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A "hermit" is a person who lives in seclusion and does not serve as an official. First of all, there are "scholars", that is, intellectuals, otherwise there is no point in living in seclusion. He is neither an official nor famous, and spends his whole life as a farmer in the countryside, sometimes running away to do business, or living in caves to chop firewood. Throughout the ages there have been countless people who lived in seclusion, but none of them can be called hermits. "Cihai" explains that "hermit" is "a person who lives in seclusion and is not an official". It does not emphasize the "scholar", which is really inaccurate. "Southern History·Hermitage" says: Hermits "must be pure and cultivated, and should be literary and artistic. Otherwise, they are different from their husbands and woodcutter living in the mountains." Moreover, ordinary "scholars" living in seclusion are not enough to be called "Hermit" must be a famous "scholar", that is, a "sage". "Yi" says: "Heaven and earth are closed, and wise people hide." It also says: "There is no boredom in escaping from the world." It also says: "It is noble."... ...It is "the hiding of wise men" rather than the hiding of ordinary people. To put it bluntly, only those who are talented, knowledgeable, and able to serve as officials but do not do so and do not make such efforts are called "hermits." "Southern History·Yinyi" says that "all use the universe to form their center, and use the wind and clouds to form their energy." Therefore, "hermits" are not ordinary people.

The "Chushi" mentioned in "Mencius Teng Wen Gong Xia" (Chushi is widely discussed, and the words of Yang Zhu and Mo Zhai are popular all over the world) are also hermits, which refers to those who are talented and virtuous but live in seclusion and do not serve in official positions. people. But this "virgin scholar" refers to a person who has never been an official. Those who first became official and then became a hermit, such as Tao Yuanming, are also called hermits, but they cannot be called "virtues".

In the old days, it was believed that people who lived in seclusion did not seek official positions, fame, or profits. "Old Book of Tang: Hermitage" states that "those who are highly respected walk alone" and "those who are highly respected escape their fame". "Yi Gu" says: "If you don't serve the princes, you should do noble things." Living in seclusion and seeking high places is a person with noble character, so "hermits" are also called "high scholars". The tomb of the great hermit Huang Gongwang, a great painter of the Yuan Dynasty, is still preserved in Changshu, Jiangsu Province. The stone in the path of the tomb is engraved with the words "Tomb of Huang Gaoshi". Ni Yunlin, another great painter of the Yuan Dynasty, was also known as "Ni Gaoshi". During the Jin and Song Dynasties, Dai Kui and his sons Dai Bo and Dai Yong were all famous painters, sculptors, and musicians. They all lived in seclusion and were not official, so "Records of Famous Paintings in the Past Dynasties" called them "a recluse with a high reputation." In the Jin and Song Dynasties." Dai and his son are great artists, but their biographies are not listed in "literary garden" or "art", but are listed in "hermit". They are called "hermits" because of their talents. Because of their "hermit", There is "high wind". "Historical Records" records the ancient saying that "the supreme leader establishes virtue, the second is meritorious service, and the next is speech." It seems that hermits have established "virtue," so official histories are all biographies of hermits. But where is virtue? But it is worth studying.

For example, Yan Guang refused to be personally recruited and rewarded by Emperor Wu of the Han Dynasty, and lived in seclusion in Fuchun River. Fan Zhongyan said in "Mr. Yan's Ancestral Hall Notes": "The clouds and mountains are green and the rivers are turbulent. The wind of Mr. Yan is high in the mountains and long in water." It is said that this "wind" was originally written as "德". In Fan's eyes, Yan Guang's virtue is as noble as a mountain. Yang Wanli, a poet of the Southern Song Dynasty, said in his poem "Reading the Biography of Yan Ziling": "How can guest stars help Han Zhongxing? There is a clear breeze in the sky, as cold as ice. I sent Ah Mao to move the Han tripod early, but where can there be Yan Ling in the world!" Zhu Yuanzhang What he said hit the point even more. He said in the article "Yanguang Lun": "The Yanguang of the Han Dynasty was at the beginning of the country's rejuvenation. The people's livelihood was in decline and there were few talents. Those who were concerned about the king were afraid that their virtues would be poor and their talents would be sparse, which would harm the people's livelihood. He was so eager to be courteous and courteous that he didn't know when the gift was due, so he just drifted away and felt happy... ...If Chimei, Wang Lang, Liu Penzi and others were confused and undecided, where would they have been fishing? "The greatest sinners are Yan Guang and Zhou Dang." (See the appendix of "Ziling Farming and Fishing Place" in Volume 11 of "Liu Qing Rizha") Although Zhu Yuanzhang is a big boss and a tyrant, these words of his. But there is something worth thinking about: Do people who live in seclusion have high moral standards?

In fact, hermits can be roughly divided into ten types: one is true hermits and complete hermits, such as Zong Bing in the Jin and Song Dynasties, Wu Zhen in the Yuan Dynasty, etc., who never served as officials. They didn't go even if the emperor ordered them to be recruited, and they didn't deal with the officials. The second is to become an official first and then hide, such as Tao Yuanming. Tao was a famous hermit who passed down his "hermitity" in the "Book of Jin", "Book of Song", and "History of the South". In fact, he was not a pure hermit. He had been an official and lived in seclusion because he was dissatisfied with the officialdom. Shen Zhou of the Ming Dynasty had never served as an official, and his biography was listed in "Hermitage". His student Wen Zhengming only served as an imperial scholar in the capital for one year, and then lived in seclusion until his death. However, his biography was not included in "Hermitage" but in "Wenyuan". Tao Yuanming also became an official first and then went into hiding. However, his reputation for "hiding" was so great that it surpassed the name of his poems. However, Tao Yuanming later became a real person. There are many hermits like Tao Yuanming who first became official and later became a hermit. The third is semi-official and semi-hidden, such as Wang Wei, who started out as an official, but later became afraid, but if he resigned and lived in seclusion, he had no salary and no guarantee of life, so although he was an official, he did not care about political affairs and actually lived a secluded life. Such people cannot be regarded as hermits by title, but they have hermit thoughts. The ideological manifestations of reclusive thoughts are the same. The fourth is that they suddenly became officials and then disappeared, such as Wang Meng in the late Yuan and early Ming Dynasty, and Dong Qichang in the late Ming Dynasty. They served as officials for a few years, then went to live in seclusion. When the court recruited them, or the situation was favorable, they came out to serve as officials again, served as officials for a while and then went back to live in seclusion. This kind of people are not decisive and drag their feet. Wang Meng created the muddiness and chappedness. Dong Qichang's painting brushes are vague, too dark and unclear, which is related to their characters. The fifth is to hide from the court.

This kind of person is an official but his thoughts have been hidden. He does not care about political affairs when he is an official. He "does not care about official affairs when he is an official, and has no intention of doing anything when doing things." He goes with the flow and protects himself wisely. Such people do the greatest harm to the country. The sixth is false seclusion, such as Chen Jiru in the Ming Dynasty. Although he was not an official, he was good at dealing with officials. Someone wrote a poem and ridiculed him as "a crane in the clouds, flying to the prime minister's house". The seventh is an official who is reclusive in name only. For example, Tao Hongjing during the Qi and Liang Dynasties in the Southern Dynasties was known as Tao Hermit. Although he lived in seclusion in the mountains, he was still consulted on important matters in the court, and he was called the "Prime Minister of the Mountains." As a hermit, this kind of person actually does not have the mentality of a hermit. He does not serve as an official just to have more freedom. The eighth is to seek high-ranking officials in seclusion, such as Lu Zangyong in the Tang Dynasty. According to Liu Su's "New Accounts of the Tang Dynasty·Hermitage", Lu Zangyong passed the imperial examination and went to live in seclusion in Zhongnan Mountain south of Chang'an, waiting for the imperial court to recruit him. Later, he was hired as a scholar and was awarded the title of Zuo Shiyi. Later, another hermit, Sima Chengzhen, was also recruited but refused to be an official. He wanted to return to the mountain. Lu Zang sent him as a gift, pointing to Zhongnan Mountain and saying: "There is a lot of good things here." This is the "Zhongnan Shortcut". Those who use this kind of seclusion to seek high positions are not true hermits. Ninth, those who had no choice but to hide themselves were actually engaged in the most enthusiastic politics, such as Gu Yanwu, Huang Zongxi, etc. in the late Ming and early Qing dynasties. They "lived in seclusion" just to show that they would not cooperate with the Qing Dynasty, but actually engaged in the most intense anti-Qing struggle. The same was true for Shi Xi. After he failed to rebel against the Qing Dynasty, he hid in Zen in order to escape persecution. However, he remained loyal to the Ming Dynasty and rebelled against the Qing Dynasty throughout his life. His emotions were very intense and he never calmed down. This group of people are not hermits in the true sense. The tenth is to live in seclusion first, which is basically true seclusion, but wait for the opportunity, come out of the mountain when the opportunity comes, and hide when you can't wait. Such as Yi Yin in the Yin and Shang Dynasties, Zhuge Liang in the late Han Dynasty, Liu Ji in the late Yuan Dynasty, etc. Secondly, there is a kind of recluse who has no choice but to live in seclusion. For example, Hongren in the late Ming Dynasty and early Qing Dynasty attacked his career in his early years. When the Ming and Qing Dynasties changed, he rose up against the Qing Dynasty. After the failure, he had no choice but to live in seclusion. However, later he changed his mind and became a real recluse. . As long as the ideology is really hidden, what is reflected in the ideology will be "light", "soft" and "far".

The situation of hermits in each era is different, but in general, there is still an era-specific problem. Talking about history, the "Anshi Rebellion" can be regarded as a turning point in feudal society. Before the "An-Shi Rebellion", feudal society was prosperous; after that, it went from bad to worse. The times have a certain impact on intellectuals, but intellectuals have a greater impact on the times. Because in any era, the actual leadership of society can only be intellectuals. If intellectuals unite and think about the country, the country will have hope. Otherwise, the opposite will happen. From a group perspective, before the Tang Dynasty, intellectuals were able to think about the country. Ma Yuan's famous saying in the Han Dynasty: "A man should die in the wilderness, and his body should be wrapped in horse leather and his ears buried. How can he lie in bed and do evil in the hands of his son?" ("Book of the Later Han: Biography of Ma Yuan") inspired countless people with lofty ideals to sacrifice their lives for the country. . The intellectuals of the Tang Dynasty "entered the fortress not seeking life, but to repay the emperor with death", "Report the emperor's favor on the golden platform, support the Jade Dragon and die for the emperor", "If you want to grow up and serve the country, why do you need to enter the Yumen Pass first", "Yellow Sand Wear golden armor in a hundred battles, and if you don't break Loulan, you will never return it." The monarchs and ministers of the Tang Dynasty worked together and twisted into a rope to make the country strong. The intellectuals of the Song Dynasty were still good. Although they were not as eager to serve the country as the intellectuals of the Tang Dynasty, and some were decadent, most intellectuals could still worry about the country. Intellectuals in the Northern Song Dynasty "are worried when they advance, and they are also worried when they retreat". "If they live high in temples, they worry about their people; if they live far away from the rivers and lakes, they worry about their kings." The intellectuals of the Southern Song Dynasty "dedicated themselves to serving the country and died thousands of times" and "were humbled but refused to forget about the country." In the early Southern Song Dynasty, Yue Fei and Chen Dong worked hard for national affairs; in the middle period, poets such as Lu You and Xin Qiji fought on the front line against the Jin Dynasty; in the late Southern Song Dynasty, there were Wen Tianxiang, Zhang Shijie, Lu Xiufu and others who sacrificed their lives for the country. Moreover, the anti-Yuan soldiers and civilians in Yashan and Hailing Mountains sacrificed collectively, and none of them rebelled. This is such a heroic spirit, which was lost after the Yuan Dynasty.

Whether early or later, hermits are generally weak. They could neither face the reality and rise up, fight against it, or work hard to make progress, so they had no choice but to retire, but they had more time to engage in literary and artistic creations. They either lived a leisurely pastoral life or lived in huts in the mountains and forests, so China's pastoral poetry and landscape paintings were particularly prosperous. Moreover, although the landscape paintings and pastoral poems written by the hermits also have different styles, they have a general style in a big way, which is basically consistent with the character of the hermits. As mentioned above, there are three general styles of hermit culture: one is soft (weak), the other is bland, and the third is distant. This issue deserves attention.

Although Tao Yuanming also had "angry eyes", the general tendency of his poetic style after living in seclusion was still "soft", with little force and force; the same was true for Wang Wei. The "Nan Zong" series of landscape paintings from Wang Wei to Dong Yuan, Ju Ran to Huang Gongwang, Wu Zhen, Ni Yunlin and other painting styles are also characterized by "softness". By the time of Mingwen Zhengming, Dong Qichang and the "Four Kings" of the Qing Dynasty, their paintings were softer. "Rouble" is the realm of Lao and Zhuang, especially that of Zhuangzi. Like the hermits in history, the early "Rou" is very different from the later "Rou". The "softness" of Lao and Zhuang is soft on the outside but strong on the inside. "Laozi" said: "The weak is stronger than the strong", "The soft is stronger than the strong", "The soft is the best", "To keep soft is to be strong", "The most soft in the world is to ride on the strongest in the world" "No one in the world is soft and weak like water" , and no one who attacks the strong can win." Therefore, Laozi maintains softness in order to be strong and "excellent", "most soft" in order to "attack the strong", and "do nothing" in order to "do everything", Zhuangzi agrees.

Zhuangzi's "softness" is based on infinite power and soaring momentum, and is based on the height of looking down into the universe. Therefore, the first chapter of "Zhuangzi" talks about "free travel", which is free and easy, but then "flying away in anger" , Its wings are like clouds hanging from the sky." Its size is "I don't know how many thousands of miles it is." Its back is "I don't know how many thousands of miles it is." "Ninety thousand miles above", what momentum and power this is. He also wants to "ride the clouds, control the flying dragons, and travel across the four seas." This cannot be achieved without great inner strength.

The studies of Lao and Zhuang were most popular during the Six Dynasties. People in the Six Dynasties read Lao and Zhuang, talked about Lao and Zhuang, and learned from Lao and Zhuang. They were soft on the outside without losing their inner strength. Ji Kang learned from Lao and Zhuang, and dared to "not be Tang Wu but weak Zhou Kong", and dared to mock the noble prince Zhong Hui even to the point of being killed. Ruan Ji learned from Lao and Zhuang, and dared to pretend to be drunk and refuse the emperor's wooing. He dared to sigh that "there are no heroes, so Zhuzi became famous." Until the Tang Dynasty, Li Bai and Zhuang Zhuang still had a heroic and arrogant style, and their works never seemed weak and charming. Although the lines in the paintings before the Tang Dynasty were soft and round, they contained the utmost strength and vitality. People in the Song and Yuan Dynasties learned from Lao and Zhuang, and the external softness has penetrated inward, but the inner rhythm of life is still eager to try. While people in the Ming and Qing Dynasties imitated Lao and Zhuang, they had already lost the inner essence of Lao and Zhuang. They only saw softness but not strength. This can be seen in the paintings of Dong Qichang and the "Four Kings". It is the spirit of the times.

Even if you are not strong or resisting, you will still be beheaded, decapitated, slapped on the cheek, and slapped to death at every turn. You will come when you are called, and you will go when you have to drive them away. There is a literary prison waiting for you every time you sigh. In order to survive, as mentioned above, the scholars lost both their rigidity and their toughness. Therefore, they were transformed into "states" (literary and artistic works). How could they be strong? Therefore, the early "softness" is very different from the later "softness": the early "softness" is soft and strong, while the later "softness" is soft, boneless and sluggish.

Light: The "light" of Lao and Zhuang certainly refers to nature without decoration, that is, "simple", simple but not clever. "Zhuangzi" says: "My teacher, my teacher... Carrying the heaven and earth, carving out various shapes, it is not a coincidence. "In addition, "Ban" in "Zhuangzi" also means purity, tranquility, and clarity. "Zhuangzi" says: "Pure but not complex, quiet and unchanging. "Bland and inaction, moving and moving." "Understand the simplicity, and do nothing to restore simplicity." The early "bland" has the meaning of being natural, pure, quiet, and clear. Jin Renyuan Haowen said of Tao Yuanming's poem, "How can an old man write poetry? He really writes about the sky in his heart." Huang Shangu's "Ti Zhan Painting Bamboo and Stone" says: "The old man Hanlin Gong from Dongpo vomited out the ink in his chest when he was drunk." This is evident in early literature and paintings. However, although the "lightness" in the later period seems natural and unadorned, the "lightness" deliberately pursued cannot be concealed and is entirely achieved by technique. The "light" in the early stage is like the real mountains and water in nature; the "light" in the later stage is like the rockery and fake water in the garden. Although it seeks to be the same as the real mountains and water, people can see the difference in the sameness. Of course, the latter is much more skillful than the former. The painting skills of Dong Qichang and the "Four Kings" are higher than those of their predecessors, but people can only see the skills in their paintings, but not a special mental state. If the latter has a mental state, it is just a depressed spirit. state. For example, Yun Nantian is a true hermit. His paintings are characterized by "lightness", but it can be seen that the "lightness" is achieved with a high degree of skill and is not a natural lightness.

Far: The reason why hermits become hermits is because they are far away from political power and officialdom. They are either unwilling to climb up to a high place or retreat from a high place. They all stand in a "far" place with their "hearts" "The distant place is biased", the heart is far away, and his poems and paintings also have a sense of "distantness". Tao Yuanming's "Seeing Nanshan leisurely" and Wang Wei's "Opening the door and filling the mountain with snow" both give people a "distant" feeling. I once wrote an article "Poetry has "Three Distances"", which said: "Tao Yuanming's "seeing Nanshan leisurely" is flat and far, Li Bai's "climbing high and spectacular between heaven and earth" is high and far, and Du Fu's "climbing mountains and valleys to Jingmen" is far-reaching." The "distance" of the hermits is only "flat distance", and there is little "high distance" and "profoundness". Painters with reclusive ideas only seek to paint landscapes that are "flat and distant". Painters of the Yuan, Ming and Qing Dynasties even regarded "high and far" and "far-reaching" as depressing and dangerous, and almost all landscape paintings were of "flat and far" scenes. This is especially true for Huang Gongwang, Wu Zhen, Ni Yunlin, etc. Due to the influence, painters without hermit ideas also developed towards the "Pingyuan" direction. In fact, "lofty" and "far-reaching" are more powerful, while hermits (including those who secluded themselves in the court and city) "have returned to ordinary things for hundreds of years" and only focus on "mundane", and "pingyuan" is closer to "dull". They also want to "turn strength into softness, change vigorousness into unrestrainedness", and even oppose "vigorous" and "vigorous" because they are inconsistent with "pingyuan" and "plain". Pingyuan gives people the impression of "collision" and "blandness". The "diluted" feeling will not bring any oppression or stimulation to people's spirit. Generally speaking, the ink used in "Pingyuan" is lighter, only the middle and long shots are painted, and the close shots are vividly painted. They are light and distant, flat and peaceful. In the peaceful and light distance, people's emotions and thinking are also directed to "yuan" and "light" realm, which is more in line with the mental state of a reclusive person, and is also the more mature state of landscape painting in art.

There is one final issue to discuss. Scholars have always been opposed to hermits, believing that hermits escape reality and should be responsible for the decline of the country. Of course, seclusion should not be promoted. Not only should it not be promoted by young people, it should also be opposed. But the splendid and rich culture created by the hermits cannot be denied.

Moreover, the root cause of seclusion lies in political turmoil and power rule. It is this group of tyrants and despicable people who should be punished. "Southern History: Hermitage" says: "People who go alone are endowed with a biased nature. They cannot destroy their ambitions and bend their ways. They can rely on reputation to gain access. If your husband meets a trustworthy master and good luck comes at the right time, how can he let him go?" Love Jianghai, take Yi Qiufan? "It is a last resort." Those who can work hard should certainly work hard, but sometimes hard work will not help. Su Dongpo's "On Ministers" said: "The power of the world lies in the villain. If a gentleman wants to attack him, if he does not lose his body, then his king will be killed." The conclusion is: "There is a difference between non-talented people and the power they live in." "For example, Wu Zetian and Cixi were only one woman, but the power of the world was in their hands, and thousands of troops and horses could not do anything, let alone the scholars who had no power to tie a chicken with one hand? Of course, the strong can resist, and it doesn't matter even if they fail. What about the weak? It is better to retreat than to join in the trouble.

The hermit appears to be detached on the surface, and also shows detachment in ideology, but in fact he has endless pain in his heart.