The bottle with a small mouth and a pointed bottom was unearthed in Baoji City, Shaanxi Province in 1958. The bottle is 46.2 cm high, with a big belly and a pointed bottom, and earrings used as a tether on both sides of the abdomen. When drawing water, put the bottle in the water with a rope, because the bottle is empty and the center of gravity is in the middle and upper part of the bottle, so the bottle will be immediately inverted in the water; With the continuous injection of water into the bottle, the center of gravity of the bottle shifts to the middle and lower part of the bottle, so that the bottle mouth stands upright, so as to ensure that the drawn water no longer flows out. The whole process is completed by the bottle itself, and there is no need to shake the
"surname" from female to female, which is originally meant to be derived from the same family name and all symbols. Obviously, the surname should have originated from the matriarchal clan commune, which determined the kinship based on the woman, and it is the symbol of the difference between clans-the clan number. Then, how can the clans be distinguished within the same tribe? This requires a new logo, which gives birth to the surname. Surname and surname are actually the relationship between trunk and branch.
Generally speaking, most surnames beside female characters originated from the matriarchal clan commune period, belonging to ancient surnames, such as Yao, Jiang, Ying, Yan, Ji, Si and so on. There are many stories and legends about these ancient surnames. These ancient surnames later gave rise to many surnames, such as Wu, Guan, Lu, Wei, Shen, Han, Zheng, etc., all of which were countries with the surname of Ji, and each of them took its title as the surname.
In slave society, there are strict hierarchical boundaries, and people can determine someone's rank according to their different surnames. In the Warring States period, due to the great social changes, some new landlords with low status gradually grasped the political power, while the former slave owners and nobles declined day by day, and the surname they were proud of for generations lost its sacred aura and the function of distinguishing between the noble and the poor. By the time the Qin Dynasty destroyed the Six Kingdoms, the nobles of the Six Kingdoms were completely beaten, and the surnames and surnames were "mixed into one".
The story of the Three Kingdoms is quite popular among the people in ancient China. Song and Yuan Dynasties were put on the stage, and Jin and Yuan performed more than 31 kinds of Three Kingdoms plays. From the Yuan Dynasty to the reign of Emperor Zhi, the Pinghua of the Three Kingdoms, which was published by Yu's family in Xin 'an, appeared. At the end of the Yuan Dynasty and the beginning of the Ming Dynasty, Luo Guanzhong synthesized folklore, operas and scripts, combined with the historical materials of Chen Shou's "The History of the Three Kingdoms" and Pei Songzhi's notes, and created the Popular Romance of the History of the Three Kingdoms based on his personal understanding of social life. The earliest existing edition was published in the Jiajing year of the Ming Dynasty, commonly known as "Jiajing Edition", with 24 volumes. During the reign of Emperor Kangxi in the Qing Dynasty, Mao Lun and his son Mao Zonggang corrected historical events, added and deleted words, and revised them into the 121-copy Romance of the Three Kingdoms, which is popular today.
Luo Guanzhong (1331-1411), whose name is Hu Hai San Ren, was a popular novelist in Ming Dynasty. His native place is Taiyuan today, Shanxi, and Qiantang today, Hangzhou, Zhejiang, which is not certain. According to legend, Luo Guanzhong once served as a screen guest of Zhang Shicheng, a peasant uprising army at the end of Yuan Dynasty. In addition to the Popular Romance of the Three Kingdoms, he also wrote popular novels such as Biography of Sui and Tang Dynasties and dramas such as The Meeting of Dragon and Tiger of Zhao Taizu.
The Romance of the Three Kingdoms describes the historical situation of nearly one hundred years from the last years of the Eastern Han Dynasty to the early years of the Western Jin Dynasty. The book reflects the political and military struggles in the Three Kingdoms period, the infiltration and transformation of various social contradictions in the Three Kingdoms period, summarizes the historical changes in this era, and shapes a group of heroes. In grasping the history of the Three Kingdoms, the author showed an obvious tendency to support Liu and oppose Cao, taking Liu Bei Group as the center of description, praising the main figures of Liu Bei Group, and trying to expose and lash Cao Cao. Today we should have a dialectical understanding of the author's tendency to support Liu and oppose Cao. Respecting Liu and opposing Cao is the main tendency of folklore, which implied people's hope for the revival of Han nationality in Luo Guanzhong era.
The Romance of the Three Kingdoms depicts nearly 211 characters, among which Zhuge Liang, Cao Cao, Guan Yu, Liu Bei and others are the most successful. Zhuge Liang is the embodiment of the "sage" in the author's mind. He has the noble character of "doing his best until he dies", and he has the ambition to help the people in modern times and rebuild a peaceful and prosperous world. Moreover, the author has given him the strange ability to call the wind and call the rain. Cao Cao is a treacherous man. His life creed is "I'd rather teach the world to betray me than the world to betray me". He is a political careerist and schemer, which is not to be confused with the true Cao Cao in history. Guan Yu is "strong and resolute" and "righteous as a mountain". But his loyalty is based on personal grievances, not the national justice. Liu Bei was portrayed by the author as a model of benevolence and benevolence, a corporal who values virtue, and a man who knows people well and is good at his duties.
The Romance of the Three Kingdoms describes wars, big and small, with grand ideas and various techniques, which makes us clearly see the war scenes of bloody scenes. Among them, the descriptions of the wars of Guandu and Battle of Red Cliffs are ups and downs, ups and downs, and it is thrilling to read.
The book is not deep and vulgar, concise and lively, full of momentum and lively.
The Romance of the Three Kingdoms has brought about an upsurge in the creation of historical novels in China, and its series of characters have become well-known in China.
The Water Margin is the first novel describing the peasant uprising in the history of China.
The story of Water Margin has long been told among the people. In the Southern Song Dynasty, Wang's "A Brief Account of the East Capital" and other books have been recorded sporadically. Gong Sheng, a adherent of the late Song Dynasty, wrote Thirty-six Praises of Sung River. Anonymous's "The Legacy of Song Xuanhe" describes the deeds of Song Jiang and others. There were 25 kinds of dramas with the theme of Water Margin in Yuan Dynasty, and the story of Water Margin spread to the end of Yuan Dynasty, which roughly formed the scale of this edition of Water Margin.
The author of Water Margin is generally considered to be Shi Naian in the late Yuan Dynasty and early Ming Dynasty. Shi Naian (1296-1371), a famous man, was born in Suzhou. Famous novelist in the early Ming Dynasty. At the age of 35, he entered the Jinshi, then abandoned his official position and retired to his hometown to engage in creation. Legend has it that he had some connection with the peasant uprising movement at the end of Yuan Dynasty.
The Water Margin takes the occurrence and development of peasant uprising as the main line, and describes the whole process from individual awakening to small-scale joint resistance to grand peasant uprising team through the different experiences of various heroes being driven to Liangshan, showing the inevitable law of peasant uprising in feudal times, shaping the group image of peasant uprising leaders, and profoundly reflecting the political situation and social contradictions in the late Northern Song Dynasty.
The author stood on the side of the oppressed, praised the just behavior of the leaders of the peasant uprising, robbed the rich and helped the poor, eliminated violence and calmed down, and affirmed their revolutionary spirit of daring to rebel and struggle. Song Jiangyuan was a righteous man who helped the poor in a hurry. When he was driven to Liangshan, he "defended heaven", strengthened the prestige of the rebel army and won a series of victories. However, due to the duality of his personality and the limitations of his thoughts, he chose to compromise and woo when the uprising reached its peak, and finally ruined the uprising. The novel objectively summarizes the experience and lessons of the failure of peasant uprising in feudal times through the failure of Sung River uprising.
The story begins with the rise of Gao Qiu, which is intended to show that Gao Qiu is a representative of the feudal ruling group. The author also wrote a large number of corrupt officials and local bullies. It is they who collude with each other and fish for meat, which forces kind and upright people to take risks and rise up against them. The novel deeply excavates the deep-seated reasons of peasant uprising in feudal times.
The structure of Water Margin is unique. First, it takes a single hero story as the main body. At the end of the previous story, another character is drawn by the transformation of events and scenes, and the next story is started because of life events. It's like a ring, interlocking and interlocking. There are also some stories with their own paragraphs, which show many heroes, such as Zhicai Birthday Class and Sanda Zhujiazhuang. One story after another flows like a trickle to the Yangtze River, and finally merges into a great torrent, merging into a huge heroic gathering.
The Water Margin has successfully created characters such as Song Jiang, Wu Song, Lin Chong, Lu Zhishen and likui jy. The author is good at putting the characters in the real historical environment, closely linking their identities and experiences to describe their personalities; He is good at describing the character by putting the character at the critical moment of life and death in a sharp struggle, and he is also good at using comparison method and contrast method to highlight the character.
The Water Margin has no trace of femininity, but it has bold and rough masculine beauty and lofty beauty. This aesthetic style had a certain influence on later heroic legendary novels.
The Journey to the West's story has gone through a long process of evolution. The historical fact that Tang Xuanzang went to Tianzhu (present-day India) to learn Buddhist scriptures, which was described and exaggerated in the Records of the Western Regions of Datang and The biography of Master Sanzang of Datang, was widely circulated in the Tang Dynasty and evolved into a mythical story. The story of Buddhist scriptures in the Tang Dynasty, which was published in the Southern Song Dynasty, has developed significantly, and has initially taken on the outline of The Journey to the West's story. Monkey Walker has replaced Tang Priest and become the protagonist of the story of Buddhist scriptures. By the Yuan Dynasty (not later than the Ming Dynasty), a more complete and vivid Journey to the West Pinghua appeared. It is very likely that Wu Cheng'en directly processed and created the manuscript, which is of great significance in the process of The Journey to the West's book writing. From the Song Dynasty to the Ming Dynasty, the story of Buddhist scriptures was also active on the stage of drama. Some of the plots and contents are similar to those of Wu Zhu and The Journey to the West. This shows that before Wu Zhu The Journey to the West, the story of learning the scriptures had been processed by many hands and widely circulated. The image of the Monkey King has also gone through an equally long evolution process, which is related to a Huai vortex water god without a support qi that was captured by Dayu during the flood control. Wuzhiqi was originally a miraculous monkey spirit, and was later locked by the town at the foot of Guishan Mountain in Huaiyin. It was on the basis of the previous generation's legends, peace talks and operas that Wu Cheng'en combined the legend of Wu Zhi Qi with the story of learning from the scriptures, and fused it into the content of real life, creating this grand and outstanding mythological novel The Journey to the West.
ideological content
The Journey to the West consists of three parts. The first part is about the Monkey King's birth and causing havoc in Heaven. The second part is about Tang Priest's life experience and the reasons for learning from the scriptures. The third part is about the Monkey King's conversion to Buddhism, protecting Tang Priest from going to the Western Heaven to learn Buddhist scriptures, fighting evil spirits and monsters along the way, going through eighty-one difficult, and finally getting back the true scriptures, which became a "positive result". The story of making a scene in Heaven vividly portrays a heroic image of the Monkey King who defies imperial power and dares to rebel, and shows the author's enthusiastic praise for his anti-feudal rebellious thoughts and fighting spirit, such as resisting authority and despising hierarchy. The second part mainly plays the role of transition and connection, with obvious religious superstition. There are obvious differences and contradictions in the theme, content and idea of the Buddhist scriptures story in the main part of the story. However, due to the consistency of the protagonist's character before and after, the variation of the object of struggle and the situation has not affected the general unity of the ideological content of the novel. The Monkey King failed in rebellion and converted to Buddhism because his magic power was not as good as that of Tathagata, and finally showed the religious thought of "boundless Buddhism", which was inseparable from the historical limitations of the author and the religious nature of the subject matter. However, as the hero image of the Monkey King, he has always maintained the fighting spirit of overcoming evil and being brave and fearless, which is also the positive significance of The Journey to the West's book. Through the form of myth, The Journey to the West shows rich social content, twists and turns reflect the realistic social contradictions, and shows the people's desire and demand to punish evil and promote good. The Monkey King embodies the people's strong desire to resist autocratic oppression, defeat the dark forces and conquer nature. The Monkey King's spirit of positive optimism and daring to struggle is an artistic summary of the long-term struggle life of China people, and it is the product of the combination of ideal and reality. As the opposite of the Monkey King, the world of gods, buddhas and demons are unjust, and the fatuity and violence of the Jade Emperor is the epitome of the feudal ruling class at that time. The sinister and lewd nature of the demons on the way to learn from the scriptures reflects the similarities and differences of the dark forces in society. It is precisely because of this antithesis that the Monkey King became a favorite hero of the people. It is precisely because the book highlights the content of killing demons and monsters that the purpose of learning from the scriptures is relegated to a secondary position, even with symbolic significance. For the character of Tang Priest, the author is more critical than positive. He abided by religious creed and feudal etiquette, was pedantic and stubborn, and did not distinguish right from wrong, thus changing from a eulogized figure to an object of ridicule. This is also the difference between The Journey to the West and the traditional story of learning from the scriptures. In addition, the book also depicts the image of Zhu Bajie, a small social producer who is simple and honest, bears hardships and stands hard work, never gives in to the struggle against the enemy, is greedy and lustful at the same time, can't distinguish between the enemy and me, and is jealous and not determined enough to fight. The author gives him banter and good-natured criticism. It is through the different descriptions of different characters in the book that the author praises the fighting spirit of justice, fearlessness and courage, whips the dark and evil forces, and exhorts people to understand the essence through phenomena, be cruel to the enemy and do everything except evil. Thus, this book has profound implications.
artistic achievements
The Journey to the West has distinctive artistic features. The story is vivid, fantastic and tortuous, showing a rich and bold artistic imagination. The characters in the book have a strong sense of magic and reality. The organic combination of divinity (fantasy), humanity (sociality) and materiality (naturalness) is a prominent feature of The Journey to the West's characterization. The Journey to the West's language is vivid and fluent, and the dialogue between characters has distinct personality characteristics, and it is full of strong flavor of life, showing a humorous artistic interest, which makes the whole work full of artistic charm.
Influence
The Journey to the West occupies an important position in the history of China's novels, and is an outstanding representative of ghost novels in Ming Dynasty. Like Romance of the Three Kingdoms and Water Margin, it has become a well-known classic novel of China people. The earliest existing publication in The Journey to the West is Journey to the West with Newly Carved Elephant Palace Characters, which was published in the 21th year of Wanli in Ming Dynasty (1592). The collation was published in 1954. In 1981, People's Literature Publishing House published a second edition.
Cao Xueqin (1715? -1763? ) name Zhan, word Meng Ruan, number Xue Qin, and number Qin Xi lay man. Great novelists in Qing Dynasty. The ancestral home is rich in Hebei and Liaoyang in Liaoning. After the Qing people entered the customs, they entered the Zhengbaiqi internal affairs office. From his great-grandfather to his father, his family inherited Jiangning weaving. When I was young, my family was rich and magnificent. Later, his father was convicted of something, his estate was confiscated, and his family fortune declined. Cao Shi's family moved from the south to the north. After middle age, they lived in the northwest suburb of Beijing. Their family was poor and lived a "family porridge" life. Cao Xueqin is versatile, good at poetry and painting, addicted to wine and talkative, and proud of his character. When A Dream of Red Mansions was written 81 times, it became an unfinished work due to poverty and illness, and the death of my beloved son.
A Dream of Red Mansions, also known as "The Story of the Stone" and "Jinyuyuan", takes the love story of Jia Baoyu and Lin Daiyu as the main line and describes a series of love stories of young men and women inside and outside the Grand View Garden. At the same time, by describing the social environment of these love tragedies, it involves issues such as politics, law, patriarchal clan system, women, morality, marriage, etc. in feudal society, revealing the world at the end of the feudal society, exposing the decay and evil of the feudal aristocracy and its rule, praising the rebels who pursue light, and declaring that this society is bound to perish through the tragic fate of the rebels. It can be said that A Dream of Red Mansions is an encyclopedia of social life in the late feudal society in China.
A Dream of Red Mansions created vivid characters such as Jia Baoyu, Lin Daiyu and Xue Baochai. Baoyu always stood outside the spirit and morality of feudalism. He regarded his official career as a blessing, used entertainment words as a tool to seek fame and reputation, and regarded reading sages as a daunting road. He had both