"Who said that the Dragon Boat Festival is a festival, and it is rumored to be Qu Yuan through the ages. "Every Dragon Boat Festival, Qu Yuan is a historical celebrity that people think of for the first time. In fact, during the Spring and Autumn Period and the Warring States Period, the customs of the Dragon Boat Festival were mainly to drive away plague and ward off evil spirits. The integration of the commemoration of Qu Yuan into the Dragon Boat Festival customs began in the Han Dynasty. The Eastern Han Dynasty Yingshao's "Customs and Customs" recorded: "On May 5, those who tied their arms with colored silk sent troops and ghosts, which made people not sick and plagued, but also because of Qu Yuan. ”
Later, people associated the customs of dragon boat rowing and eating zongzi with Qu Yuan. In the Southern Dynasty "Continuation of Qi Harmonic Records" and other historical books, it is recorded that "the fifth day of May is the race of the crossing, commonly known as Qu Yuan's throwing into the Luo day, and he was injured to death, so he ordered the boat to save him." "Qu died on the fifth day of May, the Chu people mourned, every day, the bamboo tube stored rice and threw it into the water sacrifice. Based on these rumors, after the Tang Dynasty, the Dragon Boat Festival commemorating Qu Yuan became the most widely circulated saying. Qu Yuan has become a cultural symbol of the Dragon Boat Festival, which is closely related to his own cultural influence and patriotism.
Qu Yuan is known as the "ancestor of Chu Ci", and his representative works include "Lisao", "Nine Songs", "Nine Chapters", "Tianwen" and so on. Throughout the ages, literati and artists have created a large number of calligraphy works with the theme of Qu Yuan and his dictionaries, and they admired Qu Yuan's personality spirit, praised his loyalty to his homeland, praised his solitude, and wrote the magnificence of his dictionaries, and at the same time used them to express the calligrapher's own feelings.
Lisao is the longest lyric poem in ancient China. The first half of the poem repeatedly poured out the poet's concern for the fate of the Chu State and the lives of the people, expressing the desire to reform politics and the will to adhere to the ideal and never compromise with the ** forces despite disasters; The second half of the poem reflects the poet's love for the country and the people's thoughts and feelings through the statement of traveling to the heavens, pursuing the realization of ideals, and wanting to die after failure. The emotions of "Lisao" are not only majestic and unrestrained, but also lingering and sad, which makes people feel moved after watching it. Therefore, "Lisao" is also the most admired and sought after by calligraphers. Tang Dynasty calligrapher Ouyang Xun, Song Dynasty Mi Fu, Yuan Dynasty Wu Rui, Ming Dynasty Wen Zhengming, etc., in regular script, line calligraphy, line grass, small Kai and other forms of respectful transcription, are all into a famous calligraphy, become a paradigm for later generations.
Mi Fu is a calligrapher, painter, painting and calligraphy theorist in the Northern Song Dynasty, and Cai Xiang, Su Shi, Huang Tingjian together called the "Song Four". He is good at seal, li, Kai, line, cursive and other calligraphy, and is good at copying the calligraphy of the ancients. Mi Fu book "Lisao Sutra" is a small line of Kai, but a large number of penmanship and structure still belong to the category of regular script, and the handwriting is slightly smaller. The original ink is a paper album, where 26 open, each open 2 sheets, each 5 lines, the number of words in each line is different, a total of 2494 words, belongs to the fine book of rice. According to the "Yuanfeng four years" of the chronological judgment, this is Mi Fu 31 years old works.
Wen Zhengming is a "four unique" all-rounder, proficient in poetry, literature, calligraphy, and painting, and has an outstanding reputation in his later years, known as "writing all over the world". At the end of the volume of the book "Lisao Jing", it is signed "Jiajing Yimao February Hope", which is a calligraphy work of Wen Zhengming when he was 86 years old. In the history of calligraphy, Wen Zhengming is famous for being good at all kinds of forms, especially good at calligraphy and small letters, his calligraphy is gentle and beautiful, steady and old, and the law is strict and vivid.
There are eleven pieces in total, which are adapted and created by Qu Yuan based on the folk songs of sacrificing to the gods, including "Donghuang Taiyi", "Yunzhongjun", "Xiangjun", "Xiang Lady", "Da Si Ming", "Shao Si Ming", "Dong Jun", "Hebo", "Mountain Ghost", "National Martyrdom" and "Rite Soul". A large number of images of gods are created in the poem, and many of them describe the attachment between gods and spirits, showing deep longing or sadness of unsuccessful requests. From the existing works, it can be seen that Li Gonglin of the Northern Song Dynasty, Zhao Mengfu and Zhang Wu of the Yuan Dynasty, Zhu Yunming, Wen Zhengming, Chen Hongshou of the Ming Dynasty, and Yao Wenhan of the Qing Dynasty have all created paintings on related themes.
Zhang Wu, whose name is Shuhou, was born in the Zhen period and Jianghaike, and was mainly active in the Yuan to Zheng period (1341-1367). Erudite and versatile, but failed to pass the imperial examination, he was committed to poetry and painting, painting characters in white and tracing the style of Li Gonglin in the Song Dynasty, with both form and spirit, elegant and vivid, and was known as "no one before" and "only one person after Li Longmian". Among the painters of the Yuan Dynasty, there were not many people who were good at painting figures, and Zhang Wu was one of the more prominent ones.
There are several copies of the extant "Nine Songs" volume, all of which are matching image modes, depicting the characters of "Nine Songs" in white. A volume of Nine Songs in the Shanghai Museum, each of which is followed by a poem written in seal script by Wu Rong in the sixth year of Zhizheng (1346). Wu Ei is the Yuan Dynasty outstanding achievements of the small seal family, "Historical Books" records that Wu Ei "work small seal, uniform and clean, can also be productive", is Wu Qiu Yan (and Zhao Mengfu is equally famous) among the ** very outstanding one. Zhang Wu's other volume of "Nine Songs", each paragraph is followed by a chapter of Qu Yuan's "Nine Songs" written by his contemporary, Chu Huan. There are not many records about Chu Huan, but what is known is that he was also a student of Wu Qiuyan.
In addition to writing the "Lisao Jing", Wen Zhengming also created "Xiangjun Xiang Lady" based on the two chapters of "Xiang Jun" and "Xiang Lady" in Qu Yuan's "Nine Songs", which was made by Wen Zhengming when he was 48 years old and is his only surviving early figure painting masterpiece. The painting is above the two chapters of the book "Xiang Jun" and "Xiang Lady".
Far Journey is a poem written by Qu Yuan in his later years, mainly writing about the imaginary journey to the sky, expressing Qu Yuan's ideal pursuit of the real world. Zhao Mengfu of the Yuan Dynasty wrote the "Traveling Poems" when he was about 50 years old, the technique is exquisite and skillful, the artistic style is graceful and peaceful, not agitated, and there is no slack in the whole text.
In addition, "Nine Chapters: Ode to Orange" is a poem by Qu Yuan that praises the orange tree, but it is actually Qu Yuan's confession of his ideals and personality. The "Ode to Orange" written by Shen Zao in the Ming Dynasty is round and flat, and the style is graceful and beautiful, which is a typical "Taiwan Pavilion Style".