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Poems are plain, unadorned but deep and often philosophical

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Poems are plain, unadorned but deep and often philosophical; representative of 'pastoral poetry' ... Many of his poems are tinged with Daoist sentiment ... – PowerPoint PPT presentation

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Title: Poems are plain, unadorned but deep and often philosophical


1
New Space and New Writing
  • The opening up of new space anticipated a new
    kind of writing that encompassed phenomena of
    larger world
  • Writing no longer focused on classics,
    philosophy, and historiography
  • Literati created a more autonomous aesthetic
    realm paralleling the emergence of new spaces

2
  • These new spaces were
  • Taverns and pavilions for pure conversation and
    poetry gathering
  • Buddhist and Daoist temples
  • Large gardens and villas in new cities and in the
    hills and mountains
  • Hermits dwellings in wilderness and caves

3
  • New writing went beyond classics, philosophy, and
    historiography
  • It now expanded to encompass mysteries, legends,
    life and death, natural and supernatural worlds
  • Impacts of Buddhism and Daoism were clear in both
    intellectual discourse and fictional writing
  • Intellectual discourse Dark Studies
  • Fictional writing Anomaly account or Account
    of Anomalies

4
Influence of Early Daoism
  • Dark Studies (or Mysterious Studies) featured
    ideas and themes found in early Confucian and
    Daoist texts
  • The Canon of Change (Yi jing)
  • The Canon of Way and Power (Daode jing)
  • The Master Zhuang (Zhuang zi)
  • Debates over Teaching of names (mingjiao) vs.
    Nature (ziran) figured most prominently
  • Participants He Yan, Wang Bi, Guo Xiang, Zhong
    Hui, Ruan Ji, and Xi (Ji) Kang
  • Contributed to the pure conversation movement

5
  • Intellectual discourse focused on the relations
    between names and forms, nothingness
    (nonentities) and entities, character and
    talent.
  • It reflected conflict between Confucian view that
    stresses the existence of a moral heaven and the
    early Daoist (Zhuangzis) view of an amoral
    heaven
  • Zhuangzis views on inaction (no purposive
    action, wu wei), nature and spontaneity, and
    inadequacy of language gained currency
  • Intellectuals used Lao-Zhuang to interpret
    Confucianism, e.g., Confucius embodied
    nothingness and stressed the importance of
    nature, naturalness, and spontaneity.

6
Terminology used in the Dark Studies
  • Wunothingness, nonbeing, or negativity
  • Wang Bi Wu is the ultimate basis of reality,
    prior to and above Confucian moral heaven.
  • Wu lies beyond the reach of images or language
    in the realm of the mysterious or dark
  • Wu weiaction based on the principle of
    non-action, i.e., nonpurposive action,
    particularly when a ruler rules a state

7
  • Perfected Man, Great Man---people who refused
    public, political service and work toward
    self-perfection by living a life that
  • appreciates the beauties of nature and of
    simplicity and spontaneity,
  • enjoys wine and music when going on excursion to
    the hills and streams
  • Ziran(self-so)nature means the union or
    integration of natural world and humankind into a
    purposeless and amoral state

8
Anomaly account
  • Referred to as zhiguai, with the following
    characteristics
  • Biographical,
  • Strange/unusual objects,
  • bizarre and fantastic events
  • Daoist fights Demon
  • Buddhist wonder-working
  • return-to-life stories
  • Buddhist magic
  • portents and auguries

9
  • ghosts, spirits
  • Sex and marriage with ghost spirit
  • Lu Chong weds a deceased woman who gives birth to
    his son
  • Necromantic practices
  • Communications and interactions with immortals,
    sprits of dead including female spirits, animal
    spirits, etc.
  • Types of Stories
  • Two most common types
  • Ghost stories dead persons manage to cross the
    boundary between the human world (yang) and the
    nether (yin) world
  • Return-from-death living persons at the near
    death stage manage to negotiate the difficult
    crossing and return alive from the world of the
    dead.

10
The Emergence of New Poetic Writing New Form and
New Content
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11
Chinese Poetic Tradition
  • Pre-Qin two traditions
  • The northern tradition The Book of Poetry (Odes)
  • The southern tradition The Chuci (or Chu-tzu)
  • Han Fu and Yuefu
  • Fu (epideictic rhapsody or rhymed-prose)
  • Zuo Si, Three Capitals Rhapsody
  • Lu Ji Rhapsody on Literature
  • Yuefu (Music Bureau) ballads
  • Southeast the Peacock Flies
  • The Columbia Book of Chinese Poetry

12
Yuefu Ballads
  • Han and Wei
  • Five-character shi (shih) poetry became the
    favorite vehicle for lyric expression
  • Nineteen Old Poems of the Han
  • poets Cao Cao, Cao Zhi, Seven Masters of Jianan
  • Jin
  • Ziye songs,
  • wandering with immortals

13
Selections from the Book of Songs
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  • Jiang Zhongzi
  • Please Zhongzi
  • Do not climb into our hamlet
  • Do not break our willow tree
  • Its not that I begrudge the willows
  • But I fear my father and mother
  • You, I would embrace
  • But my parents words
  • Those I dread
  • Please Zhongzi
  • Do not leap over our wall
  • Do not break our mulberry trees
  • Its not that I begrudge the mulberries
  • But I fear my brothers
  • You, I would embrace

14
Song of the Great Wind--Liu Bang (256-195 BC)
  • A great wind arose,
  • the clouds flew up and away
  • My majesty now grown to the seas edges
  • I return to my old home.
  • Yet where shall I find brave men to guard
  • the four quarters?

15
Song of Gaixia (202BC) Farewell, Lady Yu!
  • My strength plucked up the hills
  • My might shadowed the world
  • But the times were against me
  • And Dapple runs no more
  • When Dapple runs no more,
  • What then can I do?
  • Ah! Yu, my Yu!
  • What will your fate be?

16
Northern Ballad Prince Langye Song
  • I just bought a five-foot sword,
  • From the central pillar I hang it.
  • I stroke it three times a day
  • Better by far than a maid of fifteen.
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17
Southern Ballad Ziye song
  • .
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  • .
  • I held my dress, not tying the sash
  • I painted my brows and went to the windows.
  • My gauze skirt is easily whirled by the breeze
  • If it opens a bit, just blame the spring wind.
  • .

18
Ancient Poems
  • Seven Worthies of Bamboo Grove
  • Ruan Ji
  • Xi (Ji) Kang
  • Tao Qian (Yuanming)
  • The most widely admired of the early Chinese poet
  • Creator of the Chinese Shangri-lathe Peach
    Blossom Spring
  • Characteristics of poems during this time
  • Sang personal feelings in response to events of
    ones own life
  • Conveyed personal thoughts about human condition

19
  • Reflected on a variety of human sorrow or frailty
  • Frailty of human body
  • Fleeting life and ineluctable death
  • Appreciated the beauties of nature and lamented
    the fading of things and the transience of life
  • Paid attention to the signs of human mortality

20
Ruan Jis Poem
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  • Hibiscus overgrows the grave mounds,
  • Sparkling in lustrous shades.
  • But when the bright sun sinks in the forest,
  • Its petals fall to the roadside.
  • Crickets chirp by doors and windows,

21
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  • Cicadas hum amidst the brambles.
  • Mayflies play for only three mornings,
  • Yet they preen themselves, working their wings.
  • For whom do they display their finery,
  • Flying up and down, sprucing themselves up?
  • How short life is,
  • But everything, full or ardor, labors on.

22
Tao Yuanming
  • Tao Yuanming (365-427)
  • A Confucian scholar and poet who was well-versed
    in Daoist philosophy
  • Served as a local officials but never held any
    post very long
  • Quit his post because he couldn't for five pecks
    of rice bow before a village buffoon. Buffoon
    was used to ridicule a local inspector, his
    superior.
  • Regarded as the patriarch of the poets of
    reclusion

23
  • Poems are plain, unadorned but deep and often
    philosophical representative of pastoral
    poetry
  • Many of his poems are tinged with Daoist
    sentiment

24
Recurrent Themes of Taos Poetry
  • Life is fleeting, death is ineluctable
  • The Three Sovereigns, the great sages of old
  • Where are they today?
  • Pengzu loved longevity,
  • Wanted to stay longer but it couldnt be.
  • Old ad young alike die a single death
  • Wise and foolish are not allotted different
    fates.
  • (Substance, Shadow, and spirit spirit
    expounds)

25
  • Fleeting life, ineluctable death---
  • Theyre dead and gone, none of them left!
  • In one generation both court and city change.
  • Mans life is a phantom affair
  • And he returns at last to the empty void.
  • (Return to My Home, no.4)
  • As a boy in braids, I held to my own odd ways,
  • Then before I knew it I was over forty.
  • My body must go where the course of change takes
    it,
  • But the spirit within me will always be at
    peace.
  • (we had a fire)

26
  • Fleeting life.
  • why do we value this body of ours?
  • Isnt it because we have just one life?
  • And this one lifetimehow long will it last?
  • It shoots by like a bolt of lightning!
  • (Drinking Wine, no.3)
  • Or should I be like gentlemen of our time,
  • hearts filled with hopes that clash like ice and
    fire,
  • who, their hundred years ended, gone to tall
    graves,
  • find they have won themselves only empty names?
  • (poems without category, no.4)

27
  • Fleeting life
  • .
  • Long ago, men in search of fame and honor
  • fought valiantly with each other over this
    ground
  • but then their hundred years one morning ended,
  • And together they went home to the northern
    hills.
  • Now people have cut the pine and cypress on their
    graves
  • only the tall mounds remain, dipping and rising
    side by side.
  • The graves wash away, no heirs to tend them
  • And their wondering ghosts---where have they
    gone?
  • Wealth and glory---no doubt, worth prizing
  • At the same time, a cause for sorrow and pain.
  • (imitating the Old Poems, no. 4)

28
  • Returning to My Home in the Country, no. 1 by
    Tao Qian (365-427)
  • In youth I couldnt sing to the common tune
  • It was my nature to love the mountains and hills.
  • By mistake I got caught in the dusty snare
  • Went away once and stayed thirteen years.
  • The winging bird longs for its old woods
  • The fish in the pond thinks of the deeps it once
    knew.
  • I have opened up some waste land by the southern
    fields
  • Stupid as ever, Ive come home to the country
  • My house and land on a two-acre lot,
  • My house plot measures ten mu or more

Tao Yuanming by Ming Painter Wang Zhongyu
29
  • A grass roof covering eight or nine spans
  • Elm and willow shade the back eaves,
  • Peach and damson ranged in front of the hall.
  • Dim dim, a village of distant neighbors
  • drifting drifting, the smoke from settlements
  • A dog barks in deep lanes,
  • Chickens call from tops of mulberry trees.
  • Around my door and courtyard, no dust and
    clutter,
  • In my empty rooms, leisure enough to spare.
  • After so long in that cage of mine,
  • Ive come back to things as they are.

30
Poetry and Language
  • New generation of poets introduced the new system
    of tonal prosody
  • Poetic (prosodic) rules began to include four
    tones level (píng ?), rising (shàng ?), parting
    (qù ?), entering(rù ?) and eight prohibitions
    /faults
  • Four tones were classified into two categories
    later level (píng ?), oblique (zè ?)
  • Interest in tonal patterns reflected the
    influences of Indian literature and Buddhism

31
Calligraphy
  • Calligraphy rose to become the leading visual
    art.
  • Literati with great calligraphic skill could
    command respect.
  • The development of calligraphic art resulted in
    the emergence of new scripts running-hand and
    cursive scripts, which simplified many Chinese
    characters.
  • Calligraphic theory tied the beauty/ugliness to
    human characters.

32
  • Calligraphic art became an important subject in
    literatis discourse and calligraphic theory.
  • Questions regarding copies and forgeries were
    raised.
  • Fraud (wèi ) and Genuineness (zhen) became
    criteria for evaluating calligraphic works.
  • Wang Xizhi (303-361)
  • Canonized as the sage of Chinese calligraphy
  • Calligraphic works were characterized in a model
    of the running mode script.

33
Wang Xizhis calligraphy
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Prose Narrative
  • Historya boom in historical writing appeared
    dynastic histories and local histories
  • Dynastic histories
  • Chen Shou, Records of the Three Kingdoms
  • Shen Yue, Book of the Song Dynasty
  • Xiao Zixian, Book of the Southern Qi
  • Local histories
  • Record of the States South of Mt. Hua
  • Hagiographies
  • Biographies of Eminent Monks

38
  • Temple records
  • Record of the Buddhist Temples of Luoyang
  • Collections of Anecdotes
  • Forest of Conversations
  • New Account of Tales of the World
  • Anomaly account/ Account of Anomalies.
  • Referred to as zhiguai, with the following
    characteristics
  • Biographical
  • Strange/unusual objects
  • Bizarre and fantastic events
  • Daoist fights Demon
  • Buddhist wonder-workingreturn-to-life stories
  • Buddhist magic

39
  • Writers fascinated with the anomalous created
    stories to teach moral lessons, despite their
    acknowledgement of Confucius advice
  • The master never talked of prodigies, feats of
    abnormal strength, natural disorders, or spirits
  • Most writers were southerners who used the
    benefits of space expansion in the south to give
    free rein to their imagination about a fantastic,
    boundless nature, cosmos, and myriad creatures

40
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Paintings
  • Painting Gu Kaizhi (or Ku Kai-chih, ca.344-406)
  • The only work extant, Admonitions of the
    Instructress to the Court Ladies, reflects the
    Confucian content of the painting.
  • Known as specialized in figure painting.

43
Gu Kaizhis Painting
44
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Goddess of the River Luo
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