wénzhī 闻知 Knowledge from Hearsay 听闻而得的知识。“闻知”是墨家提出的一种知识类别，同时也标志着一种认知方式。墨家认为，知识的获取有三种方式，即“亲知”“闻知”“说知”。“闻知”指通过他人的告知或传授而认知事物，是一种间接的认知方式。 Knowledge from hearsay is a type of knowledge and a way of acquiring it proposed by the Mohist School. In their opinion, knowledge is gained in three ways: by personal experience, by hearsay, and by explanation. To learn by hearsay means being told or taught by others, and is […]
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wénjiè ɡémìnɡ 文界革命 The Revolution in the Literati Circle 中国近代发生的一场以语言文学革新为内容的文化活动。1899年，梁启超（1873—1929）有感于戊戌变法失败、国民精神亟须提升，转而寻求以变革文章的方式输入欧美新思想，启蒙、教化国民，以达到革新思想的目的。“文界革命”所针对的主要是桐城派古文及骈文，变言文分离为言文合一，采用新文体、新词句，传达先进的西方思想观念。梁启超自创新文体，大量使用俗语、外国文法，笔锋充满感情，对于“文界革命”起到了引领作用。“文界革命”与“诗界革命”“小说界革命”是相同主题的文风改革诉求，促进了白话文的广泛应用，直接启发了“五四”时期的文学革命，为白话诗文成为文坛主导开辟了道路。 The Revolution in the Literati Circle, which took place in early modern China, was a cultural movement aimed at transforming classical Chinese language and literature. In 1899, Liang Qichao (1873-1929), frustrated by the failure of the Reform Movement of 1898, saw an urgent need to
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wáng zhě fù mín 王者富民 A Ruler Should Enrich People. 想要推行王道的君主会使百姓富足。“王者”本指想要推行王道、统一天下的君主，泛指成就伟大事业的领导者。其中隐含的道理是：伟大的事业必须有民众的广泛拥护才能成功；为此，有作为的领导者必须把广大民众利益放在首位，而不能着眼于一部分人的利益，更不能着眼于个人利益。这和“民惟邦本”“藏富于民”的思想息息相通。 A great ruler who conducts benevolent governance will enrich his people and unify the country. The implication of this term is that a great cause can succeed only when it is supported by the people. Therefore, a visionary leader must give top priority to
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wài shī zàohuà, zhōng dé xīnyuán 外师造化，中得心源 Draw Artistic Inspiration from Both Within and Without 艺术创作向外得自师法自然万物，向内得自心中的悟性。“造化”即大自然；“心源”为佛教语，意指内心的妙悟为一切法的根源。是唐张彦远在《历代名画记》中所记载的唐代画家张璪（zǎo）的话。原意指创作山水松石类画作，应当以大自然为师，观察山水景物真实的纹理、形状、色彩等，用心领悟山水景物之美，进而在画作中提炼呈现，使画作既逼真又超脱，以达到传神境界。“造化”与“心源”是相通融合而非彼此对立的关系。唐代诗论中对“心”与“心源”也有应用，文论家们对于写诗过程的描述，与张璪所言绘画过程并无区别。中国古典诗文创作提炼物象、熔铸意象，重视作品的韵致之美，与画论具有共通性。 According to this precept, in pursuing artistic creation, one needs to draw inspiration from all things in nature and his innermost thoughts. Zaohua (造化) means nature. Xinyuan (心源) is a Buddhist term, meaning that the true awakening of one’s mind is
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Tónɡchénɡpài 桐城派 The Tongcheng School of Writing 清代影响最大的古文流派，因代表人物都是安徽桐城人，故名。形成于康熙（1662—1722）年间，鼎盛期在乾隆（1736—1795）、嘉庆（1796—1820）年间，文脉绵延近二百年。创始人方苞（1668—1749）提出“学行继程朱之后，文章在韩欧之间”，该观点奠定了学派的风格基调。主要人物先后有戴名世（1653—1713）、刘大櫆（1698—1779）、姚鼐（1732—1815）、梅曾亮（1786—1856）、方东树（1772—1853）、吴汝纶（1840—1903）等。桐城派普遍重视文与道的关系，要求在内容上“文以载道”，形式上“雅洁”，其重要理论有方苞提出的“义法”说，姚鼐提出的“义理、考据、辞章”说，以及刘大櫆提出的“神气”说。桐城派继承了中国古文写作的优良传统，对散文创作做了系统的理论总结，长期享有盛誉，直至近代梁启超（1873—1929）等人倡导“文界革命”，桐城派才被认为是保守的象征而受到诟病。 This school of writing represented the Qing Dynasty’s most influential style of classical Chinese writing. Its representative figures were all natives of Tongcheng, Anhui Province, hence the name. It was formed during the reign of Emperor Kangxi (1662-1722) and reached its height during the reigns of Emperor
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Tónɡ-Guānɡtǐ 同光体 The Tong-Guang School of Poetry 形成于清末同治（1862—1874）、光绪（1875—1908）年间，延续于民国初年的诗歌流派，因同治、光绪年号而得名。主要诗人有陈三立（1852—1937）、沈曾植（1850—1922）、陈衍（1856—1937）、郑孝胥（1860—1938）等。他们推崇宋人诗歌，主张“学人之诗”与“诗人之诗”合一，将言志、缘情、学问、修养相结合，多以议论入诗，重锤炼之功，风格雄健瘦硬，标举所谓“荒寒之路”。因地域和风格的不同，同光体又有闽派、浙派、江西派之分。 The Tong-Guang School of poetry, which first emerged during the reigns of the Tongzhi (1862-1874) and Guangxu (1875-1908) emperors of late Qing, continued to flourish in the early years of the Republic of China early in the 20th century. It was thus named by combining the initial
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suí wù fù xínɡ 随物赋形 Writing That Flows like Water 原意指水流无常形，随地理形貌或自然物而呈现千变万化的形态。宋代文学家苏轼（1037—1101）用它来形容文艺创作应像水流一样流畅自然而又灵活多变，既遵循客观事物的规律，又体现作家自由创作意志，从而达到立意与表现技巧自在圆融，情、景、事、理妙合无间的审美境界。这一术语可能受了道家“上善若水”、水“几于道”与佛教“随缘自适”思想的影响，也是艺术家人格、学养、技艺的综合体现。 This term originally referred to water, which, without a fixed shape, flows along the contours of objects or land. Song Dynasty writer Su Shi (1037-1101) used it to describe literary writing that was smooth and free like water, showing both the writer’s creative power
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Sònɡzájù 宋杂剧 Poetic Drama of the Song Dynasty 宋代产生的由滑稽表演、歌舞、杂戏组合而成的综合性戏曲形式，是以唐代参军戏为基础并吸收当时的歌舞、曲艺等发展起来的早期戏剧形式。内容上以滑稽讽刺为主，演出形式多采用“一场两段”，有时候会增加“杂扮”。宋杂剧角色有四到五人，一人主唱，主要通过演唱大曲叙事，其他角色则承担宾白、插科打诨、歌舞表演等。北宋时期的戏剧演出非常普遍，开封、洛阳两地尤其兴盛。整个两宋期间，杂剧也在不断演变中，角色分工更细，造型手法更多样，戏剧情节更复杂。宋杂剧是元代北杂剧的前身，其艺术形态、艺术手法等也直接影响了后世的其他戏剧形式。 Poetic drama of the Song Dynasty refers to a combination of comic shows, song and dance, and variety shows. It is an early form of traditional Chinese drama based on Canjunxi (comic dialogical plays of the Tang Dynasty) and drawing elements from song and dance plus other
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sī yǔ jìnɡ xié 思与境偕 Blend Sentiment with Scenery 指诗人的主观情思与作品所描绘的客观景物浑融一体。为唐司空图（837—908）评论同时期诗人王驾五言诗作的用语。“思”指诗人的思想、思绪、情感等；“境”指与审美主体相对的客观景物，也指作品所创造的审美意境；“偕”是齐等合一。心中的“思”，与外在的“境”观照合一，从而泯灭了主客体之间的界限，呈现为诗中浑融一体的意境。“思与境偕”被后世批评家看作意境理论的核心。 This term refers to blending a poet’s own sentiments with the scenery depicted in his poem. It was first used by Tang Dynasty poetry critic Sikong Tu (837-908) when he commented on the five-character-per-line poems by Wang Jia of the same period. Si (思 sentiments) here
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sī wú xié 思无邪 No Depraved Thoughts 思想纯正而无邪念。这是孔子评价诗歌总集《诗经》时提出的著名观点。孔子认为，《诗经》三百篇的宗旨可以用一句话概括，即作品的思想纯正而没有邪念，符合中和之美。由于孔子和《诗经》在中国历史上的重要地位，历代学者对这一理念都非常重视，常用这一标准来要求和批评作家和作品。但是《诗经》中的一些作品往往在思想情感上富有激情与真率，并不都符合“思无邪”的标准。 This refers to a state of mind that is pure and proper with no depraved or evil thoughts. This is a well-known critique made by Confucius on The Book of Songs, a collection of 300 poems. In his opinion, these poems may be summarized as pure and
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