[Mini-docu] Grandma's Stamps Ep2 - The Ancient Chinese Literature in Stamps

Throughout the vast expanse of Chinese history, a rich tapestry of literary genres has emerged, each a bright star illuminating the night sky of China's past. These literary works have served as beacons, piercing through the dense fog of time to reveal the intricate tapestry of ancient lives. Through them, we gain profound insights into the daily experiences, aspirations and emotional landscapes of those who came before us. These literary treasures foster a vibrant dialogue with the wise and ingenious forebears who shaped China's resplendent history. In this episode, we explore these magnificent literary works from a unique perspective. Through the lens of postage stamps, by examining these stamps, we uncover the cultural significance and enduring legacy of China's literary heritage, offering a fresh and engaging way to appreciate the timeless narratives that have shaped the nation's identity. Snow is gently falling upon Mount Qi, blanketing the vast land. This is a sign of a bountiful year. This plain is situated Baoji, Shanxi, and Zhouyuan Museum is located here. Built on the ancient capital of the Western Zhou dynasty, Hao, the museum houses numerous bronze ritual vessels, armour and chariots in the Zhou dynasty, showcasing the grandeur of the illustrious Zhou dynasty. However, in addition to exquisite craftsmanship, the Zhou dynasty is renowned for its vibrant and harmonious poetry. The Book of Songs, a great classic, is a collection of Zhou poetry that showcases the broad political and folk customs of the era. It marks the brilliant beginning of realism in Chinese literature, with many classic pieces still celebrated today. Confucius said, Without reading and comprehending the Book of Songs, one cannot express his thoughts properly. Classic poems in the modern world are presented through new media. Both Chinese mainland and China's Taiwan province have produced special stamps related to the Book of Songs. China Post once issued a set of six Book of Songs stamps, featuring six representative works from the collection. Fair, fair, cry the ospreys, On the island in the river, Lovely is this noble lady, Fit bride for a gentleman. Guanju from the Zhou Nan section is the first poem in the Book of Songs. It depicts a gentleman's admiration and longing for a virtuous lady, culminating in their marriage ceremony, accompanied by the sounds of musical instruments, Qin, Sing, Bells, and Drums. The stamp's imagery, featuring the harmonious calls of ospreys, lush water plants, and a gentle, graceful woman, captures the ancient Chinese pursuit of beautiful love. Thick grow the rush leaves, Their white dew turns to frost, He whom I love Must be somewhere along this stream. Similarly, depicting love, Jianjia from the Qinfeng section portrays a man longing for his beloved during the white dew, a period marked by white dews according to Chinese lunisolar calendar. Amidst a river adorned with white reeds, the entire poem conveys a sense of melancholy and frustration, capturing the difficulty and yearning in the pursuit of love. Are you not battle-dressed? Let's share the plate for breast. Are you not battle-dressed? Let's share the coat and vest. The Wuyi stamp from the Qinfeng section, depicted in the style of traditional Chinese painting, portrays two warriors fighting side by side, guarding the frontier together. It captures the camaraderie and shared hardships of ancient Chinese soldiers during the pre-Qin period, as well as their patriotic spirit and determination to defend their homeland. With pleased sounds, the deer call to one another, eating the celery of the fields. I have here admirable guests. The lutes are struck, and the organ is blown. The fourth stamp in the set features Lu Ming from the Zhaoya section. It depicts a herd of deer calling in the distance, while guests gather to drink and converse joyfully, exchanging toasts. The scene vividly captures the ancient Chinese people's joy, and the lively atmosphere of a pre-Qin banquet. The crane cries in the ninth pool of the marsh, and her voice is heard in the distant wilds. The fish lies in the deep, and now is by the island. The elegant fifth stamp features He Ming from the Chaoya section. It depicts fish playing in a stream, while cranes crawl freely by the water's edge. The entire composition is vivid and lively, capturing both the scene and its atmosphere. Strong horses sprint on the lands. Zhong from the Lusong section depicts a thriving horse industry in the state of Lu. Horses gallop across the plains, showcasing vibrant energy and prosperity, reflecting a vision of national wealth, strong military, and robust populace. The Book of Songs stamp series was originally designed by the renowned Chinese painter Gao Yu, and engraved by several master carvers. The illustrations primarily executed in the fine brushwork style of traditional Chinese painting, vividly capture the poetic imagery, representing an innovative transformation of Chinese traditional culture. In 1982, Taiwanese designer Lin Tianshi, at the invitation of the Taiwan Postal Administration, selected four well-known works, Taoyao, Luli, Zhangjia, and Caiwei, to create a set of four stamps depicting the four seasons. These stamps showcase intricate beauty within a small space, featuring lofty themes, elegant layouts, and a harmonious blend of poetry and imagery. They beautifully capture the essence of poetry within painting, and painting within poetry, receiving widespread acclaim. Following the Zhou Dynasty, after centuries of development through the Han, Three Kingdoms, Jin, and Northern and Southern Dynasties, poetry reached a new peak during the Tang Dynasty. When issuing the Tang Poetry special stamps, China Post also made some breakthroughs. In 2009, China Post issued a set of six special stamps titled Tang Poems, offering a multi-sensory experience through visual, auditory, olfactory, and tactile elements. The visual aspect features transparent or iridescent effects visible from different angles. The tactile aspect uses embossing techniques, allowing one to feel the text on the stamp's surface. The olfactory aspect incorporates sandalwood-scented ink in the stamps and margins. And the auditory aspect employs digital sound technology, enabling users to hear the poems recited aloud, when using a multimedia pen to scan specific areas of the stamp sheet. The poems of Li Bai and Du Fu shine brightly, lighting up the realm of Chinese poetry. This is the highest praise that Chinese people give to these two greatest poets. When discussing Tang poetry, one must mention the poet immortal Li Bai and the poet sage Du Fu. The former is renowned for his magnificent poetry, sparkling with imagination, while the latter is celebrated for his profound and thought-provoking epic works that have withstood the test of time. We are now in Longxi Court in the Li Bai's birthplace Yangyou. It is named after Li Bai's self-reference, a grassroot from Longxi. Li Bai enjoyed his childhood in this magnificent mansion, which then is known as the cradle of Tang poetry. In 1983, China Post issued a series of stamps featuring ancient literary figures. With Li Bai being the first, the stamp depicts the scene from Li Bai's poem, seeing off Meng Haoran to Guangling. With the line, a lonely sail fades into the distant sky, where now only the Yangtze River flows. The stamp recreates the writing scene, showing the great poet Li Bai, bidding farewell to a friend, standing by the river and gazing at the mighty Yangtze, composing his poem. Such friendship is timeless in Chinese culture. Even after more than a thousand years, one can always resonate with the poem and think of his friend. However, great poets are not made in a day. It is said that when Li Bai was young, he was playful, impatient, and often skipped classes. One day, while skipping school, he encountered an old woman trying to grind an iron pestle into a needle. Moved by this sight, he resolved to study diligently, and eventually achieved great success. The famous saying, with enough effort, even an iron pestle can be ground into a needle, comes from this story, and has become a proverb encouraging Chinese people to be persevered in learning. In contrast to Li Bai's bold and unrestrained style, the poet Sage Du Fu, having endured many hardships, wrote poetry that was more profound and somber. Their country is ruined, but the mountains and rivers remain the same. In the springtime, the grass and bushes grow wildly. After surviving the turmoil of the An Lushan Rebellion, Du Fu finally settled in Chengdu, where he repaired his thatched cottage and enjoyed a rare period of tranquility. In the late autumn, fierce winds roar, tearing thick thatch on my roof. In the ancient literary figures series, Du Fu is depicted sitting in front of his dilapidated thatched cottage, ruined by a sudden storm. Complicated thoughts and mixed feelings burst in his mind, as the tranquility of his life was once again disrupted. The poem is just an epitome of people suffering in wartimes, expressing the poet's concerns for his nations and its people, destiny, and a strong hope for peace. Du Fu composed over 240 poems during his time at the thatched cottage, including famous works such as The Prime Minister in Shoe, Song of My Thatched Roof Broken by Autumn Winds, Joyful Rain on a Spring Night, and Quatrains. These poems have been passed down through the ages, widely studied, and have been innovatively transformed into various cultural products, telling epic tales of weal and woe. China Post's Tang Poems stamp series specially selected Levi's Journey Down the River to Jiangling, and Du Fu's Looking Into the Distance on the Mountain Tai as the leading stamps for the entire series. Journey Down the River to Jiangling was written in the second year of the Chanyuan, which was the year of AD 759, during the poet's return journey after being exiled and then pardoned. The poem depicts the swift currents and rapid flow of the Yangtze River from Baidi to Jiangling, expressing the poet's joy as his boat swiftly moves forward. Another selected poem, Looking Into the Distance on the Mountain Tai, depicts the majestic and awe-inspiring scenery of Mountain Tai, enthusiastically praising its grandeur and breathtaking beauty. It expresses the poet's deep love for his country's landscapes, and conveys his fearless spirit, determination to overcome difficulties, and ambition to reach the summit and look down upon everything. The poem also reflects Du Fu's noble aspirations to stand out in his time and contribute to the greater good of his era. These two stamps are both a tribute to the enduring works of the great poets, and an expression of the joy, confidence, and aspirations for China's promising future, after the early 21st century, witnessing its rapid development. These small stamps carry such profound implications into countless Chinese households. Confucius once said, Time flows on like the river, never ceasing day or night. With time passing, the Song Dynasty saw the rise of a new form of literature to its zenith. Songzi is a brilliant gem in the crown of ancient Chinese literature, and a fragrant and vibrant garden of Chinese literature. It is renowned for its diverse and captivating charm, showcasing a myriad of styles and emotions. When discussing Songzi, one family always stands out. The Su family, consisting of Su Xun, Su Xun, and Su Jie. These three are pillars of Song Dynasty literature, and have made indelible contributions to the development of classical prose during the Song Dynasty. The admirable tales of the Su family have also become a paragon of ancient Chinese family ethos and scholarly tradition. We are now at the Sansu Memorial Hall, where the Su family, Father Su Xun and his sons Su Xie and Su Jie, are venerated. The hall features a small deep blue tiled roof, and a central ridge adorned with three-tiered pavilion style ornaments, exuding solemnity and grandeur, reflecting the Su family's rigorous literary style. In the Su family, Su Xi is the most popular one, and appears most frequently on stamps. In 2012, China Post issued a special series of stamps, titled Songzi, inviting the renowned national first-class artist, and member of the China Artists Association, Gao Yun, to create a traditional Chinese painting depicting Su Xie composing Nian Nu Jiao, reminiscing at the Red Cliff. The stamp features Su Xi standing on a boat in the river, facing the towering cliffs of the Red Cliff, with a carefree and elegant demeanour. Think the early days of Zhou, when the Fair Lady Qiao was newly wed. Su Xie's inclusion of both General Zhou of the Three Kingdoms at the Battle of Red Cliffs, and the newly-wed Lady Qiao, enriches the emotional depth of his work. Had he written only about General Zhou, it would have been merely a war scene. With Lady Qiao, it becomes a scene of vivid life, indicating that even the greatest heroes have tender feelings. This reflects the humanistic awareness of Song Dynasty poets. Though not among the eight greatest masters of the Tang and Song Dynasties, and holding no official position in the court, one female figure in the Song Dynasty's literary world cannot be overlooked, Li Qingzhao. Born into a scholarly family, Li Qingzhao enjoyed a privileged upbringing. With her father Li Guifei possessing an extensive book collection, she laid a strong foundation in literature from a young age. However, when the Jin invaded central China, she was forced to flee to the south, enduring hardship and loneliness. The outline of Chinese literary history states, Li Qingzhao is the most talented woman in the history of Chinese literature. Her critiques of the major poets of the Northern Song Dynasty reveal her sharp insights. Her poems were highly revered at the time. For instance, Xin Qiji, another great poet at that time, sometimes referred to his own style as imitating Li's style, which demonstrates her influence. On the stamp, Li Qingzhao strolls among the lotuses, her body slightly turned, and head bowed, lost in thought, with ribbons fluttering behind her. A talented woman vividly comes to life on the stamps. Li Qingzhao, as a poet who lived during the Southern Song Dynasty, expressed a deep longing for her homeland in her poetry. The lines from her poem, Summer Day Quatrain, to live as a hero, to die also as a hero. Even now I always remember Xiang Yu, who would rather die than escape to Jiangdong, vividly convey Li Qingzhao's longing for her homeland, her indignation towards the cowardice of those in power, and her admiration for heroes. Following the traditions of poetry of the Tang and Song Dynasties, Yuan Opera emerged as a popular literary and artistic form during the Yuan Dynasty, serving as an epitome of the intellectual's talent at that time. It encompasses both mixed plays and non-dramatic songs, forming a unique and distinctive genre of its own. In 2014, China Post issued a series of special stamps titled Yuan Opera, consisting of six stamps. Each stamp features a renowned masterpiece from the Yuan Dynasty. Ma Ziwen's Autumn Thoughts to the Tune of Tianjin Sha, Zhang Yanghao's Shampo Yang, Nostalgia at Tong Pass, Guan Hanking's The Injustice to Mrs. Du, Bai Pu's Over the Wall, Ji Zhongxiang's The Orphan of Zhao, and Zhang Guangzu's The Departure of the Soul. These works are celebrated and enduring classics that have been widely cherished through the ages. After the issuance of the stamps Ma Ziwen's Tianjin Sha, Autumn Thoughts, and Zhang Yanghao's Shampo Yang, Nostalgia at Tong Pass have become the most popular among Chinese philatelists. The Line from Tianjin Sha, The Sun Sets in the West, A Man Heartbroken Standing on the Horizon succinctly captures the bitter longing of a wanderer. Across centuries, it remains the best footnote for Chinese people who venture far from home in pursuit of livelihood and dreams, encapsulating their homesickness. The Sentence from Shampo Yang, In Prosperity the People Suffer, In Demise the People Suffer, though merely a short sentence fully conveys the heavy shackles borne by the common folk, serving as a sobering admonition in times of prosperity, alerting future generations. Following the Yuan dynasty, and during the Ming and Qing dynasties, the novel gradually developed and took shape, becoming a highly representative form of literary creation in these periods. Among these, Dream of the Red Chamber, Journey to the West, Water Margin, and Romance of the Three Kingdoms are collectively known as the four greatest classical novels of Chinese literature. Among the four greatest classical novels, Dream of the Red Chamber holds the most cultural value. Scholars studying this work are innumerable, giving rise to a unique field of study known as rhidology. However, due to the intricate depth of its content and the high threshold for understanding, Dream of the Red Chamber has not achieved significant influence overseas. Nevertheless, through continuous innovative adaptations and expressions across various media by later generations, Dream of the Red Chamber is gradually making its way onto the global stage. We are currently at Guihu Park, the filming location for the 1987 TV adaptation of A Dream of the Red Chamber. With its classical charm and winding paths, the park's pavilions and terraces frequently appeared in the series. Upon its release, the vivid and authentic portrayal of A Dream of the Red Chamber in the TV adaptation captivated a wide audience both domestically and internationally. As a medium of visual communication, stamps have also played a role in bringing the lofty and profound classics into the homes of ordinary people. This set of A Dream of the Red Chamber stamps vividly presents scenes from the novel, making them come alive and captivating the imagination of viewers. In another corner of Guihu Park lies the Yangsheng An Shrine, the former residence of the renowned Ming Dynasty scholar and literary figure Yang Shen. Yang Shen wrote a preface for one of the four great classical novels, Romance of the Three Kingdoms. His preface, titled Lin Jiangxian, is profoundly moving and leaves a lasting impression. So many great events in the past and at present will all be anecdotes shared with a laugh in the future. Accompanied by Yang Shen's poem, Lin Jiangxian, our journey of thorough stamps in the realm of ancient Chinese literature is drawn to a close. Throughout this journey, we have explored China's long literary history through the unique lens of stamps. From the rustic elegance of the Book of Songs, to the magnificent exuberance of Tang poetry, the delicate emotions of Song lyrics, and the distinctive style of Yuan opera, each stamp carries a wealth of cultural heritage and historical memories.