The issue of "Feather Fan Lunjin" refers to Zhuge Liang or Zhou Yu has been a controversial issue in academic circles in recent years. Some commentators believe: "'Feather Fan Lunjin' is not exclusive to Zhuge Liang. Of course, it does not necessarily have to be said here that it is Zhuge Liang. From 'Reminiscing about Gong Jin's time' to 'The Qiang and oars were wiped out in smoke', it is all written in one go. Only one person is written about. , that is, Zhou Yu. It is written that he is elegant and leisurely, talks and laughs freely, and is well-organized, and he easily defeats the enemy. "[7] This statement is worthy of discussion.
In the Han and Wei dynasties, there was no name for "Lun Jin", and it was called "Ge Jin" in history. Volume 9 of Zhang Hua's "Natural History" of Jin Dynasty says: "When the Han Dynasty was rejuvenated, all scholars wore Gejin. During Jian'an, Emperor Wu of the Wei Dynasty made the white turban. So it was abolished, and only two scholars still wrote it." This situation continues. In the Jin Dynasty, Li Fang and others from the Song Dynasty were ordered to write "Taiping Yulan" Volume 336 "Guozi Sacrifice Wine" quoted from "Qi Zhiyi" as saying: "In the Jin Dynasty, the doctor sacrificed wine and was in charge of Guozi studies, and Guozi When students and teachers offer wine and practice scriptures, they wear single robes of Ge scarf and pay tribute to them all their lives. "The "Ge scarf" is connected with the "Feather Fan", which is Zhuge Liang. Volume 702 of the same book, "Turbans", quotes "Shu Shu" as saying: "Zhuge Wuhou and King Xuan were at Weibin, and they were about to fight. King Xuan came to the army to do something, and made people look at Wuhou. , command the three armies, and follow them to advance and stop." The article "Fan Lei" quoted from Pei Qi's "Pei Ziyu Lin" said: "Zhuge Wuhou and King Xuan were in Weibin, and they were about to fight. Wuhou took Su Yu, Ge Jinbai. The feather fan refers to the movement and stopping of the three armies under his command. "The three books of Wei, Shu, and Wu in Chen Shou's "Three Kingdoms" were handed down separately before the Song Dynasty, as recorded in "Old Tang Book·Jing Ji Zhi". The previously cited record in "Shu Shu" is not found in the current "Three Kingdoms", indicating that it is an annotation by Pei Song, who is now lost. This annotation is roughly the same as the record in "Pei Ziyu Lin", which shows that they should come from the same source. Gejin, also known as Lunjin, probably originated from the Xie'an family in the Eastern Jin Dynasty. "Book of Jin·Xie Wanzhuan" says: "Emperor Jian Wen served as prime minister, heard his name, and summoned him to serve as a lieutenant in the Fu army. (Xie) Wan, wearing a white silk scarf and a crane cloak, walked forward. When he saw it, he met the emperor. **Talk about Yiri. "Xie Wan is Xie An's brother. A note in "Shuowen" says: "Twisting green silk into a ribbon is for making a silk ribbon." The Jin Dynasty decree stipulated that only students of the Imperial Academy should wear Ge scarves. When Confucian scholars like Xie Wan and Xie An wear Ge scarves, of course they have to change the material to green silk, also known as Lun scarf, otherwise it will be suspected of violating the regulations. The Xie brothers dressed up like this, naturally they admire Zhuge Liang's name.
It is true that the "feather fan scarf" as a clothing custom did arise in the Eastern Han Dynasty, and it was "not exclusive to Zhuge Liang" at first. But after Zhuge Liang wore it, it gradually evolved into Zhuge Liang's exclusive possession, and became the object of imitation by later generations of Confucian generals and celebrities. "Yan Fanlu" written by Cheng Dachang of the Song Dynasty says: "In the Legend of Emperor Ming's Happiness to Shu", an old man came out to visit the valley, wearing a white scarf. The commentator said: 'I am in the service of Marquis Zhuge Wu.' I don't know that the ancients did not avoid this. "Bai Ye." It can be seen that Zhuge Wuhou's uniform has been passed down and has had a huge impact on future generations! Su Shi, who is knowledgeable and talented, will never use "Feather Fan Lunjin" as a nickname for Zhuge Liang. Use it to refer to the "majestic and heroic" Zhou Yu.
The Japanese scholar Mr. Kenji Nakahara did not know the reason. In his article "Su Shi and the "Feather Fan Lun Turban" [8], he said: "It can be seen that the 'Lun Turban' was still considered to be the clothing of the nobles of the Six Dynasties. Therefore, it is self-evident whether the "Feather Fan Lunjin" in "Niannujiao" is more suitable for Zhou Yu or Zhuge Liang. Zhou Yu is a famous Chibi hero and is proficient in music. He is called "Zhou Lang" by the Wu people. "The use of the feather fan and silk scarf is consistent with his behavior."[9] According to the "Three Kingdoms" records, Zhou Yu was born in a family of officials, and his father Zhou Yi was the order of Luoyang; Zhuge Liang was also born in a family of officials, and his father was Zhuge Wanggui. He was the magistrate of Taishan County and became the prefect of Yuzhang from his father Zhuge Xuan. They are from the same family, how can they be distinguished from each other? Mr. Nakahara Kenji also believed in the article "The Man of the "Feather Fan Lunkerchief"——Zhou Yu and Zhuge Liang" that in the Ming Dynasty, Zhuge Liang seized the "Feather Fan" from Zhou Yu The attire of "Lunjin" was written into the novel "The Romance of the Three Kingdoms". [9] This statement is completely different from the formation and spread of the story of the Three Kingdoms.
At the end of the Eastern Han Dynasty, all the heroes came together, and the disputes among the three kingdoms of Wei, Shu, and Wu gave rise to many legendary stories in the world! "The Chronicles of the Three Kingdoms·Wu Shu·Zhou Yu Biography" quotes the "Jiang Biao Biography" as saying: "( When Zhou Yu defeated the Wei army, Cao Gong said: "I am not ashamed to leave." Later, Yu Quan said: "In the battle of Chibi, there was an illness, so I burned my boat and retreated, so Zhou Yu gained this name in vain." The prestige was far away, so Cao Cao and Liu Beixian wanted to doubt it." Although this was Cao Cao's excuse for the defeat of Chibi and a plan to alienate him, it can also be seen from it that the story of the Battle of Chibi spread like wildfire, and it was popular at that time. It is widely circulated. According to historians' research, "Three Kingdoms" contains several times more annotations than the main text. The annotations cite as many as 200 kinds of works by people from the Wei and Jin Dynasties, including many rumored idioms and novelist quotes. In the later legends, the stories of the Three Kingdoms gradually became richer. By the Tang Dynasty, many poets had recited the stories of the Three Kingdoms. For example, there is a sentence in Li Shangyin's "Poetry of the Proud Son" that goes: "Sometimes they are mocking Zhang Feihu, or they are laughing at Deng Aichi." Among them, Zhuge Liang, Li Bai, and Du Fu have written the most. Famous poets such as Liu Yuxi, Li Shangyin, and Hu Zeng all have chapters praising Zhuge Liang. In particular, one of the five poems in Du Fu's "Ode to Ancient Relics" says: "Zhuge's fame is immortalized in the universe, and the portraits of his ancestors and ministers are kept high. The three-thirds are divided into Yu to make plans, and they are like a feather in the sky for eternity. When brothers and sisters meet Yi Lu, the command must be lost to Xiao Cao "It is difficult to move Han Zuo back, and he is determined to annihilate the army." This poem outlines the vivid image of Zhuge Wuhou holding a feather fan and commanding Ruoding. There is a sentence in Du Mu's poem "Red Cliff": "The east wind does not want to be with Zhou Lang, and the bronze bird spring locks Er Qiao deeply." This has already outlined the plot of Zhuge Liang borrowing the east wind, and Cao Cao building the bronze bird tower to capture Er Qiao. It can be seen that the story of the Three Kingdoms developed in a more detailed and systematic manner in the Tang Dynasty, which laid the foundation for the "three-point story" of storytellers in the Song Dynasty.
The emergence of the special title "Shuo San San" in the Song Dynasty illustrates the important position of the story of the Three Kingdoms among storytellers. Volume 1 of Su Shi's "Dongpo Zhilin" says: "Wang Pengchang said: 'The children in Tuxiang are poor, and their families hate the hardships. They often give money to people, so that they can sit together and listen to ancient sayings. When it comes to talking about the Three Kingdoms, I heard that Liu Xuande was defeated. , frowned and burst into tears; when he heard that Cao Cao was defeated, he was happy to sing: "This is how a gentleman will never be killed for a hundred generations." It can be seen that the story of the Three Middle Schools has become increasingly popular among the people throughout the country. Everyone knows this. In the past, people believed that Shu-Han orthodoxy was a major feature of Luo Guanzhong's "The Romance of the Three Kingdoms". In fact, this had already been reflected in the "Shuo Sanfen" in the Song Dynasty. While "talking about the three points", there are also people who "make shadows, starting from the image of the three points of war between Wei, Shu and Wu". [10] Whether it is "saying three points" or "shadow puppetry" (i.e. shadow puppet show), it will involve the detailed and clear wearing characteristics of the characters in the story. The formation of this kind of wearing characteristics must be the result of accumulation over a long period of time. Once this wearing characteristic is formed, it will be engraved in people's hearts, passed down from generation to generation, and not easy to change. The Yuan version of "Three Kingdoms Zhi Ping Hua" is actually the written record of the "Shuo San San" artists in the Song and Yuan Dynasties. In the early Ming Dynasty, Luo Guanzhong, based on this book, "based on official history, collected novels, proved the literary diction, and understood the style", [11] processed and revised it into "The Romance of the Three Kingdoms". This type of cumulative novel is unlikely to be what Mr. Nakahara Kenji thinks. At this time, Zhuge Liang also took the "Feather Fan Lunjin" attire from Zhou Yu.
The article "Overturning the case for Cao Cao" in Volume 1 of Luo Jizu's "Three Records of Maple Window" says: "Du Muzhi's 'Dongfeng does not go along with Zhou Lang, Tongquechun locks two Qiao deeply' is a unique one, which is a tribute to history. It is a popular work, but the argument is too harsh and contrary to historical facts. It is said that Cao Cao was known to Qiao Xuan when he was young. By the time Cao Xian died, people who passed Xuan's tomb would feel miserable and sacrificed it to the Grand Priest. Although the Bronze Bird Tower was built, Are you willing to take the second daughter? Literary people often express their interest without making sense." [12] As a historian, Mr. Luo's anger is understandable. But Mr. Luo ignored a common phenomenon: the works of ancient literati were often influenced by folklore and stories. In Du Mu's poem, Qiao Xuan has become Qiao Xuan, and Cao Cao builds the Bronze Bird Tower to capture the two Qiaos. This is entirely a novelist's point of view and is not an epic poem in the strict sense. The previously quoted records from "Dongpo Zhilin" show that Su Shi was greatly influenced by "Shuo Sanfen" and was familiar with the story of the Three Kingdoms. For this reason, the line "Reminiscent of Gong Jin's time when Xiao Qiao was first married, majestic and handsome", Xiao Qiao is not "Xiao Qiao", it is obviously the author of the novel.
At the time of the Battle of Chibi, Zhou Yu was thirty-four years old. He was no longer young and had already been married. How could it be that "Xiao Qiao was married for the first time"? It can be seen that "Shuo Sanfen" is the same as "The Romance of the Three Kingdoms", which describes Zhou Yu as young and handsome. Zhuge Liang in "Feather Fan Lunjin" is much younger. In fact, Zhuge Liang was only twenty-eight years old at the time, six years younger than Zhou Yu.
From the perspective of writing art, "Feather Fan Lunjin" should also refer to Zhuge Liang. Zhuge Liang showed outstanding talent in the decision-making of dividing Wei, Shu and Wu, like a luan and a phoenix soaring high in the sky. His strategy is comparable to that of famous ancient officials such as Yi Yin and Lu Shang, but superior to Xiao He and Cao Shen. When Cao Cao led his army to threaten Soochow, and most of the officials in Soochow advocated surrender, Zhuge Liang persuaded Sun Quan to join forces with Liu to resist Cao Cao, which provided prerequisites for repelling Cao's army in the Battle of Chibi. Zhou Yu is also a "civilian and military strategist, the hero of ten thousand people" [13]. He is not only good at battle formation strategy, but also suave and elegant, and he is also proficient in music. For such an outstanding Confucian general, only by chatting and laughing with Zhuge Liang to defeat the enemy can he reflect his elegant, leisurely, and effortless heroic spirit. Moreover, Zhou Yu must have someone to "talk and laugh" with, and the Soochow soldiers were all afraid of Cao's army, and it was impossible to talk to Zhou Yu who was determined to reject Cao. If "Feather Fan Lun scarf" refers to Zhou Yu, wouldn't it become a person talking to himself, how can he "talk and laugh"? Therefore, "Feather Fan Lun scarf" can only refer to Zhuge Liang. This understanding of the meaning of Su Shi's words will not affect the description of Zhou Yu at all, and it is precisely because of Zhuge Liang that Zhou Yu's artistic image appears fuller and taller. This kind of description added to the scene makes the words and sentences full of three-dimensionality and vitality, achieving the effect of wonderful pen and flower, making people endless aftertaste and imagination.
To sum up, from the perspective of historical records, the formation and spread of the Three Kingdoms story, poetry and artistic creation, etc., "Feather Fan Lunjin" all refers to Zhuge Liang.