The feeling of the ancients

The feeling of the ancient people in China is rich, agile and lively, with a wide range of dimensions. Scriptures have been passed down from generation to generation, developed and innovated, and become multidimensional. One feeling can be written separately, and six senses can be used together, that is, the six organs "eyes, ears, nose, tongue, body and mind" and the six dust "colors, sounds, smells and touches" are mutually accessible and parallel, creating a wonderful realm in which one or more senses are integrated.

First of all, old skin feels fresh.

There is no weather forecast, sunrise and sunset, and seasonal changes. Ancient people have a close and natural relationship with the natural climate, and the somatosensory indicators all exist in the present and are felt by the skin of the body.

From the spring clothes of Confucius, bathed in interpretation, singing back. Suddenly, I was shocked by the spring; Or the spring grass born from the pond, to the spring night when the chilly spring breeze wraps her daughter; Until the flowers wither and fall into the mud, it means that spring has passed. People go out for an outing, fold willows, fly kites and swing, so that spring water and spring breeze are close to life.

With the cycle of the four seasons, the feeling is also progressive. Pear flower garden dissolves the moon, and banana rains a lot; In Huangmei season, it rains in every family, or the sky is green and the leaves are yellow, or the catkins don't follow the wind, so our frozen red flag can't fly with the wind, so there are activities arising from the phenological seasonal sense, such as tamping soil, drying cloth, stuffing cotton-padded clothes, making a fire to keep warm and so on. At the same time, in these phenology, people's food, clothing, housing and transportation can produce infinite stories, which leads to infinite poetic thinking.

"Eating", "eating" and "drinking" were placed in an extremely important position in the lives of the ancients. "I am not tired of eating fine, and I am not tired of eating fine." Regarding eating utensils and food, we can see its life in the world from unearthed cultural relics. And the words about diet occupy an extremely important proportion in Chinese. For example, a strict diet is regarded as part of the "ceremony". In addition, China is located in various climatic zones, with distinct seasons, close communication between all ethnic groups and various places, and different regions in the east, west, north and south, which have nurtured rich and varied ingredients, three-dimensional seasonings, complicated cookers and exquisite slaughter techniques, which greatly stimulated and stimulated the taste of ancient people. Since ancient times, there have been skilled chefs and master chefs. Gold, silver, copper, iron, pottery, porcelain, bone, jade, glass crystal, etc. in cookware and tableware can be made into exquisite cookware and tableware. Ordinary people, bureaucrats and literati groups can not only consume catering as objects, but also develop and improve catering as subjects, which greatly stimulates the prosperity and development of catering industry.

From "night glass wine" to "jade bowl amber light", food, wine, fragrant tea and fragrant dew are all packed in beautiful vessels such as "red hump is brought from jade broiler, fragrant fish is served on crystal tray". Needless to say, edible birds and beasts, delicacies, from the folk to the palace, the symbol of wealth must first be implemented in the diet. Whether it is "snow foam milk flower", Chinese chives, bamboo shoots and wormwood swaggering "try spring vegetables", "puffer fish want to go up", "Yuepu yellow orange", or "hand-broken new orange", "peach blossom and flowing water mandarin fish fat", or chrysanthemum yellow crab fat holding claw-handle wine, or the winter static stove has stirred red, and the new fire tries new tea, the ancients'. So that in modern times, Hu Shi, Zhou Zuoren, Lu Xun, Liang Shiqiu, Zhu Ziqing, Wang Zengqi, Zhang Daqian, Mei Lanfang, Zhang Ailing ... Numerous cultural celebrities inherited the consistent diet temperament, and the smell of rice, oil and salt gave birth to many contextual genes, which influenced the lips and teeth of many cultural and political figures. Confucius, Zhang Hans, Li Bai, Du Fu, Su Shi, Yuan Mei, Yongming Zhai, Alai and so on.

Third, the vision of the ancients was colorful and lifelike.

China's vast natural mountains, rivers and natural resources, together with multi-ethnic regional civilization and cultural characteristics, as well as exchanges with foreign civilizations, are independent and intertwined in terms of natural civilization and humanistic civilization, so poetry and songs, decorative arts, jade tools, gold and silver silk, porcelain fabrics, weaving and dyeing, catering, housing and transportation ... are constantly developing, creating a colorful visual space.

The application of visual color has been developing, inheriting and changing in different periods of the past dynasties, such as giving my lover "leave me to be the master", dyeing his clothes "carry the mystery and carry the yellow, I am", mourning his lover "green clothes and green clothes, wrapped in green and yellow", and Qu Yuan's hibiscus flowers are oriole willow, egrets in the sky, "green and fat and thin", "hiding from the wind and red, and frightening the rain and green". Yellow leaves, autumn waves, cold smoke and green "clothes are like" jade carving unicorn with red, green leaves hanging down the temples and lips ",or" I lost the rouge mountain, my daughter has no color ",or" moths, snow, willows and golden wisps ",and the horses and chariots have" green finches, white fish boats, four-cornered dragons and jade.

In calligraphy and painting, there are many elements, such as "dancing like a rainbow, swimming like a dragon", "Yan Liu Jin Gu" and "Youlong Walking". It can be said that the visual space of the ancients is extremely colorful.

Fourth, the hearing of the ancients was multidimensional.

The costume is "Ding Dong" and the music is brighter. "Rites" and "music" have always been valued by ancient emperors and become an important part of the ruling system. A large number of cultural relics unearthed from the tomb of Zeng Houyi prove that as far back as the 5th century BC, during the Spring and Autumn Period and the Warring States Period, China people reached an unimaginable level in playing music and musical instruments. Idioms such as Huangzhong Road, Xialiba people and high mountains and flowing water have been integrated into daily life. Musical instrument manufacturing, guqin has "brought me the breath of a thousand valleys and pines when I touched the strings"; "At the end of the song, people can't see each other, and there are several peaks on the river"; Pipa "hummed and whispered-and then intertwined, like pouring pearls of all sizes into a plate of jade", "The mountain monk broke the glass bowl, and the strong man broke the coral whip"; Zheng "One tear, two tears, red carp, three tears, white ape".

Naturally, there are "wind rustling, water rustling", swallows whispering, children crying, geese crying, or wind rustling, autumn water falling, fallen leaves falling, and snow is also audible.

Whether it is to preach the East Wall or to mourn the dusk, it will lead to infinite feelings in life; Guan Guanluo's dove, mulberry crow, Chai Men's dog barking, the crow of the moon, love and hate parting are all in the past.

Fifth, the ancient people's sense of smell was sensitive and diverse.

The ancients attached great importance to the smell of fragrance. All kinds of herbs in Qu Yuan's Songs of Chu and Lisao, fruits and flowers in The Book of Songs, or burning peppers to go to the toilet, or painting clothes with flowers and fruits or introducing them indoors, or incense burners and sachets, are all ancient fragrance brands, such as Dior and Chanel. The ancients also borrowed incense, planted flowers and grass in front of the courtyard, and opened the window to spread incense.

In Ding Wei's Biography of Tianxiang in Song Dynasty, it was recorded that "incense has been used since ancient times". As late as the Wei and Jin Dynasties, incense has become an indispensable part of people's daily life. Since the Tang and Song Dynasties, with a large number of foreign spices imported, a culture of using incense led by scholars has gradually formed, and various incense utensils, spices, incense spectrum and incense utensils have been improved day by day, leaving many poems and songs about incense.

Therefore, incense culture, tea culture and flower culture constitute three unique spiritual and olfactory symbols of China literati. Besides the special sense of smell, incense has visual symbols such as smoke, color, spices and sweet cake. Besides the taste symbols, tea has multiple symbols such as the sound and color of grinding tea. Flower culture endowed the ancients with multidimensional aesthetics in appearance, color and smell. It can be eaten and made into various cosmetics, dyes, headdresses and so on.

Therefore, in the life of the ancients, the fragrance always lingers.

Sixth, the ancients' sense of time and space was dense and grand.

Zi said in Sichuan, "The deceased is like a husband, not giving up day and night." . Qu Yuan's "infinite heaven and earth, sorrowing for people to grow diligently", Du Fu's "leaves fall like waterfall foam, but I think the long river is always rolling", Yan Shu's "endure the light of the new year like water, keep going all the way" and so on.

The vast territory, multi-dimensional terrain and numerous mountains and rivers give China people an unparalleled sense of space. Narrative tradition, war and the rise and fall of dynasties since ancient times have deepened the sense of time. Xie lingyun's "shipped to no flooded things, the sense of death has been urged", Chen Ziang's "Where, before me, those lost years? Behind me, where are the future generations? I think of heaven and earth, there is no limit, there is no end, I am lonely, and my tears fall down. "At the same time, I embrace the concepts of time and space, so in the context of the universe, there is infinite emotion between the world and myself.

Seventh, the ancient people's self and ontological consciousness are multidimensional.

Self-feeling and self-awareness have always existed in the thinking system of China people. What is a person? This kind of thinking is constantly explored and deepened in the communication between man and everything in the world, man and history, and time. During the Wei, Jin, Southern and Northern Dynasties, the self-awareness of scholars reached a grand occasion. Personalized writing is embodied in the literati class, and this feeling is multidimensional.

From the ancient myth that Pangu opened the world, boasted that his father filled the sea in the sun, and Dayu managed the water, to the questioning of nature and everything in Chu Ci, people have already had the desire to explore their position in the universe and have sprouted a look at their roles. One is the melancholy and dynamic self in the passage of time, the other is the hermit self of Tao Yuanming who "makes sense in it, I forgot to say it", and the other is the pure self of Li Bai who "never tires of looking at each other, only Jingting Mountain".

However, frontier fortress's wild self of "lying drunk on the battlefield without laughing, and fighting many battles since ancient times", the self that has been trained step by step from a teenager's "listening to the rain in the opera house" to "listening to the rain in the monastery now", the flowing self in "Awake in the Old Days, Sages Forgotten" and the self in "Flying Flowers to Reduce Spring, Wind Full of Sorrow" by Du Fu are still "boys for us. Still thinking about women's self in People are Thinner than Yellow Flowers, or the self of literati and scholars in Mud and Dust, and Stay Clean and Dry. The self-consciousness of the ancients has been developing and stretching in different groups, and self-consciousness has always been a reflection of the consciousness of life ontology.

Eighth, the ancient people's sense of home and country has always existed and the branches and vines are connected with each other.

This kind of national mourning, homesickness and hatred are the unique spiritual symbols of the ancient people in China. From "the moon is full of the sea" to "thousands of miles away", from "although the country is broken and the mountains and rivers remain unchanged" to "I don't see Kyushu", from "I asked her for this song and used its first few words" to "the clouds and the moon are eight thousand miles away", "homesickness, thinking about walking" to "the sunset, heartbroken people are at the end of the world" ...

Hometown, home, wandering, looking for a husband, leaving people ... affection, friendship, brotherhood, these silky spiritual traditions have continued to the hearts of every China person now.

Ninth, the ancients had rich supernatural feelings.

For example, The Classic of Mountains and Seas, all kinds of strange books about ghosts and gods, based on the vast world of China, are circulated among the people as many orthodox articles as there are, and the imagination of the ancients is certainly rich.

China people's imagination is the catalyst, which appears in all kinds of works of art with the help of material tools such as calligraphy, pen and ink, paper and inkstone, under the rich material reserves of vision, hearing, taste, touch and feeling brought by material culture and spiritual civilization.

Therefore, from the ancient ancestors' praise of the Book of Songs, the magnificent imagination of Chu people, the imagination space of the three-dimensional integration of heaven, man and ghost in the T-shaped silk paintings of Han people, to the vivid visual imagination of the strange novels Shan Hai Jing, Gu Kaizhi and Wang Xizhi in Sui and Tang Dynasties, to the magnificent poetic space of frontier poems and Li Bai, until the silence of Qing Dynasty and the spread of Pu Songling's strange novels. The imaginary line has never been cut.

Tenth, under the influence of China's ancient philosophy of Confucianism, Buddhism and Taoism, the concept of "Six Interoperability" is also very common. After Buddhism was introduced into China, the ancient people's feelings about the relationship between heaven and earth, between man and himself, and between man and others were deepened, which was manifested in the popularity of synaesthesia and philosophical poems and songs in various art forms.

Looking at Tang and Song poetry alone, the audio-visual space and artistic conception have changed, such as "moonlight in the pine forest, crystal stones in the stream", "sound music" as weeping as longing, "Kunshan jade is broken and beautiful, lotus flowers cry and fragrant orchids laugh", "Nu Wa makes up the sky by refining stones, and autumn rain shakes". , and the military environment is "new moon and cold light and iron clothes.

Metaphysical poems in Wei and Jin Dynasties, such as "Bodhi has no trees, and the mirror is not a stage", philosophically "Life is like a reverse journey, and I am also a pedestrian", "Looking at the side of the mountain, the distance is different" and "Asking about the canal is so clear, which is the source of living water", compares the synaesthesia of philosophy with real life to see if there is any; "Qian Fan is at the edge of the sinking boat, Wan Muchun is in front of the sick tree", "There is no doubt in the mountains and rivers, and there is another village" writes that life is a rescue; "I will walk until the water checks my path, and then sit and watch the rising clouds." It says that I am free and detached without me, forgetting things and me.

In a word, the feelings of the ancients are vivid, and the sense of skin, vision, hearing, taste, smell, time and space, self-awareness, sense of home, paranormal feeling and synaesthesia are all inherited and developed. Among them, there are both their own traditions born locally and the absorption and development after the introduction of foreign cultures.