Study Of The Sage Praise In The Song Dynasty

The praise of sages and sages refers specifically to the praise of the past sages and sages of Confucianism.Saints’ praise can be traced back to the beside topic of saints’ portraits in the Wuliang Temple of Jiaxiang in the Eastern Han Dynasty.In the early period,saints’ praise was mostly miscellaneous in three or four words,plain in in language and similar to the introduction of textbook-style characters.In the Wei and Jin Dynasties,influenced by metaphysics,sages and sages praised each other and formed the creative thought of mutual benefit between Confucianism and Taoism and the aesthetic orientation of high elegance and metaphysics.Since the Tang Dynasty,with the maturity of the sacrificial system of Confucian temples,the praise of sages has gradually become a landmark article for sages to sacrifice Confucian temples,and the language style also shows the characteristics of elegance and antiquity.Zhao Song was the golden age for the sages to praise the development.The stylistic features of the Song Dynasty sages’ praise are the combination of image and praise and the language style of elegance and vulgarity: the Song Dynasty sages’ praise is not a pure text-stacked style of praise,and its manifestation is mostly based on praise and map.The existing Confucius and 72 disciples’ statue praise stone carvings in Hangzhou Confucius Temple and the five ancestors’ statue praise in Taoism painted by Ma Lin are examples of the language style of the Song sages’ praise.On the contrary,due to the differences in the occasions of praise,the official sages inherited the elegant and elegant rhyme of the ancient praises of the Han and Tang Dynasties,while the private sages’ praises showed a popular and concise style because their creation was not bound by the official consciousness.Compared with the previous dynasties,the Song Dynasty saints’ praise had an overwhelming advantage in quantity and quality.Among them,the changes of 72 saints’ praise,classical praise and Mencius’ praise all contained the changes of the Song Dynasty’s academic thought history.During the Han and Tang Dynasties,the personnel of Confucius’ seventy-two disciples changed very frequently,and "seventy-two" officially became the fixed number of Confucius’ disciples,marked by seventy-two virtuous praises of Song Zhenzong and Song Gaozong dynasties.After the early Song Dynasty,the classical scholars who once flourished for a long time lost their power.The phenomenon of their retreat in the praise of sages and sages was not only the relegation of their personal status in the Song Dynasty,which actually reflected the change of the research methods and objects of classical scholars in the context of the changing of classical scholarship into ancient ones.The rise of Mencius upgrade movement in the mid-Tang Dynasty made Mencius qualified to be praised in the Song Dynasty.Mencius moved from Han Qi’s "Five Sages" to Lizong’s "Thirteen Saints of Daoism",reflecting the fall of the five sages’ genealogy and the birth of the four lineages in the process of building Daoism genealogy in the Song Dynasty,and also reflecting the Confucianists’ consciousness of supporting Daoism genealogy with classical texts.The criteria and techniques of portraying images of sages in Song Dynasty had a far-reaching impact on the creation of sages in Ming and Qing Dynasties.Especially,Xuan Sheng and 72 sages in Song Gaozong’s imperial system had become the standard template of sages’ praise in later generations.There were traces of imitating sages’ praise in Ming Lu Weiqi’s Sages’ Elephants and Qing Wu Gaozeng’s Sages Elephant praise.