Culture and Spirit during the Apex of the Tang Dynasty (Part 1)
 
The Tang Dynasty (618 – 907 AD) is considered a glorious period in Chinese history, a time when China was the largest and strongest nation in the world. The apex of the Tang Dynasty refers to the time between the "Reign of Zhenguan" (i.e., the reign of Emperor Taizong of Tang) and the "Era of Kaiyuan" (i.e. the reign of Emperor Xuanzong of Tang.) During this period, China enjoyed a moral political system and flourished in all aspects including the economy, society, as well as literature and the arts.
 
Why was this so? It was because Emperor Taizong and his successors had caring and benevolent hearts for the people. They appointed virtuous and capable people to important positions, and were able to accept suggestions and even criticism from their appointees. Although supreme as an emperor, Taizong was humble, respectful, and tolerant. He even appointed those who had opposed him in the past to important positions. Emperor Taizong had always been diligent and had lofty goals. Thus, he was not only the pioneer of the golden age of the Tang Dynasty, but also a role model for future emperors.
 
The unique character of Tang culture can be summarized as "having an open and broad mind, combining the very best of all." It is precisely this spirit that forged this culturally diverse and splendid period in Chinese history.
 
I. Literature and the Arts
 
"The Complete Tang Poems," compiled during the reign of Emperor Kangxi (1654 – 1722 AD) of the Qing Dynasty, is a collection of more than 48,000 poems written by over 2,200 poets. The number of accomplished poets and the diversity of their poetry was a shining star in the history of Chinese literature. The poems written during the Tang Dynasty were not only great in number, but were also high in artistic value.
 
The opening piece of "The Complete Tang Poems" was Emperor Taizong's ten poems of "The Imperial Capital." "My heart rose with the sun in clear sky; my aspiration as pure as the autumn chrysanthemum." (From "Re-visiting the Battlefield where I Defeated Xue Ju") Xue Ju was a warlord at the end of the Sui Dynasty. These pieces had an imposing spirit, which allowed the readers to experience the author's lofty realm and high ambitions.
 
The ensuing poems by the officials in Emperor Taizong's royal court also manifested open and broad vision. For example, high-ranking official Yang Shidao wrote in his poem "Waiting to See His Majesty in Early Autumn:" "In the clean air and clear sky, I felt my mind was broadened while reciting a poem." The upright, pure, and simple character of poems during the Reign of Zhenguan had quite an impact on future generations.
 
The golden time of the Tang Dynasty produced countless renowned poets: "God of Poetry" Li Bai, "Saint of Poetry" Du Fu, Meng Haoran and Wang Wei who were both famous for poems describing natural scenery, Gao Shi and Cen Shen whose poems were mostly about life in border areas, "the Poetry of Confucius" Wang Changling, and so on. In the later years, Bai Juyi was typical of many poets in the mid-to-late Tang Dynasty. Their poems are profound, imposing, and far-reaching; they transcend the mundane and embody the spirit of the Tang Dynasty. "(My heart is so) inspired by lofty aspirations, as if we were about to fly to the blue sky to pluck the moon." This poem, written by Li Bai, is just one example of their skill with words.
 
In addition to poetry, Tang style essays, novels, and tales of marvels also reached a very high artistic level. Scholars of the Tang Dynasty wrote about people's lives and exposed the dark side of society, demonstrated acute insight, courage, sense of responsibility, great foresight, and broad vision. Between the lines, we are able to see their high ambition of "saving the multitudes of people, and maintaining the peace and prosperity of society."
 
II. Calligraphy and Painting
 
Emperor Taizong paid great attention to calligraphy. He established the Hongwen Palace and appointed renowned calligraphers to teach students. He issued an order that all officials whose rank was over the fifth grade must go to Hongwen Palace to study calligraphy. Emperor Taizong praised the calligraphy of Wang Xizhi, one of the greatest calligraphers, as "perfect in terms of both virtue and art," and advocated Wang's style of calligraphy. Calligraphy was thus on an orthodox path. Under the influence of Emperor Taizong, the later emperors such as Gaozong, Zhongzong and Ruizong also loved and advocated good calligraphy. As a result, calligraphy reached its peak during the Tang Dynasty. The Tang Dynasty also produced the largest number of calligraphers among all of the dynasties. For example, Ouyang Xun, Yu Shinan, Yan Zhenqing, and Liu Gongquan just to name a few. Their works still serve as prime examples for calligraphy lovers to emulate.
 
The painting circle was very active during the Tang Dynasty, and the range of subjects was broadened like never before.
 
"A True Portrait of Taizong" and "The Twenty-Four Officials of Great Merit" by painter Yan Liben looked true to life and vividly represented the images and expressions of Emperor Taizong and his officials, whose great feats laid the foundation for the prosperity of Tang. Yan was therefore acclaimed "a god-like painter."
 
Another painter Wu Daozi made over 400 Buddhist and Taoist mural paintings in temples at Chang'an and Luoyang. Each Buddhist and Taoist figure was different from the other; moreover, his paintings fully displayed the mighty dignity of Buddhas and deities, and the splendor of paradises. He was able to finish a painting with one flourish of the brush, and his paintings awed the entire Chang'an city. Later generations respected him as the "Saint of Painting" and described his work as follows: "Waving the brush as a swirl of wind, as if a god is helping him." Painters and sculptors worshipped him as the "Founding Master." He was and remains quite influential.
 
Mural painting and sculpture also made great progress during the Tang Dynasty. They had outstanding composition and rich colors, sumptuous yet elegant, bright yet calm. They were truly magnificent and graceful. For example, "The Western Pure Land," one of the paintings in the Mogao Caves of Dunhuang, displayed the magnificent scene of a heavenly paradise with a multitude of Buddhas, Bodhisattvas, and sentient beings, each with a radiant look and vivid expression; it is truly awe-inspiring and enchanting.
 
盛唐文化与盛唐精神 (上)
 
唐代是我国历史上辉煌灿烂的时代，是世界上闻名的天朝大国。盛唐时期指的是贞观之治到开元盛世这段时间，这个时期政治清明，经济繁荣，文化开明，在社会生活、文学艺术等各个方面所呈现出来的繁盛景象，被后世称为“盛唐气象”。这种局面的开创，是由于始于唐太宗及其后的君王关爱百姓、选贤任能、善于纳谏的结果。唐太宗身居高位而谦恭待人、大度容人，敢用反对过自己的人，励精图治，不仅是唐代盛世伟业的开创者，更为后世树立了治世的典范。
 
唐文化的特有气质，正是这种“兼收并蓄”、“有容乃大”的精神。这种精神造就了唐代的“充实而又光辉”的文化繁荣时代，使我国传统文化进入了一个异彩纷呈、奇峰迭起的时期。
 
一、文学艺术
 
从清康熙年间编纂的《全唐诗》来看，作家二千二百多人，作品四万八千多首，诗人之众，诗作之繁，实为中国诗史之奇观。唐诗不仅数量众多，而且艺术精湛、水平极高，《全唐诗》开篇就是唐太宗的《帝京篇十首》，诗作气势宏大，使人感到他“心随朗日高，志与秋霜洁”（《经破薛举战地》）的高尚节操和远大抱负。随后群臣的诗作也展现出阔大的气势和胸襟，如大臣杨师道的“爽气长空净，高吟觉思宽”（《初秋夜坐应诏》）等，刚健质朴的贞观诗风影响著后世。
 
盛唐时期名家辈出，宛如星汉：“诗仙”李白；“诗圣”杜甫；以写自然风景著称的孟浩然、王维；边塞诗人高适、岑参；“诗家夫子”王昌龄；经历了盛唐的成熟，中晚唐时期众多的诗人代表者白居易等。其诗作博大、雄浑、深远、超逸，无不体现著时代的风格和精神。如李白的“俱怀逸兴壮思飞，欲上青天揽明月”、杜甫的“煌煌太宗业，树立甚宏达”、王维的“江流天地外，山色有无中”……
 
除诗歌外，唐代散文、小说、传奇等方面也达到了相当高的成就。体现了一代文人：“济苍生”、“安社稷”的理想抱负，反映民生和揭露社会时弊的敏锐洞察力和勇气，对国家的责任感，高瞻远瞩的大眼光、大格局。
 
二、书法绘画
 
唐太宗非常重视书法，设置了弘文馆，委任书法名家担任书学博士，专门培养书法人才，并下诏京师五品以上的官员必须到弘文馆学习书法；倡导天下学习王羲之的字体，并称其“尽善尽美”，使书法正统化。在唐太宗的影响下，唐高宗、唐中宗、唐睿宗都十分爱好和提倡书法，唐代书法水平因而达到了历朝历代的巅峰，也是我国书法史上书法家最多的一个朝代，如褚遂良、欧阳询、虞世南、薛稷、李邕、颜真卿、柳公权、张旭等。而颜、柳、欧、褚等名家法帖，至今仍是很多书法研习者们临摹的样本。
 
唐代的画坛亦显示出蓬勃的活力，题材范围空前地扩大了。如阎立本所画《太宗真容》、《凌烟阁功臣二十四人图》，图绘了开创大唐伟业的唐太宗及众臣，形像逼真传神，时人誉之为“丹青神化”。吴道子曾在长安、洛阳寺观中作佛道壁画四百余间，神态各不相同，展现出神佛的庄严和天国圣境的光辉。他落笔一挥而就，绘画轰动长安，“立笔挥扫，势若风旋，人皆谓之神助”。他被后世尊为“画圣”，被民间画塑匠人尊为“祖师”，足见其影响之大。
 
唐代的壁画和雕塑也有了高度的发展，以卓绝的造型、丰富的色彩，富丽中不失典雅，鲜明中又有沉著，呈现出一派大气雍容的风度。如敦煌莫高窟壁画中的《西方净土变》，展现出天国世界的景象，神佛、菩萨、众生，人物众多，画面宏伟，神采生动，令人敬畏与神往。