Research On Taishan Cifu

The culture of Mount Tai originated from ancient times,and TaishanCifu originated in the two Han dynasties.During the Warring States period,the center of Chinese culture moved from the west to the east,the rise of the Yin Yang and Five Elements theory,and Taishan was incorporated into the Five Elements system by the Qi people,thus having a new meaning of "the start of a year,and the beginning of all things." The Qin and Han dynasties,one after another,achieved unification.The Emperor Qin and Han were enshrined in Taoism,rewarded the heavens,and successively toured the East to Feng-shan.Since then,Mount Tai has surpassed the Five-Mountains,and its symbolic meanings of political and cultural mountains have gradually become prominent.The system features of "Govern the country,Advocating the vast","Both Universes,Collective Characters" are in harmony with the state mentality of the rising Qin and Han dynasty,which applied Chen Wanwu,preached virtue,and reported success.With the continuous development and enrichment of Fu masters of all generations,TaishanCifu contains the emperor and state's Feng-shan culture,the unity culture,the ritual music culture,the thought of heaven and man,and the Huayi thought.Fu masters using Taishan to express.ideas about the world and themselves,and outside the mainstream culture,they expressed their own seclusion feelings,fully exerts the functions of eulogizing allusions and feelings,expressing personality ideals and aesthetic pursuits.This topic starts from the reading of TaishanCifu,echoes the history,strives to deeply study the creative characteristics,development and evolution laws,and the cultural connotation of the ancient TaishanCifu.It analyzes the unique feelings and personality ideals of TaishanCifuwriters,and observes the style of TaishanCifu.Function and aesthetic characteristics.The thesis is divided into three parts and eight chapters.The first part includes the first and the second chapter,and they analyze the overview of TaishanCifu and the formation and development characteristics of TaishanCifu;the second part is Chapters three to seven,focusing on the Taishan culture carried by TaishanCifu,Including Feng-shan Culture,Huayi Discrimination,Orthodox View,Great Unification Culture,Ritual and Music Culture,Thought of Heaven and Man,Hermit Culture;The third part is Chapter eight,which mainly analyzes the style and aesthetic features of TaishanCifu.The first chapter is an overview of TaishanCifu.Mainly from the aspects of creative content,emotion,aesthetics,etc.,it summarizes the creative characteristics of TaishanCifu in the past dynasties.The Two-Han TaishanCifu are based on the theme of blessing Feng-shan and chanting countries.During the Wei,Jin,Southern and Northern Dynasties,TaishanCifu appeared with irony and criticism of reality.In the Tang Dynasty,the creation of TaishanCifu was bounded by the chaos of Anshi,and the early national power was rising.TaishanCifu was full of aggressive spirits.The essays mostly wrote about Feng-shan and demonstrated the legitimacy of the political power.They dealt with Huayi discrimination and unified thought;With the recession of royal power,TaishanCifu began to reflect on Feng-shan,the content is full of philosophical thinking and rational spirit,and the style is contaminant and restrained.The TaishanCifu in the Song Dynasty was separated by the Taizong Feng-shan,and the style was gorgeous and false in the early period,and the quality was simple and real in the later period.After the Zhen dynasty in the Song Dynasty,Feng-shan withdrew from the stage of history.Therefore,the TaishanCifu in the Yuan,Ming and Qing Dynasties began to focus on the reflection of Feng-shan,and at the same time,the geographical features of Taishan as a natural mountain attracted attention.In the Yuan Dynasty,Hao Jing's "Taishan Fu" conveyed the "great unification" and "Hua Yi's family" governance principles,ritual and music culture,and benevolent ideals.In the Ming Dynasty,TaishanCifu has two styles,besides the theme of ode to beauty,there appeared a work expressing hermit feelings.The number of TaishanCifu creations in the Qing Dynasty was the peak of all dynasties,and the style and subject matter became more diverse.Compared with the Changbai Mountain Fu and Dongzun Fu in the same period,TaishanCifu paid more attention to shaping the characteristics of the Qing Emperor's province to show justice.The fu with the theme of the humanistic Taishan is still characterized by doxology.The second chapter is the development of the image of Mount Tai.Taking TaishanCifu as the center,the characteristics of the evolution of the image of Taishan in previous generations are sorted out longitudinally.Since the beginning of the Han Dynasty,the magnificent and majestic image of Mount Tai,the magnificent royal spirit,and the magnificent and vigorous style of the fu literature have been perfectly combined.Mount Tai has become a symbol of ethnic,national,political,and cultural identity.Before the Yuan Dynasty,the image of Mount Tai was in the blending and disintegration of royal power and politics.In the Tang,Song,Yuan,Ming,and Qing Dynasties,the image of Mount Tai showed a shift from national orthodox to dispel of orthodox.The image of Mount Tai in the Ming and Qing Dynasties appeared another stream.A flexible and vivid civilian temperament is added to the stagnation.The third chapter is TaishanCifu and Feng-shan culture.Feng-shan is the theme of the creation of TaishanCifu in the past dynasties.In this chapter,we use the mutual proof of literature and history to try to clarify the original intention and essence of Feng-shan,and to sort out the evolution of the concepts of Feng-shan in the past dynasties.In the early days,Feng-shan was intended for people,and,in the Qin and Han Dynasties,it developed to seek immortality.The emperor of the Tang Dynasty set aside chaos.Feng-shan was retrospectively a blessing to the people.In the Song dynasty,it became a means for the intensity of the rule of emperors,Feng-shan lost its positive functions.Emperors used "unification","destiny" and "orthodox" views to consolidate their rule,borrowed Feng-shan to follow the ritual and music cultural system,construct an ideal political order,and set up emperor models and build national sentiment.The culture of Feng-shan carried by TaishanCifu has undergone the tortuous development of "The emperor of Qin seeks Immortals,emperor Wu worships for superstition,the emperor of Tang is full of pride and arrogance,and the emperor of Song is hypocritical",its main purpose is to use "benevolence" and "rule of virtue" as the basis of governance,in order to achieve world domination and rest in peace.The fourth chapter is the distinction between TaishanCifu and Huayi.Hua Yi discriminating thoughts have always been carried through the Chinese cultural thoughts.The ethnic consciousness and Hua Yi view in TaishanCifu has evolved with the world and has a clear trajectory.As far as TaishanCifu creation is concerned,the concept of Huayi in the Han Dynasty is mainly concentrated in the Western Han Dynasty,presenting the characteristics of a hundred wild winds centered on the Han.The Huayi view of TaishanCifu in the Tang Dynasty can be summarized as the Huayi family theory and Zhengshuo theory based on Huaxia centralism.The Huayi view of TaishanCifu in the Song Dynasty evolved into the imaginary "Huaiyi Union" and"Comrade Huayi".In the three generations of Yuan,Ming,and Qing Dynasties,Taishan's rhetoric did not say anything about Huayi,and did not distinguish between Huayi.The fifth chapter,TaishanCifu and national identity.TaishanCifu conveys a strong sense of national ethnic identity,and TaishanCifu contains Tibetan unity thought and ritual music culture.The idea of unity not only reflects the unity of territory and ethnic groups,but also includes the ideological contents of political clarity,national peace,social stability,economic prosperity,and Li Anning.The ritual music culture carried by TaishanCifu presents the specific characteristics of "dehua","preface" and "songmei".In the Tang and Song Dynasties,TaishanCifu pushed the interpretation of ritual music culture to the top.After Song Dynasty,the creation of Feng Chan Cifu declined,and TaishanCifu's interpretation of ritual music gradually dissipated.The culture of ritual music in TaishanCifu presents a return from the original meaning of ritual music to sacrificial art.Chapter ?,Taishan Ci Fu and the Idea of Heaven and Man.In the belief of heaven and man in ancient China,Mount Tai became the bridge of communication between heaven and man.The TaishanCifu in the Han Dynasty mainly expresses the concept of "matching the sky with morality" based on the "intelligence of heaven and man".The proposition of "Fengtian" and "Ge Tian" not only confers the individual's cognition of heaven and man,but also represents the prosperity of the world.Confucianism and scientific development in the Song Dynasty,the Song people's cognition of the relationship between heaven and man has undergone new changes.However,when the Fuists depict the blueprint of the emperor Feng-shan,they often restart the traditional model of the induction of heaven and man.TaishanCifu used the relationship between man and nature to serve imperial power."Fate is supreme","sensation between man and nature" and "matching with virtue" are typical examples of imperial culture.Self-confidence and a way out,they use the ideas of heaven and man to stabilize the regime,consolidate the national consciousness,and sometimes even falsify the destiny to consolidate the hearts of the people and mainstream ideology.The Taishan Ci Fu of the Zhenzong Dynasty emphasized the dominance of destiny,and later strengthened personnel and weakened the destiny.During the Yuan,Ming,and Qing Dynasties,Taishan's view of "Fate" continued to weaken and dissolve,but the collective unconsciousness of the Fate still loomed.Chapter seven,TaishanCifu and Hermit Culture.Throughout the TaishanCifu of the past dynasties,the hermit mentality and feelings expressed by the Fu family are mainly manifested in the face of the contradiction of the origin,the thinking of the state of virtue,intellect,powerlessness,and namelessness,and the pursuit of the unity of nature and self,etc."Hidden" is not only one of the themes of the Wei,Jin,and Northern and Southern Dynasties literature,but also a topic of eloquence.In the Tang and Song dynasties,the hermit inherited the legacy of the previous generation,and TaishanCifu expressed her unrequited feelings on the one hand,and conveyed her feelings of hermit on the one hand.In the Song Dynasty TaishanCifu wrote a contradiction that scholars have no escape.In the Yuan Dynasty,literati were excluded,and TaishanCifu denied those who wanted to retreat as the order of their desires and cherished their ambitions.In the Ming dynasty,it sought to centralize power,and TaishanCifu expressed the journey of the Fu family from the secret.In the Qing Dynasty,the coercion of politicians' high pressure and Huairou's policies.The hidden feelings of Taishan'sCifu tended to unite nature and self,presenting a sense of freedom and personality.In short,the fate of scholars has always changed with the political and social circumstances,and the hermit and hermit culture have always accompanied the feudal dynasty.With the help of iconic metaphor,Taishan Hermit Cifu writes aesthetic characteristics that are different from mainstream culture,such as unyielding,unyielding,imposing,and far away.Chapter eight,the function and aesthetic ofTaishanCifu.TaishanCifu often used Feng-shan and anti-Feng-shan to complete the praise of the other emperor.The TaishanCifu was created to the Qing Dynasty,and the content of Songmei has been changed.Chen Menglei and Zhou Fan's same title "Taishan Fu" can express the fu based on the actual experience.theme.In the Qing Dynasty TaishanCifu used imagery to praise American emperors,one of which was natural imagery,such as Taishan Mountain,Baiyun,and the sun,etc,the other was cultural imagery,such as "seeing all the small mountains","climbing Mount Taishan","Taishan does not reject the small soil" "Climbing the Taishan and the sea" etc.The Fu family follows the creative direction of chanting—lyricism—songmei,describes the nature of Taishan,understands the humanities of Taishan,and conveys the Confucian cultivation of Qi and governance.Compared with the early euphoric verses with Feng Chan as the main theme,in the later period of Taishancifu creation,more natural and literary objects were integrated into the cifu works.The aesthetic style tended to be natural,elegant and beautiful."The sound is not over.Some TaishanCifu creations have changed the structure of traditional Cifu,strengthened the content of irony and criticism of society,and added the elements of conspiracy to rescue.TaishanCifu's sense-of-object and Taoist function,either expressing the ideal of personality through"understanding foreign things and writing mind",or by asking the subject and the guest to ask for the right to complete the Tao of truth.At the end of the thesis,there are two appendices,one is the catalogue of TaishanCifu in the past,and the other is the errata of TaishanCifu.