As A Country Of Art

The Southern Tang Dynasty was an important hub of the Tang and Song reforms,and also a stage in the transition from the Middle Ages to the modern times.This article attempts to take the Nantang regime itself as an aesthetic object,to explore its Jiangnan consciousness based on politics,and the aesthetic connotation of this Jiangnan consciousness.This article first reveals that the people of Southern Tang believed that they inherited the cultural heritage of Datang,but in fact they changed their meaning from culture and education to literature and art,thereby consolidating their political status,and thus produced differences between self-identification and external knowledge.Li Pang regarded himself as a descendant of the royal family of the Tang Dynasty,which filled the early Southern Tang Dynasty with political identity in the Central Plains.It was not until the defeat of the Southern Tang Dynasty in the latter week,and after losing political hope,was forced to use literature and art to maintain decent.So Jiangnan consciousness digested the Central Plains consciousness and became conscious.It not only has political details,but also aestheticizes political consciousness,making Nan Tang a country focused on beauty and art.Secondly,taking the painting,treasure play and literary theory of the Southern Tang as examples,this article points out that the Southern Tang not only retains the utilitarian nature of the aesthetics,but also involuntarily likes the pure aesthetics without utilitarianism.The realm of literature and art.It first comes from the sense of space generated by multi-level scenarios,and the writer's subjective spirit exceeds and drives the object to construct the grand cultural space "Jiangnan".With the help of the above research results,this article points out that Southern Tang Yiwen and their authors are in a "drowning" thinking,that is,they have a general neurotic personality caused by stress.Specifically,the aesthetic connotation of the Southern Tang Dynasty can be attributed to "ecstasy" and "sorrow" based on physical sensations.They are not parallel,but blend into "ecstatic mourning",forming a self-rebellious aesthetic.On the one hand,the sorrow of the family and country moved to foreign objects,and the poet deepened the sorrow through the physical objects.On the other hand,this thrill of artistic production made the aesthetic consciousness overshadow the political consciousness,forming the Southern Tang Dynasty's Jiangnan consciousness,and passed down through the modern Jiangnan culture through the Southern Tang's literature and art.This "neuropathy" just became the opportunity for the development of the aesthetic connotation of the Southern Tang Dynasty.In the process of acceptance and evolution of later generations,the aesthetic connotation of the Southern Tang Dynasty has gradually separated from the shadow of its neurosis and precipitated as an important component of Jiangnan culture.