What is the culture of China?

Here are a few representative examples of the broad spirit of China culture! First, tea culture.

Tea is a product of labor and a drink. Tea culture takes tea as the carrier, through which various cultures are spread. It is an organic combination of tea and culture, which contains and embodies the material civilization and spiritual civilization in a certain period.

Tea culture is a combination of tea art and spirit, which expresses the spirit through tea art. It flourished in the Tang Dynasty, flourished in the Song and Ming Dynasties and declined in the Qing Dynasty in China. The main contents of China Tea Ceremony pay attention to five aspects of beauty, namely, tea, tea, temperature, tea set and environment.

Tea culture should follow certain laws. In order to defeat Jiu Nan in the Tang Dynasty, it was made, divided, utensils, fire, water, roasted, chopped, boiled and drunk. Tea was tasted at three o'clock in the Song Dynasty, and the "three o'clock" at three o'clock was a combination of fresh tea, fresh spring and clean utensils. The weather was fine and the guests were like-minded.

There are two specific forms of tea ceremony in China: fried tea. Put the tea powder into the pot and add water to boil. Boiling tea in Tang Dynasty was the earliest art form of tea tasting.

Make tea. Ancient literati each carried tea and water, and judged the quality of tea by comparing tea noodles with soup flowers and tasting tea soup. Doucha, also known as Doucha, flourished in the late Tang Dynasty and the Song Dynasty. It was first popular in Jianzhou, Fujian. Fighting tea is the highest expression of ancient tea tasting art.

Kung fu tea. Kung fu tea, popular in some areas since the Qing Dynasty, is the charm of tea tasting art since the Tang and Song Dynasties. Kung fu tea in Qing Dynasty was popular in Tingzhou, Zhangzhou, Quanzhou and Chaozhou, Guangdong. Kung fu tea pays attention to drinking kung fu. Second, wine culture China is an ancient civilization in the Li Zhuo world, and China is the hometown of wine. In the 5,000-year history of the Chinese nation, wine and wine culture have always occupied an important position. Wine is a special kind of food, belonging to the material, but it has been integrated into people's spiritual life. As a special cultural form, wine culture has its unique position in China traditional culture. In the history of civilization for thousands of years, wine has almost penetrated into all fields of social life. First of all, China is a country with agriculture as the mainstay, so all political and economic activities are based on agricultural development. Most of the wines in China are brewed from grain, and wine is closely linked with agriculture and becomes a part of agricultural economy. The prosperity of grain production is a barometer of the rise and fall of wine industry. According to the grain harvest, the rulers of various dynasties regulated the production of wine by issuing or opening bans, thus ensuring the people's food.

China is the kingdom of wine. Wine has various shapes and colors; Variety and output rank first in the world. China is also a paradise for drinkers. Regardless of north and south, regardless of men, women and children, regardless of nationality. Drinking has been going on for thousands of years. China is the most prosperous place of wine culture, and the significance of drinking is far more than physical consumption and pleasure. On many occasions, as a cultural symbol and a cultural consumption, it expresses a etiquette, an atmosphere, an interest and a mentality. Since then, wine and poetry have forged an indissoluble bond. Not only that, many famous wines in China not only give people beautiful enjoyment, but also give people beautiful enlightenment and inspiration; The development of each famous wine contains the exploration and struggle of generations of workers and their heroic dedication. Therefore, the spirit of famous wine is closely related to national pride and fearless spirit. This is the spirit of the Chinese nation! It is equal to the "Dionysus" promoted in Europe. It seems that with famous wines, China catering can be sublimated into a global catering culture.

As an objective substance in the world, wine is a changeable spirit, hot as fire and cold as ice; It is lingering like a dream, vicious as a demon, soft as brocade and sharp as a steel knife; It is ubiquitous and powerful. Admirable and should be killed. It can make people transcend broadmindedness, brilliance and debauchery; It can make people forget the pain, sadness and troubles in the world and soar in absolute freedom; It can also make people recklessly and bravely sink to the bottom of the abyss, make people throw away their masks, reveal their true colors and tell the truth.

Wine, in the long history of human culture, is not only an objective material existence, but also a cultural symbol, that is, a symbol of Dionysian spirit.

In China, Dionysian spirit originated from Taoist philosophy. Zhuang Zhou advocated the unity of things and me, the unity of heaven and man, and the unity of life and death. Zhuang Zhou sang the song of absolute freedom, advocating "wandering things", "wandering around the world" and "land without things". Zhuangzi would rather be a free turtle shaking his head in a mud pond than a bound swift horse. The essence of China's Dionysian spirit lies in pursuing absolute freedom and forgetting the benefits of life and death, honor and disgrace.

There are striking similarities between world cultural phenomena. Dionysus, the god of grape cultivation and wine making, is the symbol of Dionysus in the west. In ancient Greek tragedies, the Dionysian spirit in the west rose to the theoretical level and was sublimated by the philosophy of German philosopher Nietzsche. Nietzsche believes that Dionysian spirit is a symbol of emotional catharsis, a survival experience of abandoning the traditional bondage and returning to the original state, and human beings have gained great pleasure in life in the desperate and painful cry of disappearing the unity of individuals and the world.

In the kingdom of literature and art, Dionysian spirit is ubiquitous, which has a great and far-reaching influence on literary artists and their masterpieces. Because freedom, art and beauty are trinity, art is born of freedom and beauty is born of art.

The artistic freedom gained by drunkenness is an important way for China ancient artists to get rid of bondage and gain artistic creativity. Liu Ling, a famous figure in Wei and Jin Dynasties and the first "alcoholic", said in Ode to Wine Virtue: "There is a gentleman who takes heaven and earth as the sky, ten thousand periods as a moment, the sun and the moon as a moment, and eight droughts as the DPRK." "The curtain is on the ground, which means so." "I was drunk, but I suddenly woke up. If you don't listen to thunder, you won't see the mountain shape. I can't feel the feeling of cutting muscles in cold weather and summer. Looking down on everything, it is like Jianghan duckweed. " This "ultimate human" state is a typical embodiment of China's Dionysian spirit.

"Li Bai has hundreds of poems about fighting wine. Chang' an went to sleep in a restaurant, but the son of heaven didn't get on the boat and claimed to be Brewmaster. " (Du Fu's Eight Immortals in Drinking) "When you are drunk, you are a guest and poetry becomes a god." (Du Fu's "Poem of Self-management") "Give yourself what you want, and make a poem of wine." (Su Shi's Drinking with Tao Yuanming) "A cup of unfinished poetry has been completed, and the poetry day is amazing." (Biography of Yang Wanli going to Wanhua River Valley in February after the Ninth Festival). Zhang Yuannian, a political poet in the Southern Song Dynasty, said: "Flowers fly after the rain, and the meaning of drunkenness is not in wine. "In the history of China's poetry, examples of drunken poems handed down from generation to generation abound.

Not only poetry, but also the Dionysian spirit is more vivid in the paintings and artistic calligraphy unique to China culture. Among the painters, Zheng Banqiao's calligraphy and painting are not easy to get, and those who seek them treat each other with dog meat and wine, while those who seek calligraphy and painting can get what they want. Zheng Banqiao also knew the painter's tricks, but he couldn't resist the temptation of wine and dog meat, so he had to write a poem to laugh at himself: "Look at the moon, you might as well go all out, only hate the wine coming late. Laugh at him and ask for a book, and ask his husband to get drunk. " Wu Daozi, the painter of The Wind in Five Dynasties, must get drunk before painting, and then start painting when he is drunk. Huang in Yuan Sijia is also "too drunk to draw". Wang Xizhi, a "book saint", wrote the Preface to the Lanting Pavilion when he was drunk, saying that he was "charming, extremely healthy and unparalleled", but when he woke up, he "read dozens of books, but failed to reach it". Li Bai wrote Huai Su's "Drunk Monk": "My teacher was drunk and slept in bed, sweeping thousands of copies in a moment. Flying flowers and showers are shocking, falling flowers and flying snow. " Huai Su was drunk and splashed ink, just to keep his "self-narrative post" that ghosts and gods admired. Zhang Xu, the sage of the grass, wrote "every drunk calls for madness", so he has his "four ancient poems". Third, Confucian culture After the 1920s, due to the overthrow of the Qing Dynasty, the feudal autocratic political system existed in name only. Therefore, in addition to a few people in power who continue to try to link Confucianism with the social and political system, more people regard Confucianism as a traditional ideological and cultural heritage and do academic research. What these people care about is how to integrate Confucianism and western culture under the impact of western culture, how to inherit and carry forward the excellent tradition of Confucianism, and how to maintain the spirit of national autonomy. At this time, a group of scholars concerned about the fate and future of Confucianism appeared, such as Liang Shuming, Xiong Shili, Ma Yifu, Qian Mu, Feng Youlan and He Lin. They all interpreted and developed Confucianism on the premise of integrating Chinese and western cultures, and even established a new Confucian system. And their * * * same desire can also be said to include the modern interpretation of Confucianism, so as to carry forward the traditional national culture and make it play an active role in the ideological and moral cultivation of contemporary people and the establishment of national subject consciousness.

In an article entitled "New Development of Confucianism" in the1940s, He Lin put forward the slogans of "establishing new Confucianism" and "new development of Confucianism", and thought: "Just like the introduction of Indian culture, a new Confucianism movement was set off in history, the introduction of western culture will undoubtedly greatly promote the new development of Confucianism. The input of western culture has given Confucianism a test, a big test of life and death. If Confucianism can master, absorb, integrate and transform western culture to enrich itself and develop itself, Confucianism will survive, revive and have new development. " (See "Culture and Life") This means that traditional Confucianism can get new development as long as it is good at grasping, absorbing, integrating and transforming the essence of western culture. In fact, most of the neo-Confucianism systems developed in this period have this feature. For example, Feng Youlan's "Neo-Confucianism" system is the development of Neo-Confucianism in Song and Ming Dynasties on the basis of absorbing and integrating modern neo-realism theories and logical methods. He Lin's "New Mind Theory" system is the development of Song Wang's mind theory on the basis of absorbing and integrating modern western new hegelianism. As for Xiong Shili, I think it is most appropriate to call his philosophical system the "New Yi-ology" system, from the classical Chinese version and the vernacular version of "The Theory of New Consciousness" to the original Confucianism and Gan Kunyan. In this system, he not only integrated the thoughts and methods of Confucianism, Buddhism, Taoism and metaphysics in China's traditional culture, but also widely adopted Bona's modern western neo-Kantism and Bergson's theory, which made positive development for Confucianism with Yi as the core.

From the twenties to the late forties (even the early fifties), modern neo-Confucianism developed actively, with rich content and theoretical depth and value. Their achievements and existing problems deserve our careful study and summary. The theoretical depth and systematic influence of the development of modern Confucianism are worth studying.

Sunshine Literature City, I hope to help you and adopt it.