Qianlong Cixi, a fellow believer
I worked on the second issue of Toutiao, the rise and fall of empires, full of both glory and helplessness. In this era, people are more willing to accept their mediocrity and choose to live in the red dust rather than being a high-ranking scholar.
Li Yu left his hometown at the age of forty-one and began his career of "selling money to make ends meet". In order to make ends meet, he had to write like crazy and desperately earn money. He lived in Jinling for nearly 20 years, mainly by clinging to high-ranking officials and nobles and making a living as their protégé.
He thinks of himself as a sober man who sells smiles everywhere, and hopes to use self-contempt and self-deprecation to warn the world. Li Yu's mustard seed garden is different from the literati garden of the late Ming Dynasty, no longer deliberately pursuing elegance and simplicity, but showing a secular flavor.
Although the mustard seed garden is "a hill in the ground", under the unique design of Li Yu, the Xuantai in the garden is embellished, the corridor pavilion lingers, the stacked stone peaks and peaks, the blue waves surround, the moss green and pure bamboo, the birds sing and the waterfall sounds, it seems that the song is secluded, the ancient is elegant, there are "moon pavilion", "song platform" and "floating white Xuan" scenes.
Nanjing Mustard Seed Garden, located in the picture insect creative. Li Yu created "size windows" and "unintentional paintings" in the garden. He cut several pieces of paper and pasted them around the window frame, forming a landscape painting, but the landscape in the painting is a real mountain and real water.
He opened a window in the middle of the back wall of "Fubaixuan", forming a landscape landscape that is not like a window. This chic is the fading of the elegant, the rise of the worldly. Compared with the talent and elegance of Wen Zhenheng's era, the Xiao Zi of the late Ming Dynasty culture, although they can still live in the new era, they have no courage to challenge the society.
Shen Fu's Canglang Pavilion has completely taken the lower route, which is closest to the life of ordinary people. He and Yun Niang enjoyed the cool and played with the moon in the garden, tasted the clouds, burned incense and tea, sang at will, picked up flowers and stacked stones, and inserted bottles of grass.
There is no elegant taste or wonderful design in this garden, it is all trivial and mundane, but it has a pleasure that ordinary people can hardly experience.
In the last days of Yun Niang's life, she and Shen Fu lived a poor life. When Yun Niang heard that King Fujun wanted Qianren to embroider a copy of the Heart Sutra, she seemed to see a glimmer of life, but after more than ten days of fatigue, Yun Niang's condition worsened, and the people around her were tired of her.
However, when she was dying, she did not regret the poverty of this life, on the contrary, she passed away with a touch of sadness and sorrow. It was enough for her to be able to experience the fireworks immortal of Canglang Pavilion in this life.
Yun Niang held Shen Fu's hand tightly, said the word "afterlife" intermittently, and then left this world. This aesthetic, even if it is so bland, is enough to move people's hearts.
The core idea of the new copywriting is to express Yun Niang's love and satisfaction with life, even in a poor life, she can feel the beauty of life, her expectations for the future and her reluctance to her relatives.
Although life was hard, she persevered and was full of understanding and acceptance of the hardships of life. Her aesthetic concept is deeply rooted in the hearts of the people, even if life is unremarkable, it can make people feel the beauty of life.
Yuan] Ni Zhan's "Lion Forest" depicts a small garden in a private garden in the south of the Yangtze River, with five thatched cottages with mud walls, two pine trees and an old plum tree, and the environment is sparse, and the Qianlong Emperor loved it.
In his poem "Ni Zhan's Lion Forest", Qianlong began with "By asking the lion forest, there should be nothing", but every time he saw this painting, he would regret it. However, fate is always wonderful.
During Qianlong's second southern tour, after arriving in Suzhou, the local ** took him to the lion forest, and the garden in the painting became the scenery in front of him. Emperor Qianlong was so excited that he sent someone to send Ni Zhan's paintings from the capital to Suzhou.
* They told Qianlong that this place is now called "Shiyuan" and has not been embellished, which is its original appearance. Looking at the scenery here, although the spring stone is half destroyed, the house is not decorated, but in the clear and sparse room, there is quite a Ni Tu meaning rhyme, and the Qianlong Emperor seems to be in the painting.
Since then, Qianlong will come to the Lion Forest every time he travels south, and always takes Ni Tu with him, even when he is in Beijing, he often turns out his paintings, reminiscing about the pictures, like an infatuated woman.
Emperor Qianlong's pursuit and replication of the beautiful scenery of the south of the Yangtze River is far more than just the Lion Forest. During his southern tour, he ordered painters to draw pictures of the famous gardens and scenery in the south of the Yangtze River, and copied them in a large number of imperial gardens and palaces in the north.
For example, Qingyi Garden imitates Huishan Garden, Xiyuan imitates thousands of feet of snow, and Yuanmingyuan imitates the construction of countless people, there are big lion forests, small Tianyuan, Anlan Garden, Zhan Garden, etc., and almost all the scenery of famous gardens in the south of the Yangtze River have been copied to one place.
This act of transplantation breathed new life into the northern royal gardens, allowing them to reach unprecedented prosperity.
Emperor Qianlong's Jiangnan Complex: A Historical Review of Imitation Gardens and *** Emperor Qianlong was an emperor with a literati atmosphere, and his level of poetry, calligraphy and painting even surpassed that of literati emperors such as Li Yu, Qin, and Hui Erzong.
However, his way of ruling was very different from that of these literati emperors. Despite his strong cultural interests, his control over the country was unmatched.
Behind Emperor Qianlong's imitation of the Jiangnan garden, it actually expresses a kind of possession and yearning for Jiangnan culture. After Qianlong's fourth southern tour of Beijing, the royal garden ushered in the second peak of imitation, which is not only an imitation of the beautiful scenery of the south of the Yangtze River, but also the recognition and praise of the culture of the south of the Yangtze River.
However, this period is also the peak of ***. In the 37th year of Qianlong, the emperor began to issue an edict ordering all state capitals to collect books, sort out the "Yongle Canon", and start compiling the "Siku Quanshu"; In the 40th year of Qianlong, the emperor ordered the compilation of "The Biography of Erchen"; In the following year, he issued an edict to compile the "Record of Martyrdom and Loyal Ministers" ......These moves, while ostensibly aimed at protecting culture, are in fact designed to strengthen domination and suppress dissent.
Emperor Qianlong's Jiangnan complex is not only manifested in his yearning and imitation of Jiangnan gardens, but also in his recognition and admiration of Jiangnan culture. However, the way of domination behind this complex is full of harshness and cruelty.
After Xianfeng's death, Cixi began her forty-eight years of political career. Although she had cursed the Forbidden City, she did not want to live there. In 1886, a document entitled "Playing and Returning to the Old System of Kunming Lake Water Exercises" was placed on the table of the Empress Dowager Cixi, which clearly stated that the old system of Kunming Lake water master training should be restored.
The following year, under the guise of preparing for the Kunming Lake Water Master School, the plan to rebuild the Summer Palace quietly began. This project belongs to the naval department, so the funds naturally need to be provided by the naval department.
This marked the beginning of Cixi's embezzlement of naval military spending. The Summer Palace has gradually restored its former appearance, with pavilions, plants, flowers, strange stones and willows all returning. After the restoration of the Summer Palace, Cixi stayed here for ten months every year, and the garden became a second political center.
However, when it was suggested that the construction of the Summer Palace should be stopped and used for military spending after the outbreak of the First Sino-Japanese War, Cixi was firmly opposed, saying: "Whoever dislikes me today, I will also make him unhappy for life!" ”
As a result, there was such a spectacle: the soldiers on the front line fought to the death with the enemy, but the Forbidden City was busy celebrating Cixi's birthday, singing and dancing, and "listening to the opera for three days and delaying everything".
Cixi's Summer Palace is like a beautiful tattoo in Beijing, full of sores and blood. Some people want to pull it out, some people want to defend it, and the Summer Palace is gradually shrouded in blood and conspiracy.
Cixi, source: Internet Emperor Guangxu tried to overthrow the Hou Party by using Kang Youwei, Tan Si and others, but Cixi and Rong Lu agreed to let Guangxu accompany her to Tianjin for a military parade in the autumn, when Cixi will use troops to force Guangxu to abdicate and set up a new monarch.
After Guangxu sensed Cixi's plan, he sent out a secret decree. Tan Sitong hoped that Yuan Shikai could assist him and save Guangxu by killing Ronglu and besieging the Summer Palace.
However, Yuan Shikai defected to Cixi, who had also staged a coup d'état before that. In the end, the Wuxu Reform failed, Cixi seized power, and imprisoned Guangxu in Langtai in Zhongnanhai and Yulan Hall in the Summer Palace in the western suburbs, while the "Six Gentlemen of Wuxu" were killed in the Caishikou Execution Ground.
Ironically, for the sake of the safety of the Summer Palace, Cixi deliberately ordered the surrounding walls of the Summer Palace to be increased by three feet. However, in 1900, the Summer Palace was still looted by the invaders, the treasures were looted, the woods were cut down, and the pavilions were burned, and no one could protect its glory.
Summer Palace: Witnessing the Vicissitudes and Beauty of History In 1921, when the Japanese writer Akutagawa Ryunosuke traveled to China, he was deeply moved by the ancient Chinese civilization, but at the same time, he was also dissatisfied with China's politics, learning, economy, and art at that time, believing that they were all degenerate.
This arrogance spread viciously in Japan, and eventually prompted Japan to brazenly launch a war of aggression against China. During this period, Nanjing became the hardest hit area of the war, many famous buildings and places were bombed into ruins, only the Sun Yat-sen Cemetery left two large bullet holes of the Japanese army, and became the only garden in Nanjing that did not suffer serious damage from the Japanese army at that time, and was well preserved.
Although the history is less than half a century, the wars continued, and many beautiful scenery in the south of the Yangtze River eventually became a ruin, becoming the last elegy of classical Chinese gardens.
However, the wheel of history is rolling forward, and China's garden culture has also maintained its unique beauty through vicissitudes. The Summer Palace is one of the treasures, which bears witness to the vicissitudes and beauty of Chinese history, and is also a symbol of the Chinese people's yearning and pursuit of a better life.