The Poetic Theory Of "Zi Ran" In The Ming Dynasty

Nature is an important concept in the Chinese poetic.Since the Wei Dynasty and Jin Dynasty,it has been a tool to express the Chinese poetic aesthetic ideal, to describe poetry creation and aesthetic problems and to evaluate the value of the poetry.The theory of Nature in Chinese poetic is evolved from the pre-qin Taoist philosophy. First put forward the concept of Nature are Lao tze and Chuang tzu.Lao tze said:the nature follows after tao (Lao zi chapter 25), treat the highest conception of tao bases on Nature. The basic idea of Wei-Jin metaphysics that saint appreciate etiquette but Lao tze and Chuang tzu love Nature (The biography of Ruan Zhan in the history book of Jin Dynasty), also reveals the concept of Nature is basic characteristics of Taoism theory that makes it different from other theories. Affected by the thought of Taoism, especially the Nature theory of Wei-Jin metaphysics, Nature began to be introduced into the field of literary criticism. At the time of Wei and Jin dynasty natural theory appeared in literature and art aesthetics theory, such as Lu Yun’s White for brother Ping Yuan, Gu Kaizhi’s The praise of painting in Wei Dynasty and Jin dynasty, and Wei Heng’ Few Facts book potential,all of them mentioned the aesthetic view of nature. And in the same time,there are two conceptions appear in the theory ofpoetic:aesthetic standard of Nature in the appreciation of the poetry which write by Zhong Rong and literature in accordance with the natural said by Liu Xie.In the Tang Dynasty, the creation of poetry prosperity, Nature has become a common aesthetic pursuit.From clear water gives lotus that said by Li Bai and the beautiful nature claim by Jiao Ran, the wind of the tang dynasty poetry are pure, fresh and natural.In song dynasty, the aesthetic appeal of Nature focuses on with plain natural, Mei Yaochen said that only made plain difficultly. Su Shi is also put forward the concept of low light, formed the isolation characteristics of song poetry characteristic.So we can see that the poetic of Nature concept has a long history, and has been in constant development, are endowed with rich meaning.In Ming dynasty, along with various debate of "ancient" and "heart", poetic entrance a booming period.In the early Ming dynasty, influenced by the political needs, with a more powerful wen tao poetry teaching ideas, but also some people inherit the poetic theory of Song and Yuan Dynasty,advocacy of of primitive simplicity and moderation, such as "Gu ya Natural"advocated by Wang Xing,"Middle-ground Natural" of Bei Qiong,"Natural Gao miao" of Zhu Quan and "An hou Natural" of Huai yue.Then Taige style open generation of elegant atmosphere, puts forward the concept of "pure natural", promoting peaceful pure Confucian aesthetic temperament and interest.There also is the Xingqi genre which represented by Chen Xianzhang and Zhuang Chang,stand on the view of the neo-confucianism and the character of human,claims the poetic theory which involves more natural things.In the Hongzhi and Zhengde years,both Li Dongyang and the former & later seven scholars of ancient genre, advocate learning articles and poems in the Qin dynasty, Han dynasty and Tang dynasty,but also do not deny the importance of natural emotion. Standing in the view of natural rhythmic and natural emotion,they try to cheer parnassus.Ancient theory through the ups and downs, in the late Ming dynasty is still recur by people, after the wave of Wang Yangming, becoming the mainstream of poetry of the Ming dynasty.After the middle of Ming dynasty,the genre of heart represented by this Li Zhi’s theory of childlike innocence and the theory of freely express temperament claimed by Gongan genre, critic the disadvantages of Ancient genre.Li Zhi’s "childlike innocence", Yuan Hongdao’s theory of freely and naturally express emotions, and Tang Shunzhi, Li Kaixian’s theory of the truth of nature, all of them are trying to loose the writing theory of direct writing, abolish modeled the disadvantages. Following the "the spirit of nature",there are JingLing genre appreciate deep lonely pretty as well as Xie and Lu’s "natural verve" concept, is said to the spirit of disease of shallow straight to their theoretical exploration, also reflected the characteristics of the summary stage of poetic in the late Ming dynasty.Although the "ancient" and "heart" between the two theories have some creation on the theory of irreconcilable contradictions, but the two camps are similar in using the idea of Nature. By the poetic idea of Nature, we can not only see the similarity of their poetic ideas, but also able to spy out the differences. The different interpretations of Nature aesthetic theory makes the poetic of Ming dynasty special. The similarities and differences between the aesthetic idea of implications, common poetry development background of the problem, the problem of the relationship between the ecru and Nature and "true poetry in folk" problems are important problems grasping of the features of the poetic in whole Ming dynasty.The purpose of this paper is to clarify and summarize the poetic theory of the Ming dynasty in the view of Nature, as clues, inductive analysis between the various factions in different connotation of the poetic theory of Nature, then find out the differences,and use that to spy on the development of the poetry theory through the whole Ming dynasty,make us to grasp its era characteristics for better.