Han Chinese clothing, Hanfu
Han Fu is a rhyming prose that appeared in the Han Dynasty. It is characterized by the combination of rhythm and rhyme, and is good at narration. From the form of fu, it lies in "transmitting and receiving"; As far as the content of Fu is concerned, the emphasis is on "writing things and writing ambitions". The content of Han Fu can be divided into five categories: one is to render Miyagi; The second is to describe the emperor hunting; The third is to describe the travel experience; The fourth is to express unsatisfied feelings; The fifth is about animals and plants. In the past, they were representatives of Han Fu.
Generally speaking, Han Fu has three parts in structure, namely preface, text and ending called "chaos" or "news". Most of the writing methods of Han Fu are flowery and gentle, praising the strength of the Han Empire or the civil and military style of the rulers, with only a few strokes at the end, which is slightly ironic and admonitory.
Han Fu can be divided into big Fu and small Fu. Da Fu, also known as Three-body Da Fu, has a huge scale, magnificent structure and magnificent vocabulary, and is often a huge system with thousands of words. Jia Yi, Mei Cheng, Sima Xiangru and Yang Xiong in the Western Han Dynasty, and Ban Gu and Zhang Heng in the Eastern Han Dynasty were all great fu writers. Xiaofu abandons the defects of long speech, flowery rhetoric, giving up the essentials and lacking emotion. On the basis of retaining the basic literary talent of Han Fu, they created short Fu, Zhao Yi Fu, Cai Yong Fu and lyric Fu.
Han Fu was formed in the early Han Dynasty. Jia Yi is the pioneer of Han Fu, and his representative works include Qu Yuan Fu and Bird Fu. It was Mei Cheng, a great poet in the early Han Dynasty, who really founded the system of Han Fu. Seven hairs is Mei Cheng's masterpiece, which plays a role in connecting the past with the future.
Hanwu, Xuanyuan and Chengdi era, Hanfu reached its peak. During this period, Sima Xiangru, who was the most famous in the history of Han Fu, was made a saint. There are 29 poems written by Sima Xiangru, and now there are only six left: Zi Xu, Shang Lin, Adult, Nagato, Beauty and Ai Er. Among them, his Tian Zi Wandering Soul Fu includes Zi Xu Fu and Shang Lin Fu, which represents the highest achievement of Han Da Fu. Sima Xiangru basically stipulated the pattern of Han Da Fu in his two poems: first, he piled up a lot of words, exaggerating the role of beauty, and finally ended up with the irony that "lewdness is enough to ruin the country and benevolence is bound to rejuvenate the country", thus creating a system of "persuading everyone to satirize one".
From the end of the Western Han Dynasty to the middle of the Eastern Han Dynasty, Han Fu was basically stereotyped, and later writers could not surpass their predecessors, so the wind of simulation prevailed and Han Fu entered the simulation period. At this time, Yang Xiong and Ban Gu were the most famous writers of Han Fu.
From the middle of the Eastern Han Dynasty to the end of the year, Han Fu entered a transitional period, that is, it developed in a direction close to reality. Zhang Heng's Return to Tianfu attacked social politics and showed a tendency of dissatisfaction, which initially laid the foundation for Fu Xiao. Cai Yong's Shu Xing Fu made him the second master of Han Fu. His poems are profound in content and proper in wording, which lashes the ugliness of society and shows sympathy and care for the people's sufferings.
From Han Fu to Wei and Jin Dynasties, it was shaped as a small fu, evolved into a parallel prose fu in the Southern and Northern Dynasties, and transformed into a law fu and a prose fu in the Tang and Song Dynasties.
Fu in Han dynasty. Fu is a literary genre between poetry and prose, which pays attention to literary talent and rhyme, and "writes articles with things" through "passing on articles". Xun Kuang, a native of Zhao in the Warring States Period, was first famous for fu, but most Han people used fu words together, which was called Ci Fu. This is because Han Fu mostly imitates the works of Qu Yuan and Song Yu of Chu State. The Han people collected the works of Qu Yuan, Song Yu and others into an episode called Songs of the South. The combination of Ci and Fu shows the inheritance relationship between Han Fu and Chu Ci. Due to the advocacy of the upper ruling group in Han Dynasty, the creation of Fu was in full swing. According to Ban Gu's Preface to the Ode to Two Capitals, in the world when he proclaimed himself emperor, "there were more than a thousand works of emperors", especially in the late Western Han Dynasty and the Eastern Han Dynasty.
Early Han Fu, such as Qu Yuan Fu written by Jia Yi and Hermit Fu written by Xiaoshan in Huainan, is no different from Chu Ci in form. Mei Cheng's "Seven Hairstyles" written during the reign of Emperor Jing created a new style of fu with the function of luxury. After Emperor Wu of the Han Dynasty, with the development of famous Fu writers such as Sima Xiangru, new style Fu flourished and became the mainstream of Han Fu. Generally speaking, the new style of Han Fu can be divided into two categories: big Fu and small Fu. From the content point of view, Dafu mostly describes the scene of boasting about the prosperity of Beijing, palaces and gardens and the emperor's large-scale hunting, aiming at praising virtue, whitewashing peace, catering to the rulers' exultation and pursuit of pleasure, and the end of the article contains irony and exhortation. His main works include Sima Xiangru's Preface Fu, Yang Xiong's Yang Changfu and Feather Hunting Fu, Ban Gu's Du Liang Fu, Zhang Heng's Tokyo Fu and Xijing Fu. These great poems are magnificent and magnificent, which, to a certain extent, reflect the prestige of the unified Han empire and the extravagant and vigorous style of the feudal ruling class in the rising period. However, in order to achieve formal splendor, Dafu often exaggerates and piles up a lot of words, likes to use cold words to show off his wealth and seek novelty and difference. At the same time, Dafu imitates more than innovates in the later period, and his writing is dull, which affects the artistic appeal of his works. Fu Xiao is short in length, lyrical and allegorical, extensive in content and fresh in style, which was mainly popular in the Eastern Han Dynasty. Famous works include Zhang Heng's Return to Tian Fu, Zhao Yi's Stabbing the World with Illness Fu and Mi Fei's Parrot Fu.
Han Fu was lost in the process of spreading, and the existing works include some fragments of about 200 pieces, which were included in Historical Records, Hanshu, Houhanshu and Selected Works respectively.
Fu is the most popular style in Han Dynasty. During the 400 years of the Han Dynasty, most ordinary literati devoted themselves to this style of writing, so it flourished for a time, and later generations often regarded it as the representative of the literature of the Han Dynasty.
As a literary style, Ci Fu has been produced as early as the end of the Warring States Period. Perhaps Xunzi was the first person to write Fu-style works and became famous for it. According to Hanshu? According to the records of Yiwenzhi, Xunzi wrote 10 (there are five existing articles: ritual, ambition, luck, silkworm and chastity), in which five things were written in popular argot. There are also Song Yu's Fu-style works in the old Chu State, such as Feng Fu, Gao, Goddess Fu and so on. The rhetoric is colorful and ironic. Compared with Xun fu, they seem to be closer to Han fu, but it may be entrusted by later generations by mistake, and there is no conclusion. Judging from the existing Xun Fu, this kind of Fu is still in its infancy. The further development of Fu style was greatly influenced by the new style of military prose and Chu ci at the end of the Warring States period. The main feature of Fu style is to lay out the details, "recite without music" and approach to prose, but in its development, it has absorbed some characteristics of Chu ci-gorgeous rhetoric and exaggerated techniques, thus enriching its own system. It is precisely because of the close relationship between the development of Fu style and Chu Ci that Ci Fu was often called Fu in the Han Dynasty. The so-called "Sao-style Fu" in the early years of the Western Han Dynasty is really close to Chu Ci, and it is difficult to distinguish it clearly.
The formation and development of Han Fu can be divided into three stages. Fu writers in the early Han Dynasty inherited the legacy of Chu Ci. At this time, the so-called "Sao-style Fu" was popular, and then gradually evolved into the so-called prose-style Fu with independent characteristics, which was the main body of Han Fu and the most prosperous stage of Han Fu. After the mid-Eastern Han Dynasty, prose poetry gradually declined, and lyric poetry began to rise. This development and change process of Han Fu is closely related to the change of social conditions in Han Dynasty.
Tang poetry
The Tang Dynasty (AD 6 18-907) was the heyday of the development of classical poetry in China. Tang poetry is one of China's outstanding literary heritages and a bright pearl in the world literature treasure house. Although it has been over 1000 years, many poems have been widely circulated by us.
There are various forms of Tang poetry. There are basically two kinds of ancient poems in Tang Dynasty: five-character poems and seven-character poems. There are also two kinds of modern poems, one is called quatrains, and the other is called metrical poems. Quatrains and metrical poems are five words and seven words respectively. Therefore, there are basically six basic forms of Tang poetry: five-character archaic poetry, seven-character archaic poetry, five-character quatrains, seven-character quatrains, five-character rhythmic poems and seven-character rhythmic poems. Classical poetry has a wide range of requirements for rhyme and meter: in a poem, the number of sentences can be more or less, the chapters can be long or short, and the rhyme can be changed. Modern poetry has strict requirements on rhyme and meter: the number of sentences in a poem is limited, that is, four-line quatrains and eight-line meter poems. The words used in each poem have certain rules, and the rhyme cannot be changed; Rhyme also requires that the middle four sentences become antithesis. The style of ancient poetry is handed down from the previous generation, so it is also called ancient style. Modern poetry has strict rules, so some people call it metrical poetry.
The forms and styles of Tang poetry are colorful and innovative. It not only inherited the tradition of Han and Wei folk songs and Yuefu, but also greatly developed the singing style. It not only inherited the five-character or seven-character ancient poems of the previous generation, but also developed into a long and huge system of narrative romance; It not only expanded the use of five-character and seven-character styles, but also created modern poems with particularly beautiful and neat styles. Modern poetry was a new style of poetry at that time, and its emergence and maturity was an important event in the history of Tang poetry development. It pushed the artistic features of China's ancient poems with harmonious syllables and refined words to an unprecedented height, and found a typical form for ancient lyric poetry, which has been especially loved by people so far. However, the metrical poems in modern poetry are easy to be bound because of their strict metrical restrictions, which is a major defect brought by their advantages. Its representative figures are: Yang Jiong, "Four Masters of Early Tang Dynasty" ("Joining the Army"), Lu and Luo ("Goose Goose"); Poet Li Bai, poet saint Du Fu, etc.
Song ci is another literary genre after Tang poetry, with uneven sentences, which is convenient for expressing feelings. Song ci can be basically divided into two categories: graceful school and unrestrained school.
Representative of graceful and restrained school: Li Yu (Bodhisattva Man), Queen of Southern Tang Dynasty; Li Qingzhao, a poetess in Song Dynasty; And the representatives of the wild school: Xin Qiji (broken fighter) and Yue Fei.
Yuanqu originated from the so-called "Fanqu" and "Le Hu" and was first circulated among the people, and was called "Street Tune" or "Village Square Minor".
With the destruction of Song Dynasty in Yuan Dynasty, it spread in the vast areas of north and south, centering on Dadu (now Beijing) and Lin 'an (now Hangzhou).
Yuanqu has strict metrical formula, and each qupai has fixed format requirements in sentence pattern, word number, level tone and so on. However, although there is a fixed frame, it is not rigid. Inserts are allowed in the fixed frame, and some qupai can be added with sentences. Yuanqu combines traditional poetry, folk songs and dialects, forming a humorous and free-and-easy artistic style, which has a very important impact on the innovative development of Ci. Representative works include: Ma Zhiyuan: Tianjingsha (), Zhang: Shanpo Yang (Tongguan nostalgia), etc.
Ming and Qing novels
Ming and Qing Dynasties are the prosperous periods in the history of China's novels. Since the Ming Dynasty, novel, as a literary form, has fully demonstrated its social function and literary value, broken the monopoly of orthodox poetry, and achieved the status of literary history on a par with Tang poetry, Song ci and Yuan qu. The Qing Dynasty was a period when China's classical novels flourished and declined and turned into modern novels.
Novels developed with the prosperity of urban commercial economy. Around the Song Dynasty, the development of handicrafts and commerce brought prosperity to the city, providing places and audiences for the development of folk rap art. The expanding cultural and entertainment needs of the citizens greatly stimulated this development, thus producing a new literary style-storytelling. Oral stories are the basic books used by speakers, including stories, novels, case-solving, ghosts and so on. , has begun to take shape in the novel, and gradually matured by adding new creations in the later circulation process. The development of economy and printing industry in Ming Dynasty provided material conditions for novels to break away from folk oral creation and enter literati written creation. In the mid-Ming Dynasty, vernacular novels formally entered the literary world as a mature literary style. Representative works include Romance of the Three Kingdoms, Water Margin, The Journey to the West and Jin Ping Mei.