Matakuliah : E1154/ Seni & Budaya China
Tahun
: 2008
Pertemuan 17 & 18
Kesusastraan China
Chinese Literature
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Illustrations of Fengshen Yanyi.
Left:Bi Gan and Wen Zhong; Right: King Zhou and Daji
• Fengshen Yanyi : 封神演義;
• The Investiture of the Gods or The Creation of the Gods), also known
as Fengshen Bang (Chinese: 封神榜),
is one of the major Vernacular Chinese novels written in the Ming
Dynasty. The story deals with the decline of the Shang Dynasty and
rise of the Zhou Dynasty, intertwining numerous elements of Chinese
mythology, including gods and goddesses, Chinese immortals, and
spirits.
• It is, to an extent, representative and descriptive of life in China at the
time, where religion played a major role in everyday life. The
authorship of Fengshen Yanyi is attributed to Xu Zhonglin (許仲琳; 许
仲琳) (d. 1566) or Lu Xixing (陸西星; 陆西星)
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Jin Ping Mei (Chinese: 金瓶梅;
literally "The Plum in the Golden
Vase", also translated as The Golden Lotus) is a Chinese
naturalistic novel composed in the vernacular (baihua) during the
late Ming Dynasty. The author was Lanling Xiaoxiao Sheng, a clear
pseudonym.
• Earliest versions of the novel exist only in handwritten scripts; the
first block-printed book was released only in 1610. The more
complete version today comprises one hundred chapters.
• Jin Ping Mei is sometimes considered to be the fifth classical novel
after the Four Great Classical Novels. It is the first full-length
Chinese fictional work to depict sexuality in a graphically explicit
manner, and as such has a notoriety in China akin to Fanny Hill or
Lady Chatterley's Lover in English.
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Pan Chin-lien was a woman of easy virtue, and Hsimen Ch'ing was determined to seduce her.
They talked congenially during dinner, and their
passion grew.
A few days later, encouraged by Wang P'o, they
began their affair in her bedroom.
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In the bedroom, P'an Chin-lien and Hsi-men Ch'ing
heard her shout.
They had no time to play tricks, so P'an Chin-lien
quickly ran to the door and pressed herself against it,
and Hsi-men Ch'ing hid himself under the bed.
• Dream of the Red Chamber, The Red Chamber Dreams or A
Dream of Red Mansions ( 红楼梦)
also known as The Story of the Stone (Traditional Chinese: 石頭記; Simplified
Chinese: 石头记; pinyin: Shítóu jì) is one of the masterpieces of Chinese fiction and
one of the Chinese Four Great Classical Novels. It was composed sometime in the
middle of the 18th century during the Qing Dynasty. It is attributed to Cáo Xuěqín (Cao
Zhan).
•
•
The novel is believed to be semi-autobiographical, mirroring the fortunes of Cao's own
family. As the author details in the first chapter, it is intended to be a memorial to the
women he knew in his youth: friends, relatives and servants.
The novel is remarkable not only for its huge cast of characters (most of them female)
and psychological scope, but also for its precise and detailed observation of the life and
social structures typical of 18th-century Chinese aristocracy.
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Romance of the Three Kingdoms ( 三國演義)
•
written by Luo Guanzhong in the 14th century, is a Chinese historical
novel based upon events in the turbulent years near the end of the
Han Dynasty and the Three Kingdoms era, starting in 168 and ending
with the reunification of the land in 280.[1]
• It is acclaimed as one of the Four Great Classical Novels of Chinese
literature, with a grand total of 800,000 words, 1191 characters, and
120 chapters.
Story
• It must be understood that one of the greatest achievements of the
Romance of the Three Kingdoms is the extreme complexity of its
stories and characters. The novel is studded with numerous "ministories", many of which could be developed into full-length novels in
their own right (the Battle of Red Cliffs and the treatment of Guan Yu
by Hua Tuo being two examples). As such, the following effort only
serves as a very high level summary of the entire story:
• Three Heroes of Three Kingdoms, silk painting by Sekkan Sakurai
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(1715-1790). This painting is usually hung in the offices of
The Red Detachment of Women
The "Eight model plays" ( 八个样板戏; bā gè yàng bǎn xì)
were the only operas and ballets that were permitted during the
Cultural Revolution in China (1966-1976). Although they were
limited in number, there were in fact more than eight. They all have
communist or revolutionary themes.
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Chinese Poetry
"Quatrain on Heavenly Mountain" by
Emperor Gaozong
• Chinese Poetry is the most highly regarded literary genre in
China. Traditionally, it is divided into shi (詩), ci (詞) and qu (曲).
• There is also a kind of prose-poem called fu (賦).
• All the traditional forms of Chinese poetry are rhymed, but not all
rhymed texts in ancient China are classified as poetry - for
instance, lines from I Ching are often rhymed, but it is not
considered poetry.
• During the modern period, there also has developed free verse in
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Classical poetry
•
During the Han Dynasty, the Chu Ci-type of lyrics evolved into fu. During the
Six Dynasties, fu remained a major poetic genre, and together with shi formed
the twin generic pillars of Chinese poetry until shi began to dominate during
the Tang dynasty.
•
From the Han Dynasty onwards, a process similar to the origins of Shi Jing
produced the yue fu (樂府 "Music Bureau") poems. Many of them are
composed of lines of five-character (五言) or seven-character (七言). These
two forms of shi were to dominate Chinese poetry until the modern era. They
are divided into the original gushi and jintishi. The latter is a stricter form
developed in the early Tang dynasty with rules governing the structure of a
poem. The greatest writers of gushi and jintishi are often held to be Li Bai and
Du Fu respectively.
•
Towards the end of the Tang dynasty, the ci lyric became more popular. Ci are
literally new lyrics made up to fit to pre-existing tunes. Each of the tunes had
music that was often lost, but retained a metre unique to the tune. Thus, each
ci written is labelled "To the tune of [Tune Name]" (調寄[詞牌]), fits the metre
and rhyme of the tune, and may or may not have been sung. Most closely
associated with the Song Dynasty, ci most often expressed feelings of desire,
often in an adopted persona, but the greatest exponents of the form (such as
Li Houzhu and Su Shi) used it to address a wide range of topics.
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Later classical poetry
• Hand-painted Chinese New Year's duilian (對聯 "couplet"), a byproduct of Chinese poetry, pasted on the sides of doors leading to
people's homes, at Lijiang City, Yunnan
• After the Song Dynasty, both shi and ci continued to be composed
until the end of the imperial period, and to a lesser extent to this day.
However, for a number of reasons, these works have always been
less highly regarded than those of the Tang dynasty in particular.
• Firstly, Chinese literary culture remained in awe of its predecessors:
in a self-fulfilling prophecy, writers and readers both expected that
new works would not bear comparison with the earlier masters.
• Secondly, the most common response of these later poets to the
tradition which they had inherited was to produce work which was
ever more refined and allusive; the resulting poems tend to seem
precious or just obscure to modern readers.
• Thirdly, the increase in population, expansion of literacy, wider
dissemination of works through printing and more complete archiving
vastly increased the volume of work to consider and made it difficult
to identify and properly evaluate those good pieces which were
produced.
• Finally the 1920s saw the rise of vernacular literature, particularly
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Modern poetry
• Modern Chinese poems (新詩 "new poetry") usually do not follow any
prescribed pattern. Poetry was revolutionized after the May Fourth
Movement when writers try to use vernacular styles closer to what
was being spoken (baihua) rather than previously prescribed forms.
Early 20th-century poets like Xu Zhimo, Guo Moruo and Wen Yiduo
sought to break Chinese poetry from past conventions by adopting
Western models; for example Xu consciously follows the style of the
Romantic poets with end-rhymes.
• In the post-revolutionary Communist era, poets like Ai Qing used
more liberal running lines and direct diction, which were vastly
popular and widely imitated.
• In the contemporary poetic scene, the most important and influential
poets are in the group known as Misty Poets, who use oblique
allusions and hermetic references. The most important Misty Poets
include Bei Dao, Gu Cheng, Duo Duo, and Yang Lian, all of whom
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were exiled after the Tiananmen Square protests of 1989.
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