The outstanding characteristics of culture in Wei, Jin, Southern and Northern Dynasties (1) have made outstanding scientific and technological achievements. For example, Zu Chongzhi's calculation of pi, Li Daoyuan's notes on water classics, etc. (2) The ideological circle is extremely active. With the systematization of Taoism, the fierce struggle between Buddhism and anti-Buddhism, Buddhism, Confucianism and Taoism began to merge, and literature, painting and grotto art were branded with Buddhism. (3) Reflect the characteristics of national integration. Representative cultures and achievements reflect national characteristics and different national styles. (4) under the brand of separatist regime. During this period, China society was in a state of separatism, and different regional cultures had their own characteristics and obvious differences, especially the cultural differences between the north and the south, and the styles of folk songs between the north and the south were quite different.

Edit this cultural document and scientific achievements.

There are two systems in China's ancient novels, namely, the classical Chinese novel system and the vernacular novel system. Wei, Jin, Southern and Northern Dynasties, only classical Chinese novels. At this time, novels can be collectively called note novels, which are short in length and describe anecdotes, anecdotes or their words in classical Chinese. It has begun to take shape in the narrative of the story and the characterization of the characters. The number of works is also considerable. But as far as the author's subjective intention is concerned, it is only written as a real thing, and there is no artistic fiction. They are not mature forms of China's novels. The mature form of China's classical novels is the legend of Tang Dynasty, and the mature form of vernacular novels is the story of Song and Yuan Dynasties. Southern and Northern Dynasties Literature —— Selected Works

Starting from the Wei and Jin Dynasties and going through the Southern and Northern Dynasties, including the early Tang Dynasty, it is the first paragraph of China's medieval literature. Looking at the literature of this period in an all-round way is marked by the prosperity of May 4th new poetry. The Five Ancient Dynasties reached its climax in Wei, Jin, Southern and Northern Dynasties, and the Seven Ancient Dynasties and the Five Seven Words reached their peak in the early Tang Dynasty. Great changes have taken place in literature during the Wei, Jin, Southern and Northern Dynasties. The consciousness of literature and the individualization of literary creation are the most remarkable changes, which have triggered a series of other changes and developments. During this period, the court played a central role and formed a literary group centered on the court. The convergence within the group makes literature present a group style at this time and another style at another time, which makes the stages of literature development quite obvious. There are some outstanding writers in the literary group, such as Cao Zhi, Ruan Ji and Yu Xin, but Tao Yuanming, who has the highest achievement, does not belong to any group. He stood above others with a detached face. The inheritance and evolution of the literature of the Wei, Jin, Southern and Northern Dynasties to the literature of the Han Dynasty is most obvious in the five-character ancient poems and ci fu. In the process of learning Han Yuefu, the literati pushed the five-character poem to the peak; The development of lyrical small fu and the form of husband and wife made Han Fu develop under the new conditions. The symbol of literary consciousness is from character evaluation to literary evaluation, from stylistic analysis to the establishment of theoretical system of editing literature. Compared with literary creation, literary theory and criticism in Wei, Jin, Southern and Northern Dynasties were extremely prosperous. (Wei) Cao's Dian Lun Wen, (Western Jin Dynasty) Lu Ji's, (Liang) Liu Xie's Wen Xin Diao Long, (Liang) Zhen From the literary theory and literary criticism works in the Wei, Jin, Southern and Northern Dynasties, we can see a new literary trend of thought, which is to distinguish literature from scholarship, and then discuss the characteristics of literature, the classification of literature itself and the creation of literature. Confucian poetry in the Han Dynasty is dominant, emphasizing the relationship between poetry and political education. Poetry is regarded as a tool for "being a wife, filial piety, love, educating beauty and changing customs" (Preface to Poetry). As for the characteristics and laws of poetry itself, it has not attracted due attention. After Wei and Jin Dynasties, poetics got rid of the shackles of Confucian classics, and the direction of the whole literary trend of thought was to get rid of the need of political education emphasized by Confucianism and find the significance of independent existence of literature. At this time, some brand-new concepts and theories are put forward, such as style, verve, image, the relationship between words and meaning, and the relationship between form and spirit. , formed the aesthetic thought of emphasizing image, style and charm. Poetry seeks meaning, pleasure seeks meaning, and painting seeks interest outside the image. This conscious aesthetic pursuit of communication among various literary forms marks the arrival of a new literary era. The literary creation of Wei, Jin, Southern and Northern Dynasties was carried out under the influence of this new literary trend of thought, which also provided a practical basis for this literary trend of thought. A remarkable feature of literary creation in this period is that the demand for serving political education has weakened, and literature has become a personal behavior, expressing personal life experiences and emotions. It is a very representative change from the big fu in Han Dynasty to the small lyric fu in Wei, Jin, Southern and Northern Dynasties. Five-character ancient poems flourished in the late Han Dynasty, and the literati's personal lyric work Nineteen Ancient Poems was regarded as a standard by later generations. Since then, Cao Zhi, RoyceWong, Liu Zhen, Ruan Ji, Lu Ji, Zuo Si, Tao Yuanming, Xie Lingyun, Bao Zhao, Xie Tiao and Yu Xin have all embarked on the road of personal lyricism, and their creations are also personal behaviors. Some of these political lyric poems express grievances in political life and have no purpose of political education. As for Liang Chengong's poems, although they were written by court literati, they were only used for court entertainment. The direction of the poet's efforts lies in the formal beauty of poetry, that is, language skills such as temperament, duality and practicality, as well as the perfection of meter. It is under this trend that China's ancient poems have been perfected, and new poems have been formed, which has prepared for the emergence of modern poems in all aspects. It is on this basis that Tang poetry reached its peak. The main achievements of the representative figures in the classification dynasty

In mathematics in the Southern Dynasties, Zu Chongzhi made Pi accurate to the seventh place after the decimal point, leading the world by nearly 1 0,000 years.

The Book of Qi Yao Min by Jia Sixie, an Agronomist in the Northern Dynasties.

Notes on Water Classics by Li Daoyuan, a geographer in the Northern Wei Dynasty

Calligraphy Wang Xizhi's Preface to Lanting in the Eastern Jin Dynasty, etc.

The Eastern Jin Dynasty painted Gu Kaizhi's Proverbs of Women's History and Luoshen Fu Tu.

Reflections on Fan Zhen's Theory of Deity Extinction in the Southern Dynasties

Grottoes sculpture

Yungang Grottoes in Longmen Grottoes in Luoyang, Datong

Edit this piece of garden art

Six methods put forward by Sheikh, a famous painter in Wei, Jin, Southern and Northern Dynasties, have a great influence on the layout, composition and techniques of China's garden art creation. One of his six methods is "vivid charm", that is, the overall artistic effect and artistic appeal of a painting. The so-called "vivid charm" means that a painting should have real and touching artistic charm. The second is the "brush bone method", that is, the modeling skills of painting. "Bone method" generally refers to the image characteristics of things; "Pen" refers to the technique of "dividing yin and yang" with ink, which better expresses the brightness of yin and yang in nature, the density of distance, the sunny side of the curtain, the sense of volume and texture of rocks. Make up your mind before you start writing, and make up your mind first. After you start writing, you should do it in one go. After you finish painting, you can "paint wholeheartedly". The third is "pictograph of objects", that is, the space, image and color occupied by objects. The fourth is "color matching", that is, painters use different colors to express different objects. Ancient painters in China called the proper use of colors and the beautiful state they showed "muddy", but they didn't see artificial color traces on the screen, but saw the images of "learning from each other's strengths" and "aura". The "muddy" state of landscape painters in China accords with the light and elegant requirements of architecture, greening and landscape color treatment in China garden art, but when natural scenery is put into painting, the color of painting is unchanged, and the color of garden art can change with the changes of the seasons or the morning and evening of the day, which is the different characteristics of garden and painting, and painting cannot achieve it. The fifth is "business orientation", that is, considering the overall structure and layout, so as to achieve appropriate structure, clear priorities, appropriate distance, and seek unity in change. The rules of composition, such as density, seclusion, reality, echo, simplicity, light and shade, straightness, hierarchy, and the relationship between subject and object, discussed in China's painting theory in past dynasties are not only the painting theory, but also the theoretical basis of gardening. If a painter draws a distant mountain without feet, a distant tree without roots, and a sailing ship sees the sail but not the hull, this simple and complicated method is not only the principle of painting, but also the principle of gardening. Every scenic spot in the garden is like a continuous and different picture, which is far-reaching and hierarchical. "I always look at the water by leaning on the curved fence, but I am uneasy and afraid of covering the mountain." These are all hidden, true and echoing applications in landscape architecture. Hide when you hide, shield when you shield, open when you open, separate when you separate, grasp the essence, shield when you are vulgar, and make the space close at hand quite meaningful. The sixth kind is "imitating writing with pen shifting", that is, drawing lessons from tradition. From the Wei and Jin Dynasties, the garden art in the Southern and Northern Dynasties developed into a natural landscape garden with palaces, temples, pavilions and pavilions as the main parts and full of animals. Among them, the form of palace gardens was sublated, while the treatment of landscape in ancient gardens was inherited, with landscape as the backbone of the garden. To build a mountain, it is necessary to build a mountain with heavy rocks, deep caves, rugged mountain roads and winding paths, which is in line with the natural conditions of the mountain. There should be tall trees on the mountain, with kudzuvine roots and radishes hanging, so that the forest can be colorful. There must be caves in Dieshi Mountain, which can sneak hundreds of steps, just like entering a natural limestone cave. At the same time, buildings are built, listed up and down, and there are pavilions in the mountains to facilitate rest; There are buildings on the top of the mountain, which can be seen from far and near, and the pavilion is separated by water, and the flowing water becomes a landscape. Only in this way can garden creation achieve a beautiful and natural artistic conception. Wei, Jin, Southern and Northern Dynasties is an important turning point in the history of ancient gardens in China. Scholars are war-weary, talk about playing with the world, care about mountains and rivers, and pretend to be elegant. Rich people have built private gardens one after another, and abbreviated the natural landscape in their own private gardens. For example, the "Golden Valley Garden" in the Western Jin Dynasty was a famous private garden at that time. Shi Chong, the secretariat of Jingzhou during the reign of Emperor Wu of Jin Dynasty, amassed a great deal of wealth and built a house garden. After resigning in his later years, he retired to Jingu Garden, a "Heyang other business" on the Jingu River in the northwest suburb of Luoyang. According to his own "Golden Valley Poetry": "I am in Golden Valley Creek, high or low. There are clear springs, dense forests, bamboo and cypress herbs, rich fruits, 40 hectares of fields, 200 sheep, chickens, pigs, geese and ducks. There is also a water reef fish pond soil hole, which is ready for entertainment. " Pan Yue, a famous writer in the Jin Dynasty, has a poem "Landscape of Jingu Garden", which describes Jingu Township, which is run by Shi Chong. It is a place for the elderly to enjoy the joy of mountains and forests after retirement, and it is also a place for singing and entertainment. The terrain is undulating, built by the river, and water is drawn from Jingujian, forming a water system in the garden. Cruise ships are feasible in the river cave, and people can sit on the shore and fish. There are many trees on the shore to raise chickens and ducks. It's fun to eat and drink. After the Northern Wei Emperor moved the capital to Luoyang, he also managed a large number of private gardens. According to "Luoyang THE TEMPLE OF JIALAN Ji", "At that time, the four seas were clear, and the eight major disasters led the post. Therefore, the consorts of the imperial clan are good at the wealth of mountains and seas, living in mountains and rivers, fighting for the repair of gardens and houses, competing with each other, worshiping the doors and houses, joining the bridal chamber, flying over the eaves and walking on the walls, and the balcony is foggy. High platform, built by every family; There are flowers, trees, ponds and gardens, all of which are peaches, plums, Xia Qing, bamboo, cypress and holly. " "Into the backyard, see ditch read competing production, Shi Dengyao. Lotus leaves the pool and duckweed floats. Flying over the pavilion, the tree makes a cloud. " As can be seen from the above records, gardening in Luoyang was extremely prosperous at that time. On the plane layout, there is also a division of labor between the house and the garden, and the "back garden" is a place dedicated to leisure and entertainment. The stone pedal is Yao, which means there is a rockery. Lotus leaves the pool and duckweed floats. The green arrangement of peach, plum and Xia Qing with bamboo, cypress and holly not only shows that there are many trees for greening, but also pays more attention to the artistic conception of gardening, that is, paying attention to freehand brushwork. During the Wei, Jin, Southern and Northern Dynasties, private gardens changed from realism to freehand brushwork. For example, Geng Xin's "Xiao Yuan Fu" in the Northern Qi Dynasty shows that private gardens were influenced by the artistic conception of landscape painting at that time. The so-called landscape painting theory of "painting three inches high, one thousands of feet and several feet across the ink" advocated by Zong Bing became an excellent reference for the artistic treatment of garden space, which laid a solid foundation for the emergence of natural landscape gardens after the Tang, Song, Ming and Qing Dynasties.