Chapter 15 Quarter Two Stone Play

The use and understanding of stone is generally in the opposite direction from jade.Stone first appeared in human life as a processed and used material, and then gradually summarized the various characteristics of stone, and thus led to the spiritual connotation of stone.In the end, the stone itself becomes a spiritual thing that is independent of objects and can communicate with people's emotions.Stones of different types and shapes can entrust people with different emotions.Even if we look at stone as an abstract sculpture, it is not coldly dissociated from people's lives, but is closely connected with people's hearts and becomes an indispensable companion in people's lives.Lu Fangweng (Lu You)'s poem "If flowers can explain words, there are many things, but stones can't speak the most lovely", which well expresses the close relationship between Chinese people and stones.

The title of the Stone Age could not be more clear that the initial understanding was based on the use of making tools, which is determined by the hard physical properties of stones.During the Xia, Shang and Zhou dynasties, and the Qin and Han dynasties, the understanding of stone began to evolve.The understanding of stone in Xia, Shang, Zhou Dynasties, Qin and Han Dynasties is mainly reflected in three aspects: the evolution of physical properties (the use of utensils); the physical and chemical properties of physical properties (knowledge of character); spirituality).Among the many theories of using stones to express reason in the three dynasties, the words "between stones" and "using the center to correct" in "Book of Changes" have the greatest influence on future generations.This phrase is the interpretation of the second line (62) of the hexagram (䷏) of "Yu": "between stones, not all day long, Zhenji"; principles of action.The stone is unwavering, so it is called "Jie"; "Six Er" is in the middle of the next hexagram (☷Kun hexagram), and the Yin line is in the right position, so the character of this line is "Zhong Zheng", which is exactly in line with the nature of the stone. . "Between the stone" and "taking the center" as the principle of action, one is used for self-cultivation, a gentleman should not be surprised in any environment, stick to the center, and be as firm as a stone; the other is used for dealing with things, everything is like a stone When the situation does not change, the gentleman must take timely contingency measures in order to avoid disasters. Although "Jieshi" and "Yizhongzheng" use stones to compare people and affairs, they have made great contributions to the understanding of stones.The nature of the stone "Zhenjie" and "Zhongzheng" proposed by it has always been the most hated understanding of stone in later generations.From Tao Yuanming's "Jiejieruoren, especially a true husband" ("Nine Chapters of Reading History, Lu Erru") in the Jin Dynasty, to Zheng Banqiao's "Jierurushi, smelly like orchid, firm and knotty" in the Qing Dynasty, all of them are "Yiji". "The reason is also, a gentleman uses it" ("Inscription Painting: Orchid, Bamboo and Stone").Many generations of literati with integrity have used Shi's chastity and integrity to express their feelings and aspirations.The three generations were good at talking about ghosts and gods, and prophecy was popular in the Qin and Han Dynasties, and saying omens should become a prominent school of the generation.The sign of the stone should be the beginning of the spirituality of the stone.With the in-depth understanding of nature and society, the spirituality of stones has become the foundation of communication between people and stones and the emotional bridge between people and stones.Some thinkers in the Qin and Han Dynasties proposed that "the body of a mountain is called a stone" (Liu Xi's "Shi Ming · Shi Shan"), "clouds come out when they touch a stone" (Liu Xiang's "Shuo Yuan · Discrimination of Things"); , its nature is "congge" (quoted by Liu Xin in "Hanshu Wuxingzhi"), that is, it can be changed.From these theories, it can be seen that stones were considered to be the bones of the mountain and the frame of the mountain at that time.This structure is also formed by the condensation of Qi. "Congge" also pointed out that stone has the characteristics of re-creation and regeneration.In the Han Dynasty, Liang Xiaowang built a rabbit garden. "In the garden there is Bailing Mountain, and there are Fucunshi, Luoyuanyan, and Qilongxiu on the mountain."These behaviors are all concrete manifestations of "congge".Using stones to form a symbolic mountain and combining the nature of stones to form another beautiful thing is the beginning of aesthetics of stones and putting people's aesthetic orientation into practice.

If the Xia, Shang and Zhou dynasties and the Qin and Han Dynasties laid the foundation for an understanding and practice of playing with stones, then the Wei, Jin, Southern and Northern Dynasties were an important turning point in this understanding and practice, showing the sympathy between stones and life.With the development of landscape poetry and landscape painting in the Wei, Jin, Southern and Northern Dynasties, the understanding of stone also has the feeling of landscape and the thought of landscape.For example, in Liang Dynasty Xiaotui's "Fu De Cui Shi Ying Ling Poem" said: "The shape of the peak is like a mirror, and the shape of the mountain is like a lotus."Or as Master Chen Chaoyu (piao Piao) said in "Poems on a Gushi": "A lone rock in the Central Plains, whose geography does not know the age. The root contains Peng Zelang, and the top is filled with incense burner smoke." These sentences all show the poet's landscape drawn from the stone. thinking.During this period, the art of stacking stones in gardening gradually became more sophisticated.For example, when Zhang Lun built Jingyang Mountain in the Northern Wei Dynasty, "it is as natural as it is. Among them, the heavy rocks and complex mountains" 嵚崟 [Qinyin Qinyin] belong to each other, and the deep stream (xixi) is connected with caves and ravines, and the meandering [liwei liwei] is connected." But this During the period, there were many chants about Gushi's "alone high but not grouped", "solitary beautiful white clouds", and "single standard thousands of feet", which shows that the poet's feeling of landscape caused by the stone is the poet's turmoil. In the 1990s, empathizing with stones and comparing themselves with stones expressed people's dissatisfaction with the world and their desire for innocence in troubled times.

The Tang Dynasty was a period when stone and life were in harmony.Playing with stones was very popular in the Tang Dynasty, especially among literati and bureaucrats, there were many examples of giving stones to each other and singing poems and essays.For example, Bai Juyi, Li Deyu and Niu Sengru are all famous stoners.Among them, Li and Niu are politically irreconcilable opponents. The famous dispute between Niu and Li in Tang Dynasty politics was caused by them.But in terms of playing with stones, both of them are friends of Bai Juyi.This example could not be better to prove the purification effect of playing stones in Chinese culture on the spirit.Bai Juyi is the most representative person who played with rocks in the Tang Dynasty.Compared with his predecessors and contemporaries, Bai Juyi stands out in at least three aspects.One is that the stone is more loyal and loyal, as in his "Blue Stone" poem: "I wish to be the stele of the Yan family and the Duan family, and carve the Taiwei and the Taishi. The two pieces are engraved with steadfastness, like the loyalty of the two. The righteousness is just like the stone. Standing still and not turning, dead joints are like stones that never move." The second is to use stones as companions.For example, in his poem "Shuangshi", it says: "Turn around and ask Shuangshi, can I accompany the old man? Although the stone can't speak, allow me to be three friends." In "Bamboo Stone at the North Window", he wrote: "A piece of rustling stone, several poles of green bamboo. To me, if there is love, I still don’t see it enough... I have a wife and I am old, and I have no children. , first talk about the miraculous posture of this stone, then talk about the miraculous things of this stone, and finally boil it down to the fact that it is too big and has no use. It is really a stone comparison.There is also a poem "Lotus Stone": "One or two pieces of bluestone, three or four branches of white lotus. Send it to Dongluo, and the heart and things will go together... Don't say farewell, and there is a heart period at the end of the year." It is also compared with the lotus stone.In addition, Li Deyu's poems: "Wen Jun picks strange stones, cuts off the glow of Chicheng", "Why go to famous mountains, there are many peaks here", are also famous lines for appreciating stones.Niu Sengru mentioned in a poem to Bai Juyi that "to read this garden treasure, you must also recognize the essence".Connect the Taihu stone with the garden, and make it clear that the Taihu stone is the treasure in the garden. (Fig. 28) Echoing this poem is a narrative article ("Taihu Stone") written by Bai Juyi in May of the third year of Huichang (843 A.D.) for Niu Sengru to build a garden.It is said that when Niu Sengru was the prime minister, he was an honest and honest official, but he did not refuse stones from others, and "take stones as his companions", "only stones are good".Niu Sengru placed Taihu Lake stones of different shapes in the garden, "Three mountains and five peaks, hundreds of caves and thousands of valleys, and the clusters of luoluo are all in the middle. One punch at a hundred feet, one thousand miles and one moment, you can get it by sitting. This is why it is used for public convenience." Bai Juyi's article fully demonstrates the important role of stone in the lives of people in the Tang Dynasty.In the Tang Dynasty, playing with stones and appreciating stones was mostly arranged stones and stacked stones in gardens. Appreciation of strange stones was also seen in the lives of Tang people.As mentioned in Li Deyu's poem ("Wen Jun Cai Qishi"), the strange stone given by the Linhai prefect is the flower milk stone produced on the roof, which is like a tortoise shell, shiny, firm, clean and lovely.In addition, Wuxing Bianshan produces peach blossom stones, which are compared to He's beautiful jade in Jiaoran's poem "Peach Blossom Stone Pillow Song" ("Bianshan's secluded stones produce strange Pu, and Jing people have not been able to pick them up to now").The Dongyang and Yongkang pine fossils are pine fossils with big roots and twists and turns. Lu Guimeng wrote that this stone is naturally formed and has the interest of mountains and forests ("Thousands of cool breezes blow like music, and a cold stream drips into wear" ; "Fortunately, I was born with the savages, and I don't bother the good craftsmen to carve and engrave them").To sum up, the appreciation of stones in the Tang Dynasty has entered the stage where people and stones are integrated, and the attention to various strange stones has expanded the scope of the relationship between stones and people (not garden stones). The formation of the peak of stone appreciation has made preparations in terms of cognition and material.

The evaluation of the sculpture achievements of the Song Dynasty has always been very low. It is believed that Chinese sculpture has declined since then, and it is getting worse. There is even a theory that there is no sculpture in the Song Dynasty.What is the real situation?The Song Dynasty was the period when landscape painting reached its peak, and it was also the period when literati painting flourished.In this situation, Jiashi and bonsai, with a strong literati and book atmosphere, have evolved into a new type of sculpture - literati sculpture.The most unique Chinese sculpture art peaked in the Song Dynasty.As far as this is concerned, the sculpture achievements of the Song Dynasty can rival any other dynasty.These sculptures are either one piece or a combination, or they are placed in the courtyard, or on the desk, or on the shelf, or in the sleeve, and they are always viewed and enjoyed.The appreciation of stones in the Song Dynasty formed a trend of the times, and all the strange stones in the world were included in the appreciation.Among these strange stones, there are strange ones, rare ones in the world, corals in the sea, and fossils in rocks.The "Yunlin Stone Book" written by Du Wan in the Song Dynasty lists 116 kinds of stones, including famous stones in the world and their characteristics and history, as well as excellent stones and their qualities and origins. It can be said to be a concise dictionary of stone appreciation in the Song Dynasty.The book mentions the processing of the best Taihu stone (processed according to requirements, sinking in water, washed by running water for a long time, and when it is taken out again, the processed stone is as natural as it is), that is, sculpture production.In addition, in the narration of some famous stones in the book, there are many records of collection or appreciation by literati and celebrities, from which we can also see the prosperity of literati playing with stones in Song Dynasty.It can be said that the style of worshiping stone in the Song Dynasty was mixed with elegant aesthetic taste and strong habit of hunting novelties, and "Hua Shi Gang" is the culmination of this style. "Hua Shi Gang" was set up by Zhao Ji (ji Ji), Emperor Huizong of the Northern Song Dynasty, to build Gen (gen) Prison (the name of the royal garden) in Bianjing (now Kaifeng, Henan) and to collect rare flowers, trees and rocks from the south of the Yangtze River.After more than ten years of searching, Gen prison piled up rockery with strange stones such as Taihu stone and Lingbi stone.In addition to the rockery, many single stones with unique shapes are erected in the garden as point views. The purpose of this setting is exactly the same as that of today's garden sculptures.After Bianjing was breached by the Jin people, Gen Prison was also destroyed.The precious Taihu stones were scattered all over the place, and some were looted to Jinzhongdu (now southwest of Beijing) by Jin people.After dynasties changed, many of these Taihu stones were lost. Today, there are still many old objects of Gen prisons in the imperial palaces such as the Forbidden City and the Summer Palace.

There was another obvious change in Shi's understanding during this period.In the Song Dynasty, an era when landscape paintings vividly expressed the natural scenery of mountains and rivers, the aesthetics of stones jumped out of the frame of thoughts and emotions of mountains and rivers, and formed a unique aesthetic form, that is, from the shape of objects to abstract concepts. Development, such as leaky, transparent, thin, wrinkled, literary, ugly, beautiful, clumsy, etc., and deduce various moral connotations of gentleman, adult, upright, honest, calm, upright.In the process of completing this understanding, Su Shi and Mi Fu (fu Fu) played a pivotal role.As representatives of literati appreciating stones, Su and Mi have both similarities and differences.Both Su and Mi have elegant tastes.The difference is that Mi Fu is pursuing the perfection of stone shapes, that is, to "make the most of the ingenuity of carving out the sky"; Su Shi's playing with stones not only pursues perfection, but also pursues the unique sentiment in stones.As far as the characteristics of appreciating stones are concerned, Mi Fu highlights the word "crazy", while Su Shi highlights the word "love".Mi Fu's "foolishness" is a characteristic of him, which is manifested in all his words and deeds.As a stone idiot, it is manifested in some unusual behaviors of his love for stones.Just like Ruan Ji, a famous scholar in the Wei and Jin Dynasties, was fond of drinking, and he heard that the infantry chef was good at brewing good wine, so he asked to be a captain of the infantry.Mi Fu liked stones, knowing that Lingbi in Anhui produced excellent stones, and he also asked Lianshui, who received Lingbi, to be an official.Mi Fu played with stones like a fascination, bowed down to him when he saw them, and called him his brother. Sometimes he played with stones regardless of his official duties and stayed behind closed doors all day.Mi Fu is talented and learned, and he is praised in the contemporary era. What he has done in playing with stones has a great influence on the present and future generations.The "Jiuyao Stone" in Guangzhou Jiuyao Garden has been preserved for thousands of years and is a famous stone in China.The reason why these nine groups of stones are famous is that apart from their white as gui and animal-like shapes, they are also famous for Mi Fu's poem "Nine strange stones, scattered and dynamic", so many admirers come here one after another.Su Shi said in the poem "Painted Dead Wood, Bamboo and Stone in the past": "Old Ke (Wen Yuke, Su Shi's cousin) can paint bamboo, and Xiaopo (Su Dongpo) is now vivid with stone." But Su Shi wants to express the spirit of the stone, Not an ordinary shaped stone, but an ugly and oddly shaped stone or a weird stone.On this point, Song people have long commented.For example, Mi Fu said in the book "History of Painting": "Zizhan (Su Dongpo's word) is a dead wood, the branches and stems [qiuqiu] are bent for no reason, and the stones [cun village] are hard and strange, just like the depression in his chest. " Zhu Xi believes that Su Dongpo's painting of strange rocks, on the one hand, expresses "the beauty of a handsome man withered, and his firm and unshakable posture" ("postscript Chen Guangming's collection of Dongpo"); The aura is enough to conceive of him" ("Postscript Zhang Yi Taoist Tibetan Dongpo").Su Dongpo's life was full of vicissitudes, but wherever he went, he must carefully collect the strange and beautiful stones in that place.For example, the famous "Xuelang Stone" was obtained from Zhongshan (now Dingxian County, Hebei Province) and Quyang (now Hebei Quyang County); "Qiuchi Stone" was obtained from Yangzhou; The smooth and clear stone with patterns like brush silk is used as a strange stone offering, and this stone is given to Zen Master Foyin for Qingplay; the smooth and lovely stone is taken from the sea in Gaomi and raised together with Shichangpu, which becomes a famous Qing offering and is loved by people all over the world. What is pursued.Su Dongpo used poems to record these beautiful and strange stones.From the poems, we can understand Su Dongpo's feelings for these stones.For example, the poem "Shuangshi" writes "Qiuchi Stone": "But seeing the jade peak horizontally too white, I stopped Emei from the bird's path. The autumn wind and the clouds made the clouds, and the dawn made the grass and trees safe. Where is a little emptiness, the old man really wants Go to Qiuchi." Both Taibai and Emei are famous mountains in Su Dongpo's hometown. The reason why Su Dongpo loves Qiuchi stone is that he can entrust his homesickness in this stone.Another example is in the poem "Taking marbles and vortex stones to raise stone calamus", which says: "I hold this stone to return, and I have the East China Sea in my sleeve... Put it in a basin, and the sun is opposite to the mountains and seas." Xishi cherishes the love of mountains and seas.In Su Dongpo's eyes, stones are not just objects of appreciation, but more importantly, they are used as metaphors, ambitions, and emotions.There are many books on stones in the Song Dynasty and after the Song Dynasty, some about the place of origin, some about strange stones, some about their manufacture, and some about their miracles, but none of them surpassed the realm created by Su and Mi.Su and Mi's evaluation standards in playing stones have greatly influenced future generations.Among them, the most important ones are to focus on the merits of good fortune (images of mountains, rivers, clouds and smoke), pleasing to the eye (color, texture), empathy and empathy (meanings derived from leaky, transparent, thin, wrinkled, literary, ugly, beautiful, clumsy, etc.) These three aspects.

The style of playing with stones in the Tang and Song Dynasties included Bai (Juyi), Su (Shi) and Mi (Fu) representing the feelings of literati, as well as the search for treasures represented by "Hua Shi Gang".These two different aesthetic orientations towards stone developed into two major characteristics of Chinese stone aesthetics after the Song Dynasty.One is reflected in applicability, such as stacking stones in gardens in the south of the Yangtze River; the other is reflected in appreciation, such as landscape bonsai (including tree bonsai) and rare stones.