Research On The Art Of Cranes During The Wei Jin Southern And Northern Dynasties

The crane is one of the common images in ancient Chinese cultural,appearing in tomb art,literary and artistic works and the secular life of the literati,with both familiarity and legend.Examining the historical flow of crane image,we can find that the trend of raising and loving cranes reached its peak in the Wei Jin Southern and Northern Dynasties,which appears not only in the tomb archeology of the Wei Jin Southern and Northern Dynasties,but also in all aspects of the lives of scholars in the Wei Jin Southern and Northern Dynasties reflected by the literature.Because crane is the medium of communication between the world and the celestial world,its function is complicated.And because it was highly sought after and loved by the scholars,it carried a variety of emotions and became a symbol of the spirit and thought of the scholars during the Wei Jin Southern and Northern Dynasties.As a religious and cultural symbol,the crane in the Wei Jin Southern and Northern Dynasties period had multiple meanings and profound connotations.Taking the crane art of the Wei Jin Southern and Northern Dynasties as the object of study,this paper analyzes the phenomenon of crane culture in the Wei Jin Southern and Northern Dynasties through literature,images and other research materials,and explores the historical origin and deep philosophical basis for the raising and liking of cranes,the own reasons and unique significance of the popularity of crane elemental objects in the Wei Jin Southern and Northern Dynasties,the inherent rationality of cranes becoming symbols of Taoism,and the deep causes and specific reasons for the different functions of cranes in different parts of the process of ascending to immortality.This article mainly consists of five parts.The first part is the introduction,which introduces the current status of research on crane image in the Wei Jin Southern and Northern Dynasties,the significance and value of the topic,and the research methods.The second part takes the crane image in the lives of scholars of the Wei Jin Southern and Northern Dynasties as the main object of study,explores the philosophical sources of the different aesthetic tendencies of cranes stored and released by the scholars,and explores the unique cultural significance of cranes in the Wei Jin Southern and Northern Dynasties by taking the crane-related objects popular in the Wei Jin Southern and Northern Dynasties——fur and fan made of crane feathers as examples.The third part focuses on crane image in the tomb art of the Wei Jin Southern and Northern Dynasties.In the first section,the author explores the different functions of cranes in the process of becoming immortal according to temporal logic——the role of omen and guidance in the early stage,the role of ride in the process and the role of as a symbol of the immortal world in the return period.In the second section,the author studies the integration of the three religions in the early period from the perspective of the phenomenon that cranes in the tombs of the Wei Jin Southern and Northern Dynasties as symbol of Taoism coexist with Confucianism and Buddhism.The coexistence of cranes as Daoist symbols with Confucianism and Buddhism in the Sixth Dynasty tombs investigates the early phenomenon of the merging of the three religions.The fourth part takes theory of "cooking cranes" in literature and art theory as an example,and discusses the initial theory of "cooking crane for food",and the later theory of "cooking cranes spoil the fun".Then this part consciously explains the theory of "cooking cranes spoil the fun" and analyzes the evolution,causes and repercussions of the theory of "cooking cranes".The last part is the conclusion of the article.The author summarizes the issues discussed above and reveals the profound cultural connotation of the crane image.