I am not Ximen Qing.

The Ming Dynasty was most adept at creating works inspired by the Song Dynasty. It wasn't just that the Ming Dynasty admired the aristocratic life of Song Dynasty officials; the truth of history is truly unpredictable. Both the Liao and Jin Dynasties were fans of the Song Dynasty. The Khitan's rise and fall was due to their excessive fascination with the elegance of Tang Dynasty culture. From the Five Dynasties and Ten Kingdoms to the Sixteen Prefectures of Yan and You, the Song Dynasty maintained its elegant culture, filled with the taste of Jinling and the Qinhuai River, the beauty of Lady Huarui of Later Shu, the beauty of Li Yu and Empress Zhou's Jiangnan, and so on. These deeply influenced the Liao Dynasty's culture, to the point that the entire Youzhou region of the Liao Dynasty seemed like another version of the Tang Dynasty's worship of Buddhism. The Liao Dynasty collapsed under the combined pressure of the Jin and Northern Song Dynasties, disappearing from the historical record with little presence.

Wanyan Aguda of Fangshan was a ruthless ruler, and the Jin dynasty was fundamentally captivated by the Song dynasty's beauty in Jiangnan. Youzhou, having witnessed the Tang and Liao dynasties, already possessed some grandeur, reminiscent of the Jin capital, Zhongdu! Beijing's beauty is breathtaking; it's hard to imagine An Lushan's profound longing for Chang'an, the capital of the Tang dynasty. It wasn't just the allure of Yang Guifei's beauty, nor simply An Lushan's lustful nature. He was genuinely awestruck by Chang'an's beauty! How could Youzhou compare to Chang'an? Although Li Bai and Chen Zi'ang wrote poems about Youzhou's beauty, the beauty of the Tang dynasty is evident in Bai Juyi's *Changqing Collection*—it was simply breathtaking! There was no other choice but to accept it. What An Lushan didn't expect was that his uprising in Yuyang was precisely a shift in the political and cultural center. The Liao and Jin dynasties' yearning for the Song Dynasty was evident in Zhang Zeduan's "Qinghe Shangming Tu," where the Song Dynasty's capital, Bianjing, was depicted as the epitome of the Jiangnan dream. By the time of the great emperor in "Water Margin," Emperor Huizong of Song, Zhao Ji, in his "Dongjing Menghualu," had already experienced a certain crisis under the prosperous era. This style was perfectly captured by Lanling Xiaoxiaosheng's "Jin Ping Mei," which vividly depicted the scene like a painter's work. The artistic and aesthetic value of "Jin Ping Mei" lies in its ability to capture all the beauty of existence in the present moment without missing a single detail. In Chinese art, no other book can reach the artistic value standard of "Jin Ping Mei." The artistic value standard of "Jin Ping Mei" was directly benchmarked by the entire court of the Northern and Southern Song Dynasties. Look at the emperor of the Song Dynasty: Emperor Huizong of Song, Zhao Ji, was a complete enthusiast of courtesans and exotic beauties. This romantic emperor. He was obsessed with frequenting the imperial palace and Li Sisi's brothel, seeking a pure and gentle haven unattainable even within the imperial harem. A spring dream of Jiangnan! It was almost unbelievable, as if Zhao Ji, Li Houzhu, and others were all reincarnations of Qianlong!

The Tang Dynasty, the Northern Song Dynasty, the Liao Dynasty, and the Jin Dynasty clashed passionately in the annals of history, their cultural exchange and migration serving as a grand stage for cultural exchange and integration. Amidst the chaos of war, the nomadic peoples of the grasslands silently observed everything. This unprecedented clash of diverse cultures led to the Khitan's rapid disappearance from the historical stage. The Northern Song Dynasty encountered a true adversary: ​​the Jurchen Jin Dynasty, a truly formidable force. From Heilongjiang to Fangshan and later to Beijing, the Jin capital, even Emperor Qianlong was deeply impressed by the Jin Dynasty's ambition. The Jin Dynasty simply met its nemesis: Genghis Khan, the "Eternal Heaven." In this era of iron and blood, battles were fought with carnage and cavalry. Who had more ferocity? The Jurchens also possessed ferocity, but compared to the descendants of the Xiongnu, the ferocity of the nomadic grasslands, flowing into the ferocious grassland empire of the "Eternal Heaven," was even more potent in the face of the Mongol cavalry's sweeping conquest.

Every foreigner who visited Bianjing (Kaifeng) during the Song Dynasty longed for the idyllic paradise envisioned by Emperor Huizong of Song, Zhao Ji. This Daoist emperor, obsessed with a moral fantasy, wrote *Dongjing Menghualu* (Record of the Splendor of the Eastern Capital), which was merely a part of that dream. *Along the River During the Qingming Festival* is just one part of that dream; the entire gentle dreamland of the Northern Song Dynasty was embodied in Bianjing. We cannot deny everything about the Song Dynasty. *A Thousand Miles of Rivers and Mountains* is a depiction of this dreamlike homeland. The Northern Song Dynasty, the Great Song Dynasty, exists as a dream. Without *Along the River During the Qingming Festival*, there would be no Eight Great Masters of the Tang and Song Dynasties, no *Dongjing Menghualu*, and no art of the Northern Song Dynasty. Yes, dreams need even more beautiful art! Dream and art are two parts. Without art, there is no imagination of dreams, let alone the birth of dreams. Dreams are a very interesting subject because China was ahead of the West in the field of dream interpretation. Chinese culture has always been such that it invented gunpowder, the compass, and papermaking. However, in the end, these great inventions became part of science in the hands of the West. The Eight-Nation Alliance used cannons to destroy the Old Summer Palace. Regarding the art and science of dreams, the world is full of interpretations of dreams, such as "A Midsummer Night's Dream" by the British Empire. There is no "Zhou Gong's Interpretation of Dreams". There are also warnings about dreams in the "Zuo Zhuan" of the Spring and Autumn and Warring States periods. The greatest dream in China is "The Dream of Nanke". The novels *The Peony Pavilion*, *Jin Ping Mei*, and *Dongjing Menghualu* share a similar theme: the Jingkang Incident and the burning of the Old Summer Palace. Emperors Qinzong and Huizong were exiled to Ningguta, and the beauty of the Old Summer Palace is preserved in the museums of foreign powers. The beauty of the Mogao Caves in Dunhuang is similarly preserved. The Jingkang Incident was not merely the exile of two emperors, but the beginning of the Jurchen people's destruction of Song Dynasty culture. The Jin Dynasty's cultural plunder of the Song Dynasty, through destruction, better reveals the ambition of a foreign power, demonstrating a massacre of spirit, mind, and body. However, the dream created by Emperor Huizong of Song, the dream of Dongjing (Kaifeng), was too realistically luxurious and extravagant. Just as the destruction of all the tombs of the Northern Song Dynasty was almost a massacre, sweeping across the land, just as *Jin Ping Mei* describes the world of the Jin Dynasty's southward expansion. It was simply that the entire dream of the Song Dynasty in *Jin Ping Mei* collapsed with a devastating crash. In the aesthetics of *Jin Ping Mei*, the beauty of the Song Dynasty has reached its pinnacle. *Jin Ping Mei* uses the present state of the Ming Dynasty to depict the beauty of the Song Dynasty. Of course, seeing Wu Song on the shore of West Lake immediately brings to mind Ximen Qing from *Jin Ping Mei*, and also Ximen Qing from *Water Margin*. The time travel in literary works is contradictory. In *Jin Ping Mei*, Song Jiang even saves Ximen Qing's son, Xiao Ge's life! The beauty of the Song Dynasty is contradictory. The opening scene depicts Grand Marshal Hong going to Longhu Mountain to ask Zhang Tianshi to pray for blessings in Dongjing (Kaifeng). Longhu Mountain... the description of Grand Marshal Hong's terrified state, his soul trembling under the influence of ferocious beasts, long snakes, and a giant white-eyed tiger. The disheveled state of the souls being stewed, and the Taoist master riding a blue ox and playing a flute leisurely descending the mountain, all hint at the contradictory causes and consequences of the entire Song Dynasty. The Song Dynasty is a time-traveling era, and *Jin Ping Mei* is history, a mirror of the Song Dynasty. If we examine the historical records, we can conclude that *Water Margin* was written before *Jin Ping Mei*, because when Lanling Xiaoxiaosheng of the Ming Dynasty wrote *Jin Ping Mei*, he must have paid homage to Confucius and Mencius in the Confucian Temple. The eroticism and vulgarity in *Jin Ping Mei* were merely for the needs of the creative process. By the time of the Wanli and Jiajing emperors of the Ming Dynasty, the imperial court had become utterly corrupt. Literature, in its art, must possess foresight and vision; the forefront of history and encounters with the times reveal the value of literary works. Lanling Xiaoxiaosheng's initial intention remained rooted in Confucian orthodoxy. This historical moment was captured by *Jin Ping Mei*, which seized upon the cultural progress of the Ming Dynasty. However, it also seemed like another dynasty, cloaked in the guise of the Song Dynasty, a revival of the Song Dynasty. The literati rejected the lives of military officers and scholar-officials, and *Jin Ping Mei*, with its portrayal of county-level politics and economics represented by Ximen Qing, could only showcase the economic and cultural landscape of the Ming Dynasty, from the county seat to the imperial court—a near-complete depiction. To understand the splendor of Song Dynasty culture, one cannot merely read official histories, but to miss the essence, one must read authentic books from before the Ming Dynasty; at least *Jin Ping Mei* and *Water Margin* are authentic. It preserves the authenticity of the economy and culture of the time. All literary works originate from reality, and the beauty of *Jin Ping Mei* is a sublimation of realistic literature. However, no matter what, it is a precious gem with flaws, but the flaws do not detract from its overall beauty. Even if Pan Jinlian were as beautiful as the moon, even if Ximen Qing had his head hit by a beauty, he would not dare to rush forward casually, right? At the very least, he would have to observe etiquette. It almost uses a different kind of strategy than *Ode to the Goddess of the Luo River*. The origin of Cao Zhi's *Ode to the Goddess of the Luo River* is not just Cao Zhi's unrequited love!

This creative technique originates from Qu Yuan's approach to the Chu Ci and Li Sao. The most beautiful woman of the Three Kingdoms period was Zhen Luo, Yuan Shao's daughter-in-law. Cao Cao's love of beauty is well-known; he even killed Dian Wei for Zhang Xiu's sister-in-law. Cao Ang also had many capable generals. He built the Bronze Sparrow Terrace for Xiao Qiao and Da Qiao. Cao Cao had long coveted Zhen Luo's beauty, but Cao Pi acted first. However, Zhen Luo developed feelings for Cao Zhi, which is the origin of the "Ode to the Goddess of the Luo River"! In reality, it was a struggle for beauty between the Cao family's Jian'an father and son, and the Wen family's father. Cao Zhi's creation of the "Ode to the Goddess of the Luo River" wasn't without its gains; at least he captured the soul of the beautiful Zhen Luo. However, the creation of the "Ode to the Goddess of the Luo River" was another matter entirely. Even if Cao Zhi wanted to depict objective reality, he wouldn't allow it. Looking at those who cannot be together in reality, that's the essence of Su Dongpo's poetry.

Water Melody

On the Mid-Autumn Festival of the Bingchen year, I was so drunk that I wrote this poem, also thinking of my brother Ziyou.

When will the moon be clear and bright? I raise my cup to ask the heavens. I wonder what year it is tonight in the celestial palace. I long to ride the wind and return, yet fear the jade towers and crystal palaces, where the cold is unbearable at such heights. I dance with my shadow, how unlike the world of men! The moon turns through the red pavilion, lowers its light through the embroidered windows, illuminating my sleeplessness. There should be no resentment, yet why do I always ask when the moon is full when we are apart? People have sorrow and joy, separation and reunion; the moon has its phases of waxing and waning, and such things have always been imperfect. I only wish that we may all live long and share the beauty of the moon, even from afar.

If time travel were possible, Cao Zhi and Su Shi's meeting might have felt more like a meeting of kindred spirits. At least Su Shi could point out Cao Zhi's inner thoughts. Was Zhang Sheng searching for Su Shi? Or was he searching for the beauty of West Lake? It was precisely because of the West Lake Causeway built by Bai Juyi and Su Shi that West Lake became a place brimming with Tang and Song Dynasty culture. Zhang Sheng enjoyed strolling along the Su Causeway in the Summer Palace, where he could admire the pavilions and towers of Longevity Hill and the dragon boats on Kunming Lake. At the same time, Zhang Sheng rowed countless boats on Kunming Lake. The tradition of Chinese aesthetics was now on the Su Causeway of West Lake. The beauty of time travel from the Summer Palace to the Su Causeway of West Lake was thus born. The "Dongjing Menghualu" of the Song Dynasty did not inspire Su Shi much; rather, it was Su Shi, Hangzhou, and Nanjing. Su Shi's creative process of creating beauty brought countless dreams. Su Shi's days at West Lake in Hangzhou must have been the most wonderful days of song and dance, the most romantic and joyous period of his life. Zhang Sheng, thinking of the flight attendants in the sky, wondered if they were his own "Ode to the Goddess of the Luo River," their own immortal beauty. This is not an ordinary Su Causeway; it is a bridge of love of immortal beauty. Imagine traveling to the palace of Wei in the Three Kingdoms period. Cao Pi had unlimited power, but Zhen Luo, the beauty lover of his brother, could make immortal beauty eternal because Cao Zhi's "Ode to the Goddess of the Luo River" could make beauty eternal. Yes, Cao Pi's hatred for Cao Zhi would all be contained in the "Ode to the Goddess of the Luo River." Because there, love of secrets is hidden. Compared to Cao Pi, the love between Shunzhi and Consort Dong'e was more fortunate. Shunzhi even won the most beautiful love from Mao Pijiang and his uncle Dorgon. Perhaps Zhen Luo of the Three Kingdoms was the most beautiful, the most beautiful tragic love, a victim of the king. This is the most humane love in the Three Kingdoms! Su Dongpo, seemingly forgetting the existence of "Dongjing Menghualu" (The Eastern Capital: A Dream of Splendor), seems to have forgotten the existence of his own work, "The Eastern Capital: A Dream of Splendor." The pursuit of immortal beauty without genuine effort is merely an unattainable dream, often met with a harsh reality check. Seeking Su Dongpo, one enters at least the world of Bai Juyi, Su Dongpo, and Lin Bu at West Lake, instantly transported to the Tang Dynasty, a dreamlike return to the Song Dynasty's beauty. The "Preface to the Orchid Pavilion" of Kuaiji Mountain is still preserved, and the Qishang Pavilion in the Qianlong Imperial Garden retains the traditional "winding cup floating wine cups" style. But West Lake is the "Preface to the Orchid Pavilion" for all under heaven. It is also part of the culture of "Wu Yue Chunqiu" (The Spring and Autumn Annals of Wu and Yue). This historical timeline intertwines, all fitting together as part of the West Lake dream. Without visiting West Lake, one cannot truly understand Bai Juyi, Su Dongpo, or the reclusive culture pursued by Lin Bu, nor the soul of Tao Yuanming. Where in this world is West Lake? The cultural heritage of West Lake is its spirit, encompassing all this historical timeline. Let us return to the Su Causeway leading to Leifeng Pagoda. And then there's the long Su Causeway along Yang Causeway, where the faint outline of Leifeng Pagoda can be seen in the distance—it's a journey through time and history. This reflection is also a process of conversation; I heard the melody of "Spring River Flower Moon Night" in a book! Walking on the Su Causeway, it felt like stepping back into the romance of the Tang Dynasty. Where is "Spring River Flower Moon Night"? Thinking about it, the spring river under the moon must be filled with beautiful women dancing the "Rainbow Feather Dance"—is this a fantasy or a dream?