| Nature is an important concept in the criticism of literary and art theory in Ming Dynasty.Since the Song Dynasty,it has been an important category of Chinese literary criticism and aesthetics and the main theoretical discourse to express aesthetic ideals.The word Nature was first used as a term in the field of social commerce,and it entered the field of literary criticism in the Wei,Jin,Southern and Northern dynasties.Liu Xie used Nature for the first time in Wen Xin Diao long.Entering the Song Dynasty,the category of Nature entered a period of rapid development.Chen Shidao and Liu Kezhuang emphasized the stipulation of the system with Nature.Yan Yu regards Nature as the main skill to illustrate the system and norms of poetry,and at the same time interprets Nature as style.All these directly affected the theoretical criticism of literature and art in the Ming Dynasty.In the field of poetry criticism in the Ming Dynasty,Nature mainly revolves around two issues:"distinguishing style" and "retro".As far as the former problem is concerned,Nature mainly presents two main connotations:artistic style and institutional stipulation.Zhu Quan,Zhou Xu,Zhong Xing,Lu Shiyong and others regard Nature as the ideal aesthetic style of the creative subject.On the contrary,Li Dongyang,Hu Yinglin and others interpret Nature as the institutional stipulation of style,so as to determine the essential differences between styles.As far as the issue of retro is concerned,Nature to a large extent witnessed the dispute between imitation and anti-simulation in the literary world in the middle of the Ming Dynasty.This is mainly reflected in the literary criticism of the Tang and Song School,"Hou Qizi",and Yuan Hongdao.Under the influence of Yangming’s theory of mind,Tang Shunzhi put forward the "theory of nature",which shifted the focus of poetry creation from looking for works or the first meaning style to human temperament.Although "Hou Qi Zi" is a literary school that advocates retro,Wang Shizhen and Xie Zhen oppose the trend of suppression and oppose the trend of plagiarism in the literary world with Nature which reflects their own theoretical flexibility.Under the influence of Yangming School of mind and Li Zhi,Yuan Hongdao continued the temperament connotation of Nature in the middle of Ming Dynasty,and interpreted it as a "Dan" aesthetic style.while criticizing "before and after Seven sons",he also refuted the bondage of feudal ethics on human nature.In the field of ci criticism in the Ming Dynasty,Nature mainly revolves around three major issues:the theory of origin,the differentiation of style and the theory of true feelings.The origin of the style of ci is an important issue in the criticism of ci in the Ming Dynasty,and there are many theories,among which the most famous one is Yang Slien’s Theory of the Origin of the six dynasties.On the basis of the theory of the origin of ci style,Yang Shen explained the "theory of nature" in ci criticism.At the same time,"distinguishing style" is also an important issue in the criticism of ci in the Ming Dynasty.Different from the criticism of poetry,the critics of ci in the Ming Dynasty,such as Zhang Ting,Xu Shizeng and Yao Ximeng,all refer to the graceful aesthetic style with Nature.It reflects the concept of"positive changa" in the criticism of ci in the Ming Dynasty.In addition,due to the evolution of social and cultural thoughts in the middle of the Ming Dynasty,"Theory of True feelings"has become the mainstream trend of literary thought,so many ci theorists explain Nature from the perspective of temperament.Meng Chengshun and Shen Qian directly regard the connotation of Nature as temperament.In the field of drama criticism in the Ming Dynasty,theorists mainly explained the connotation and function of Nature through the debate between knowledge and temperament and the relationship between"Nature" and "action".First of all,under the general environment of the "literati"trend of opera creation in the Ming Dynasty,theorists such as Li Kaixian and Xu Wei opposed the gorgeous formalism style and the "knowledge" tendency in opera creation.Therefore,they all define the Nature as the popularity and nature of the language,so as to refute the bad atmosphere in the opera world.In other fields other than drama criticism in the Ming Dynasty,"Nature" and "Adeptness" are basically synonyms.However,in the drama criticism of the Ming Dynasty,the two are not completely consistent in connotation,showing a trend of separation.Theorists such as Shen Yan,Wang Jide and Lu Tiancheng explain it from the institutional stipulation of traditional opera,such as "Rhythm".In the novel criticism of the Ming Dynasty,the Nature mainly plays two major roles:one is to analyze the characters,which involves the modern literary theory of typification and typing,which is mainly represented by Li Zhi and Ye Zhou;second,the Nature is regarded as an important factor in judging the stipulation of the system,which can be seen from Yuan Yuling’s exposition.Of course,it also involves the problem of historical truth and artistic truth.Nature is a little weak in the theoretical criticism of calligraphy and painting in the Ming Dynasty.As far as calligraphy criticism is concerned,it is mainly Fei Ying and Xiang Mu who establish the relationship between Nature and temperament and morality.In the painting theory,Dong Qichang and Tu long both show their own thoughts of temperament through Nature.Starting from his own poetry criticism,Xie Zhaozhe interprets "Nature" as the style of the times and the personal style of the creative subject.Finally,the article analyzes and explains the connotation of Nature based on the literary criticism of the whole Ming Dynasty,in order to determine its inheritance and new changes in the environment of the Ming Dynasty.At the same time,Nature is also directly related to other categories of literary criticism in the Ming Dynasty.Through the comparison and analysis of them,the connotation of "seeking truth”of Nature is explained.In addition,Nature appeared many times in many problems of literary criticism in the Ming Dynasty,such as "distinguishing style","debate between knowledge and temperament",and so on.Through the above analysis,we can better grasp the development clues,core propositions and the evolution of aesthetic concepts of literary criticism in the Ming Dynasty. |
