As important in Chinese literary history as Shakespeare is to people in Britain,Li Bai (courtesy name Taibai) has its poems widely recognized and studied by many scholars.Among his abundant and brilliant poetic works,...As important in Chinese literary history as Shakespeare is to people in Britain,Li Bai (courtesy name Taibai) has its poems widely recognized and studied by many scholars.Among his abundant and brilliant poetic works,wine poems stand out as an individual school?with peculiar characteristics.Acclaimed as Shi Xian (the immortal of poems) and Jiu Xian (the immortal of wine),and accompanied by poems and wine all his life,Li Bai is a genius and a romantic figure who took traditional Chinese poetic forms to new heights.His wine poems enjoy extraordinary status in Chinese poetry and wine literature,covering themes including his political ideal,fleeting melancholy due to unfulfilled ambitions,optimistic attitude towards life,sincere and profound friendship,courageous chivalry and dissatisfaction with social reality,all of which have strike a chord with the literati class.展开更多
In Dali Bai Autonomous Prefecture,Yunnan Province,there exists a quite special and interesting cultural phenomenon of the Bai ethnic group,which is the belief in Benzhu.There are a lot of poems and couplets in Benzhu ...In Dali Bai Autonomous Prefecture,Yunnan Province,there exists a quite special and interesting cultural phenomenon of the Bai ethnic group,which is the belief in Benzhu.There are a lot of poems and couplets in Benzhu temples.The poems are carved on the walls and tablets.The couplets,being on both sides of the doors,are carved on planks or written on red paper.Lan guage used in the poems and couplets plays the informative function.展开更多
There are many problems worth discussing in Li Bai’s Fifty-Nine Pre-Tang Style Poems(XIX),which can be named Lotus Flower Peak in Huashan Mountain(西岳莲花山).From ancient times to the present,interpreters have put f...There are many problems worth discussing in Li Bai’s Fifty-Nine Pre-Tang Style Poems(XIX),which can be named Lotus Flower Peak in Huashan Mountain(西岳莲花山).From ancient times to the present,interpreters have put forward different opinions on the theme,period,and writing place of the poem,but they have not provided reliable evidence.From the perspective of historical geography,this paper elaborates on“Lotus Flower Peak”or“Lotus Flower Mountain”(莲花峰或莲花山)and“Luoyang Chuan”(洛阳川)in the poem,and puts forward a series of viewpoints for the first time.Li Bai chose Huashan Mountain as the starting point of his journey to the mystical landscape because of the special location of Yuntai Peak.Its position is easy to observe from east to west,thus forming an eastward immortal route contrary to the western route of the rebels of An Lushan and Shi Siming(安史叛军).It shows great significance to the division of the poet’s personal life stages that Li Bai started to use the word“Luoyang Chuan”.There is a significant difference between this word and the pure word“Luoyang”when it combines the applied allusion of the An-Shi Rebellion.According to the research results,this poem may be written during this period from January in 756 A.D.to October in 757 A.D.The poet did not enter Tongguan in Shaanxi at all,let alone climbing Yuntai Peak in Huashan Mountain.In this poem,the real geographical position runs through the whole process,making the poet’s romantic fairy fantasy and the real historical record perfect integration,fully showing the poet’s judgment of the current situation and the course of his mind in the An-Shi rebellion.展开更多
Chinese calligraphy is a thousand-year-old writing art. The question of how Chinese calligraphy artworks convey emotion has cast its spell over people for millennia. Calligraphers' joys and sorrows were expressed ...Chinese calligraphy is a thousand-year-old writing art. The question of how Chinese calligraphy artworks convey emotion has cast its spell over people for millennia. Calligraphers' joys and sorrows were expressed in the complexity of the character strokes, style variations and general layouts. Determining how Chinese calligraphy aesthetic patterns emerged from the general layout of artworks is a challenging objective for researchers. Here we investigate the statistical fluctuation structure of Chinese calligraphy characters sizes using characters obtained from the calligraphy artwork "Preface to the Poems Collected from the Orchid Pavilion" which was praised as the best running script under heaven. We found that the character size distribution is a stretched exponential distribution. Moreover, the variations in the local correlation features in character size fluctuations can accurately reflect expressions of the calligrapher's complex feelings. The fractal dimensions of character size fluctuations are close to the Fibonacci sequence. The Fibonacci number is first discovered in the Chinese calligraphy artworks, which inspires the aesthetics of Chinese calligraphy artworks and maybe also provides an approach to creating Chinese calligraphy artworks in multiple genres.展开更多
文摘As important in Chinese literary history as Shakespeare is to people in Britain,Li Bai (courtesy name Taibai) has its poems widely recognized and studied by many scholars.Among his abundant and brilliant poetic works,wine poems stand out as an individual school?with peculiar characteristics.Acclaimed as Shi Xian (the immortal of poems) and Jiu Xian (the immortal of wine),and accompanied by poems and wine all his life,Li Bai is a genius and a romantic figure who took traditional Chinese poetic forms to new heights.His wine poems enjoy extraordinary status in Chinese poetry and wine literature,covering themes including his political ideal,fleeting melancholy due to unfulfilled ambitions,optimistic attitude towards life,sincere and profound friendship,courageous chivalry and dissatisfaction with social reality,all of which have strike a chord with the literati class.
文摘In Dali Bai Autonomous Prefecture,Yunnan Province,there exists a quite special and interesting cultural phenomenon of the Bai ethnic group,which is the belief in Benzhu.There are a lot of poems and couplets in Benzhu temples.The poems are carved on the walls and tablets.The couplets,being on both sides of the doors,are carved on planks or written on red paper.Lan guage used in the poems and couplets plays the informative function.
基金the periodic research result of the research project:Beijing Social Science Fund Project,“Research on The Yuan Dynasty Version of Li Taibai’s Poems With Supplementary Annotations by Classification,Collected by Zunjing Pavilion in Japan”(日本尊经阁藏元版《分类补注李太白诗》研究)(Serial Number 15WYC060)Moreover,it is also the periodic research result of the research project:Planning of Philosophy and Social Sciences in Guizhou Province in 2018-Individually Listed Studies of Chinese Ancient Civilization(贵州省2018年度哲学社会科学规划国学单列课题阶段性成果)“Research on the Compilation and Publication of the Anthology of Special Collections of the Works of Scholars of Song Dynasty in Song and Yuan Dynasties”(宋元时期宋人别集的编纂与刊刻研究)(Serial Number 18GZGX25).
文摘There are many problems worth discussing in Li Bai’s Fifty-Nine Pre-Tang Style Poems(XIX),which can be named Lotus Flower Peak in Huashan Mountain(西岳莲花山).From ancient times to the present,interpreters have put forward different opinions on the theme,period,and writing place of the poem,but they have not provided reliable evidence.From the perspective of historical geography,this paper elaborates on“Lotus Flower Peak”or“Lotus Flower Mountain”(莲花峰或莲花山)and“Luoyang Chuan”(洛阳川)in the poem,and puts forward a series of viewpoints for the first time.Li Bai chose Huashan Mountain as the starting point of his journey to the mystical landscape because of the special location of Yuntai Peak.Its position is easy to observe from east to west,thus forming an eastward immortal route contrary to the western route of the rebels of An Lushan and Shi Siming(安史叛军).It shows great significance to the division of the poet’s personal life stages that Li Bai started to use the word“Luoyang Chuan”.There is a significant difference between this word and the pure word“Luoyang”when it combines the applied allusion of the An-Shi Rebellion.According to the research results,this poem may be written during this period from January in 756 A.D.to October in 757 A.D.The poet did not enter Tongguan in Shaanxi at all,let alone climbing Yuntai Peak in Huashan Mountain.In this poem,the real geographical position runs through the whole process,making the poet’s romantic fairy fantasy and the real historical record perfect integration,fully showing the poet’s judgment of the current situation and the course of his mind in the An-Shi rebellion.
基金funded by the National Natural Science Foundation of China (No. 41465010, 41977245)。
文摘Chinese calligraphy is a thousand-year-old writing art. The question of how Chinese calligraphy artworks convey emotion has cast its spell over people for millennia. Calligraphers' joys and sorrows were expressed in the complexity of the character strokes, style variations and general layouts. Determining how Chinese calligraphy aesthetic patterns emerged from the general layout of artworks is a challenging objective for researchers. Here we investigate the statistical fluctuation structure of Chinese calligraphy characters sizes using characters obtained from the calligraphy artwork "Preface to the Poems Collected from the Orchid Pavilion" which was praised as the best running script under heaven. We found that the character size distribution is a stretched exponential distribution. Moreover, the variations in the local correlation features in character size fluctuations can accurately reflect expressions of the calligrapher's complex feelings. The fractal dimensions of character size fluctuations are close to the Fibonacci sequence. The Fibonacci number is first discovered in the Chinese calligraphy artworks, which inspires the aesthetics of Chinese calligraphy artworks and maybe also provides an approach to creating Chinese calligraphy artworks in multiple genres.
