling quality of the royal essence, such as this “Jiangnan” exhibition and Suzhou related more than 60 court cultural relics, and created a “nuclear boat” record Everyday play: “Tongfang a boat, for the five, for the window eight, for the awk, for the awkward, for the furnace, for the pot, for the hand volume, for the rosary, the couplet, the title, the words, the words, three, four However, the head of his longevity is not overch. Energy.
In the long history, the aesthetic genes and poetic experience of Jiangnan culture gradually accumulates a life of the Jiangnan people. Like Du Fu’s poems “words are uncomfortable,” Suzhou people have played the pursuit of production and life. ” It is the realm of being in the world, “or” minus one point is too short, the one is too long “, which has become the sample and standard of ancient Chinese culture and life. Such as Wang Wei, “Improvisions”, “Into the golden, stationery, figures, treasure ashamed, have increased, if the spin is painted, since Zhejiang Song, Today, it is exquisite, and the humanity is good and the property is much more. It is especially true for people. ” Yimei, thinking that it is also Fu Zhen, Wu Yi, and Wu Yiren in the service; four-party expensive, and Wu Yiren, “such as Xu Fu” Guang Fu Zhi “volume 1:” Ten people Liuqi, especially in the south of Van Jiang, is a great interest. “The most crucial thing is that Suzhou people are doing these things, just like spring silkworms, not violating their own inner, but Its nature. This is the Susk life, the sustained process can spread the root of the end.
“Love is also the emperor’s home”
The Forbidden City has always been “drifting from the Grand Canal”, it means that there is no large canal, there is no Beijing city. However, the Canal itself is just ancient transportation. More importantly, there must be things shipped. In this regard, the Forbidden City can build, inseparable from the Gusu City of the Jiangnan Central City and the Beijing-Hangzhou Grand Canal. From the Xiangxiang’s courteed court building, to the daily life of the emperor, although the surface is high on the surface, it is highly unable to climb, but carefully, it is more productive in Suzhou, Suzhou culture and Suzhou aesthetics. The “Jiangnan” exhibition can be seen as “seven Jiangnan”, and come straight to Suzhou, it can be said that there is a deep historical causal relationship. Therefore, when we look at these beautiful exhibits, you can’t just think about the Forbidden City in your mind, and you should also regard them as an organic part of Suzhou history and culture. In other words, we not only see the exquisiteness of the emperor, but also to see the excellent aesthetic thinking and process technology of Suzhou craftsmen. Different from the top six times in history, there are some exhibits, such as “Qing people painting Hong Miyou,” Qianlong jade carving fish scales gold peach scabling cream “,” Golden Flower Yunlong Terrier Hulo Takage “,” Rosewood Carving Box Paul World Buddha Screen “, etc. “Seven Jiangnan” is unique, but also worth chewing carefully today.
Is there a question how to think about these court art? The poet Bai Juyi wrote poetry and said that “the most ruthless emperor”, fully exposes the cold and cruel side in ancient court life. But in fact, because the monarch is a human, its rule group consists of a fresh life, so it will inevitably follow the universal principle of “only one, just aesthetic”. It can also be said that due to the contradictions and conflicts in the court, people living in this environment do not only need aesthetic and art, but also have a more intense and urgent in this need. And all kinds of court art make the original depressed, the tensions, the other side of the court, so it can also use the art-themed court life, called “Love is also the emperor’s home”, they are cruel politics Art and humanity of art and humanity in the struggle environment.
Due to a strong economic backing and a good educational environment, court art represents a maximum aesthetic taste and skill level in the times in many cases, and has become a model of other levels of art and aesthetic fun. From the bronze of the merchant period, to Li Wei’s words, Song Huizong’s paintings, Jingdezhen’s porcelain, and then to this show, it can be seen as a perfect combination of art and political, becoming a classic art with eternal charm. Therefore, the court art of the exhibition is displayed in many ways to develop the aesthetic spirit of Jiangnan culture to the extreme, to understand the Jiangnan culture, grasp the essence of Jiangnan culture, and discuss the Jiangnan cultural inheritance innovation provides an important key.
Tagore wrote in “The Gift of Lovers”: “Although the empire empire is turned into a powder, history has already been annihilated, but the white marble still said to the star sigh: ‘I remember’!” Today It can be said that although the ancient emperors of the six Jiangnan have passed, but through these exquisite to the extreme court art treasures, we have found that history not only has not ended, but also constantly given new connotation and new vitality. This may be the reason that “art makes human eternal”.
“Guangming Daily” (13 December 24, 2021)
Source: Guangming.com – “Guangming Daily”