Who knows the story in Qu Yuan's Song of JIU?

Tian Wen is Qu Yuan's masterpiece, with 373 sentences and 1560 words, mostly in four words, including three words, five words, six words, seven words, and occasionally eight words. Tian Wen is a very unique poem among all kinds of Chinese and foreign literary works. This is because this work is an unprecedented literary form. From beginning to end, it is completely composed of questions. The author asked 173 questions about heaven, earth, nature, society, history and life in one breath, and expressed his thoughts and value orientation by asking questions, which was reasonable. Therefore, Liu Xianting, a scholar in Qing Dynasty, praised it as "a masterpiece through the ages" in Annotation to Lisao Classic.

With regard to the meaning of the title Tian Wen, most people agree with Wang Yi that Tian Wen is seeking heaven, so it is called Tian Wen, because Buddha cannot seek heaven. The ancients thought that heaven was the general name of all things and the master of all things. Therefore, to ask heaven is to ask nature, society and everything.

Perhaps, the question of heaven can also refer to the question of heaven, which created everything and doubted what he had created, so Qu Yuan represented the question of heaven. In fact, although nature is colorful and strange, there is nothing wrong with it. What is wrong is the thinking person. In other words, it was Qu Yuan himself who really doubted, and it was Qu Yuan who questioned, doubted and took responsibility for his original knowledge system. Obviously, this is a heartfelt self-questioning. The key is that Qu Yuan not only asks questions and seeks answers, but fundamentally heckles, doubts and denies the original proposition. From this point of view, we can't simply answer the questions raised by Qu Yuan in Tian Wen like Liu Zongyuan's Heaven Pair.

Judging from the form of the article, the main structure of Tian Wen is questioning, which does not appear out of thin air or by accident, but is formed on the basis of dialogue, questioning, knowledge examination and wisdom fighting in China's folk poems. As we all know, a large number of folk songs and dances in China, such as "Cowherd" in the north and "Sister Liu" in the south, often use questions and answers to spread knowledge and convey feelings. Some folk songs, such as "Flower Songs" and "Asking Gensheng", are almost always asking questions and answers.

The Buyi folk song Pangehua usually takes the four seasons and December as the order. Young men and women express their feelings with flowers, and the content is centered on flowers. They asked each other about the process and experience of planting flowers, involving all kinds of knowledge of production and life. Popular in Huishui, Guizhou. Miao folk songs that borrow flowers to ask questions or compare flowers are popular in Wangmo, Guizhou.

"Wen Gen" is a religious song sung by Tujia wizards in Nuo altar and sacrificial ceremony, which is popular in Tongren, Guizhou. The form of performance is wizard's question and answer and chorus. The content involves the origin of Fuxi, Wuyue, Sixty Jiazi, Hua December, Nuo Ye and Nuo Niang, the basic content of vows, as well as various gods, utensils, costumes, props, production techniques, life knowledge, historical allusions, etc., which are the themes of mutual exploration. Obviously, Qu Yuan, who was born as a wizard of Ba people (descendants of Tujia people), should be familiar with this.

As for the inspiration and reason of Qu Yuan's writing Tian Wen, Wang Yi vividly described it in Chu Zhang Ci: "Qu Yuan was demoted and worried about his country and people; Wander in the mountains and experience the earth; Haohao, look up and sigh. Seeing that Chu has the Temple of the First King and the Ancestral Temple of the First King, painting the heavens and the earth, mountains and rivers, immortals, Qiwei and ancient sages, I am tired of the wall of books, resting, looking up at pictures and asking questions to vent my heart and solve my worries. " Therefore, Qu Yuan "asked him because of the wall of books", which became Tian Wen.

Or "double bow", "back bow" and "back point", originally referring to the shape of solar halo, corona and prominence, extended to strange shapes. "Lu Chunqiu Understanding": "Its days are full of fighting erosion and its bows are dizzy." Gao said, "Around the sun, doubling and fainting are dangerous things. Double on both sides, on the floor, and vice versa. " China's observation of the corona was discovered in Oracle Bone Inscriptions in the 4th century BC/KLOC-0.

Interestingly, Wang Yi said that Qu Yuan "saw the temple of the late king and the ancestral hall of the late king", implying that Qu Yuan didn't know that there were temples in Chu with murals. Obviously, if Qu Yuan really came from a noble family in Chu, this would not happen. Therefore, this further proves the author's point of view from another side, that is, Qu Yuan is actually a Ba born in Chu, and only in this way will he be shocked by the contents of the temple murals in Chu, and a series of problems will arise, thus writing the "Tian Wen", a legendary man throughout the ages.

So, are there really murals in the temples of Chu State? The answer is yes. The history of human painting can be traced back to tens of thousands of years ago. We have reason to believe that all materials that can draw patterns have been tried at the beginning, and thus a wide variety of paintings have been formed. For example, figure painting, ancient costume painting, ceramic painting, woodcut painting, stone painting, metal painting, leather painting, silk painting, paper painting (screen size is relatively small), as well as rock painting, ground painting and mural painting (screen size is relatively large).

Generally speaking, the content of ancient paintings is for the purpose of religion or witchcraft, to describe history and to spread knowledge. For example, there is an ancient She nationality song and dance in China, which is called merit dance, also called ancestor worship dance. Ancestor worship is held every year on the eighth day of the first lunar month, and a big family ancestor worship ceremony is held every three years. The funeral is presided over by the elders. Teachers (wizards) and ancestors (eight people in the funeral ceremony) were invited to sing sacrificial songs and dance in front of ancestors' portraits to show their achievements, and then everyone danced. Ancestor portraits, also known as ancestral paintings, are usually long scrolls, and the painting content is the legend of the origin and migration of the nation.

Rock paintings in China are widely distributed, among which the famous ones are Yinshan Rock Paintings in Inner Mongolia, Table Mountain Rock Paintings and Helan Mountain Rock Paintings in Ningxia, Jiangjunya Rock Paintings in Lianyungang, Jiangsu, and the rock paintings in Northwest China (Xinjiang, Gansu and Qinghai), Southwest China (Tibet, Yunnan, Guizhou, Guangxi and Sichuan) and Taiwan Province and Fujian provinces. In addition, there are rock paintings in Mudanjiang. Strangely, in the Central Plains (including Hebei, Henan, Shaanxi, Shanxi, Shandong, Anhui and Hubei provinces), there are few rock paintings (Jilin, Liaoning, Hunan and Jiangxi) in Taihang Mountain, Luliang Mountain, Qinling Mountain, Xiong 'er Mountain, Funiu Mountain, Taishan Mountain, Daba Mountain, Jingshan Mountain and Dabie Mountain. The reason may be that people here have been here for a long time.

In China, ground paintings and murals (including walls and ceilings) are two quite ancient painting forms, and their origins can be traced back to the period before the summer (usually called the Neolithic Age). China's landscape painting was first discovered in 1982+00. During the excavation of Dadiwan cultural site in Wang Ying, Qin 'an, Gansu Province, archaeologists found a landscape painting painted with carbon black pigment, which was painted above the living surface of a house. The range of the picture is1.2m from east to west, and 1. 1 m from north to south. The patterns are dancers and harmony. At the Longshan Cultural Site in Xiaoguandao, Suide, Shaanxi Province (more than 4,000 years ago), a black and red decorative painting was also found on the ground in the center of the back room of a semi-crypt house. Existing oval figure decoration, east-west width 1.3 meters, north-south length 1.5 meters. In addition, our ancestors also created ground sculpture paintings, using shells or stones to carve animals, people or constellations. For example, in the tombs of the famous Yangshao cultural site in Xishuipo, Puyang, Henan Province (more than 6,000 years ago), dragon and tiger paintings, tiger-backed deer paintings, leading spider paintings and people riding on the back of dragons were unearthed, which can also be classified as ground paintings.

China murals were first seen in the site of the "Goddess Temple" in Hongshan Culture, Niuheliang, Liaoning, more than 5,000 years ago. The surface of the unearthed wall fragments is painted with geometric patterns, which are triangular patterns of ochre red, yellow and white. Unfortunately, because the vast majority of ancient buildings in China are civil structures, it is difficult to endure; Therefore, with the collapse of ancient buildings, the murals in the building also disappeared, leaving no trace. However, this does not mean that the ancients never painted murals widely in temples and tombs.

Ding Yan pointed out in the preface to Jian: "How do you know its wall?" There are pictures on the wall, but the Han Dynasty is still there. There are portraits of sages on the stone wall of Hanlu Temple, and Wen Weng's Auditorium Map. There are hidden operas, prayers and portraits of Xia Jie in Wuliangshan ancestral hall. "In fact, ancient murals are recorded in many ancient books. The Biography of Huo Guang in the History of Han Dynasty mentioned that the Duke of Zhou became a king, and The Chronicle of Emperor Cheng of Han Dynasty recorded: "Yuan Di was born in Taiuterus Guanhua Hall. "Ying Shao's Note:" The painting hall paints nine children and nine women. "Hanshu said:" When you ride, you will sit on the painting screen and draw a drunken night in da ji. "Selected Works" contains Wang Yanshou's "Lu Ling Photoelectricity Fu" cloud: "The world of painting, the variation of the group, strange chores, mountain gods and sea spirits. Write its shape and believe it. "

"Tai Ping Guang Ji" (Volume 2 10) quotes "Notes on the Year of the Prince": "The imperial clan of the Qin Dynasty was strong, and when it became the emperor of the Qin Dynasty, its own country entered it. Mouth with ink, spray the wall into a dragon. To refer to a calendar, such as a rope boundary. Changing hands in Fiona Fang, all the rules. There are five mountains and four readings in the square inch, and the state is prepared. I am good at painting dragons and phoenixes, but I am afraid of flying away. " This is the earliest record of a famous painter painting murals.

It is necessary to point out that there are many similarities between Tian Wen and Shan Hai Jing. The Classic of Mountains and Seas is compiled from the Five Classics of Tibetan Mountain in Yu Dynasty, the Four Classics of Foreign Countries in Xia Dynasty, the Four Classics of Great Wilderness in Shang Dynasty and the Five Classics of Home in Zhou Dynasty. According to legend, The Classic of Mountains and Seas originally had pictures. If it is true, then The Classic of Mountains and Seas may have been drawn on the temple walls of the above-mentioned historical dynasties (commonly), and there is no record of the time when Qu Yuan wrote the long poem Tian Wen. Judging from the content of the work and the emotion expressed by the author, after the creation of Li Sao, Jiu Ge and Evocation. This is because Tian Wen is not as eloquent as Li Sao, nor devoted to heaven and entertainment as Jiu Ge, but puts forward the problems of providence and personnel. Obviously, it is impossible for a poet to write such works as Li Sao and Jiu Ge when he has the spirit and understanding conveyed by Jiu Wen.

In the same way, Tian Wen is a big doubt when the author's life takes a major turning point, and most of the articles in Nine Chapters are the emotional records of the author after a major blow to his life, so Tian Wen can only be before Nine Chapters.

Qu Yuan became Zuo Tu and a doctor when he was in office or alive. Qu Yuan suffered a great blow from personal exile, which happened between the arrival of Chu Xiang Wang Xin and the death of Qin. Therefore, we have reason to infer that there were sharp differences between Qu Yuan, Wang and Ling on how to treat them during their imprisonment in Qin State until his guests died in Qin State. After Chu Huaiwang's evocation ceremony, Qu Yuan once again walked into the temple of the State of Chu with mixed feelings of grief and doubt. Facing the murals in the temple and the social reality witnessed by his own personal experience, he finally began to doubt and question his fate and his accepted knowledge system. As a result, he was out of control and full of doubts, thus writing the famous "Tianjiu" in one go. Sima Qian wrote in Historical Records Biographies of Qu Yuan and Jia Sheng: "The great anger of Yin Wen made the Shangguan doctor bow short to Xiang Wang, and Xiang Wang left in anger." So, what makes Yin "smell it" and "be furious"? Why did Xiang Wang exile Qu Yuan? Generally speaking, although there are political differences between Qu Yuan and King Xiang and Ling Qing, Qu Yuan does not pose a threat to their power, and there is no need to expel Qu Yuan from foreign capitals and exile him in the wilderness.

In view of this, we have reason to believe that it is not others who make Yin "smell it", but the poem "". When Zilan read Qu Yuan's Tian Wen, she was furious at his disrespectful words, so she instructed Shangguan and other doctors to further imprison Qu Yuan before the king and urged the king to exile Qu Yuan. There is a simple reason. Doubting the destiny, questioning the absolute authority of heaven, and accusing the bad kings of past dynasties can all be extended to doubt and question King Qingxiang, which is absolutely intolerable to King Qingxiang.