Researching On Fu Of Two Jin Dynasties

The formation of many characteristics of Two Jin Fu was influenced by the social politics and academic thoughts.The Emperors and aristocrats were generally lack of interests on Ci and Fu which caused the Fu authors without exalted social status and the sincere friendships with noblemen,such as the friendship between Fu authors of Ye city and the brothers of Cao.The preference of emperors and aristocrats had little impact on Two Jin Fu.Due to political turbulence Fu authors in Two Jin had no sense of pride which gave rise to their unwilling to polish politics.Without remarkable feat during the turbulent times,the emperors had no urgent need to praise themselves.At the same time,the authors lost interests on grandiose narration like palace and hunting which made the intention of praise disappear.From the perspective of academy,the collapse of study of Confucius classics had liberated Fu from the evaluation based on the criterion of Confucius classics.The creation of Fu had become ostentation of the authors’ capability on literature.After RuanJi and JiKang,the popularity of metaphysics resulted in the reduction of political criticism and with the effort of Le Guang,PeiTui and GuoXiang,it’s finally combined completely with MingJiao(Feudal Ethics from Confucianism)and nature.The paraphrase of the thought of LaoZi and ZhuangZi had been penetrating among literati which brought about the discrepancy of erudition and spirit between the authors in Two Jin and Two Han.The authors of Two Jin were favourable to the thought of LaoZi and ZhuangZi but lack of interest on Confucius classics,were adept at moral principle but negligent of exegesis,and consequently had no profound academic background.Eloquence of nothingness,living a reclusive life and indulging in nature were the general spiritual appearance of Two Jin’s authors which led to the lack of taking responsibility and reproach for society and politics whereas pursuing unfettered and comfortable life.Be affected by metaphysics,scholars transferred their attention from reality to self-inspect and immediate existing.Delving for Dao made the term ‘Xuan’ with connotation of profound and lasting which had been generally used to describe objects.The authentic color of ‘Xuan’ represented the remote memory of homo sapiens about light and dark,while profound and lasting of Dao imparted the objects with magical and abstruse quality.As long as the objects and their attribute were determined by‘Xuan’,they were all worth to be praised.Since Dao was supreme,objects with ‘Qi’or ‘Dao’ were valuable.From experiencing ‘Dao ’ to ‘Wu’(object),metaphysics played a pivotal role in the creation of Two Jin Fu.The philosophical thoughts of LaoZi and ZhuangZi influenced the philosophical and ideal life of Fu authors.From the perspective of ‘Qi’ and ‘Dao’,the authors focused on the meaning of objects.And they elucidated life wisdom of venerating softness and flexibility by the description of pursuing disengaged and reclusive life,which manifested the overall penetration of metaphysics for Two Jin Fu.SuiZhi Fu,HaoShi Fu by Lu Ji,Si You Fu by ZhiYu,GanShuBuYu Fu by TaoYuanming and ShuZhi Fu by LiHao demonstrated the different aspects affected by metaphysics respectively.Metaphysics had distinct manifestation in Yanzhi Fu of Two Jin,in which Luji venerated softness and flexibility,Zhiyu negated grumble and grudge via destiny,whereas TaoYuanming stuck to nature even though being negligible,LiHao applied demeanour of LaoZi and ZhuangZi as the rectification of name.The theme of Two Jin Fu also changed dramatically,political factors being weakened in Duyi Fu and SouShou Fu,sense of grudge and grumble being disappeared in Yanzhi Fu and Jixing Fu,and daily life being represented in Yongwu Fu.The scenic theme focusing on water was unique in Two Jin Fu that the description of mountain and river comprised of all kinds of mentality when people were facing them.Jiang Fu by GuoPu and Hai Fu by MuHua represented the top level of scenic Fu in Two Jin,in which the description of river and sea was inherited from Han Fu,the picturesque space and elaboration of the precious objects demonstrated the spectacular and scene of ocean.Both works not only praised the inclusiveness of mountains and rivers but displayed authors’ imagination and revere for them.Water in Two Jin Fu,either was similar to Han Fu which transferred the separation of mountains and rivers to prosperity,or applied the objects in ShanHai Jing when GuoPu wrote JiangFu.The mountains and rivers had been described as spatial ornaments rather than pivotal objects in Two Jin Fu and the description of them was sentimental because the authors were wandering away from their homeland which was similar with the emotional experience in Shi and Sao.Water Fu in Two Jin quoted the classical discussion from Confucianism and Taoism.Identifying the character of water from the critical and academic dimensions was the prerequisite of occurrence of scenery aesthetic by discussing the function or nature of water.Fu’s theme with resigning from office,idle lifestyle or seclusion often chose mountains and rivers as factors of habitable environment and even arranged according to the requirement.Appreciating rather than demonstrating the virtue of mountains and rivers should be real scenery aesthetic.Great Fu and Small Fu in Two Jin had been separated and developed respectively.SanDu Fu by ZuoSi,YangDu Fu by YuChan,Jiang Fu by GuoPu and Hai Fu by MuHua inherited the elaboration of Han Fu.ZuoSi and ZhiYu advocated depicting authentically and put into practice on SanDuFu by ZuoSi.JiangFu by GuoPu appreciated oddity and envision,Hai Fu by MuHua depended on fantasy and even some objects in SanDuFu were untrue.Contradiction between proposition and creation was based on the standard of ‘usage’ in Shi which deviated from the exaggeration and imagination of Great Fu.SaoTi Fu had been reduced and most of traditional JiXinFu and YanZhi Fu didn’t follow the style of SaoTi Fu,even those SaoTi and half SaoTi works that still maintained the features of ChuCi had no grief and indignation of LiSao and no feeling of being negligible deriving from LiSao.They were all focus on pure emotions.The creation of object-chanting Small Fu was becoming mainstream and a vast majority of objects could be depicted in it.The authors’ chanting for objects in Two Jin not only emphasized on the practical meaning but extolled the aesthetic pleasure created by uselessness,like color and texture.The typical characteristics of object-chanting small Fu were to understate the emotional color of object-chanting Small Fu in Han and Wei dynasty,to pursue depicting objects truthfully and to imply the wisdom of regimen during experiencing objects.At the pragmatic level,Two Jin Fu revolved around four-character and six-character sentences which were palpable in the turning point of the elaboration transition.After clue words lik eErNai(then),QiShang YuShi(then),there were following sentences with same number of words and structures combined with balanced sentence groups rather than single sentences.Abandoning the character ‘Xi’featured as Chu language had become the mainstream of sentence structures in Two Jin Fu.The works with all Xi sentences were rare,and those with partially Xi sentences and non-Xi sentences were also seldom.The balanced sentences with Xi were usually applied to break the stiff sentence patterns and were transferred into sentences with non-Xi after one or two balanced sentences.The sentences with Xi and non-Xi demonstrated the self-conscious quest for literary sentences of Two Jin Fu authors.Five-character and seven-character in poetry occurred fairly few in Two Jin Fu which manifested poetic Fu not being existed whereas rhythmical prose characterizedby parallelism and ornateness were prevailing.In terms of the application of words and phrases,place names were one of the narrative elements which formed the text,indicated the observation of spacial switching and reflected the authors’ cognition of the world.And the function of object names still emphasized on elaboration and ostentation.Attributive structures were applied in the scope of color,texture,line and space to display the authors’ refinement of experiencing object and the tendency of advocating softness and tenderness.Being the metaphorical objects,nouns were widely used to depict materials and embellish their characters exaggeratedly,which were not unique but more conspicuous in Two Jin.The reduction of the complex and rarely-used Chinese characters,disyllabic words and reduplicated words represented the focus on diction by simplifying characters and intensifying antithetical couplets.In the application of allusions,with the deprivation of SaoYuan spirit,the quotation of allusions in Two Jin Fu were widespread lack of strong emotions.By deriving storied from history,with the narrative characteristics of being an onlooker,and rectification and arrangement of the allusions,XiZhengFu by PanYue not only manifested the variation of referring the ancient stories but offered the pattern of allusions for the later generations.