Reed Flute Cave is located in the northwest suburb of Guilin, 5 km from Guilin downtown, and it’s a famous for its mystic cave and idyllic landscape. Reed Flute Cave winds its way for 500 meters, where a number of exquisitely carved stalagmites, stalactites, stone columns, stone curtains and cave flowers are scattered, and they form many fantastic attractions, such as Rosy Dawn over Lion Peak, Crystal Palace, Flower Fruit Hill and Entwining Dragon over Pagoda. As a matter of fact, Reed Flute Cave has more attractions than you can attend to, which is just like fairyland. There are 77 pieces of frescos well-preserved in the cave, and the visitors have visited it since the Tang dynasty, therefore, it’s awarded a natural art treasure. A number of supporting service facilities have been successively built since its opening, including restaurants, tea houses, watery stages, lakes, winding bridges and even cruise ships, all of which enable it to become a must-visit scenic spot in Guilin. It seems as if you were in a wonderland as you walk into the cave and stroll along it, with the colorful lights shining brightly upon the stalagmites and stalactites. Reed Flute Cave is not only beautiful in appearance, but the scenic spots in it are an excellent match.
Li River Scenic Area boasts the world’s largest karst landscape, along which the strangely-shapes peaks and pinnacles erect magnificently, and it’s the essence of Guilin scenery. The Li River turns around hills, which has more attractions than you can take in, and the scenic spots in Caoping, Yangdi and Xingping are especially fantastic, represented by Watching Husband Rock, Crown Cave, Old Man Pulling Millstone, Single Pen Peak, Nine Horse Fresco Hill and Beauty Looking into the Mirror. The 80-km long waterway ranging from Guilin to Yangshuo is just like a green satin, winding its way amidst green peaks, along which it makes a unique traditional Chinese painting with its clear water, clusters of pinnacles, cascading waterfalls and deep ponds, and it’s known to the world as the ten-mile gallery. A number of ways are available for you to explore the beauty of Li River, including rafting, hiking and riding a bicycle, and you can also visit Xingping Ancient Town and Langshi Village along the way. The beauty of Li River varies as the weather changes. The peaks set off their inverted reflections in the water on a sunny day; the mist adds much luster to a Li River Cruise on a cloudy day; and even on a rainy day, the waves stretch far into the distance along Li River and the peaks are partly hidden and partly visible among the rain, which is just like a watercolor painting.
Wei Jin Northern and Southern dynasties start from Jian’an period of Eastern Han dynasty and end with the Sui dynasty, lasting for over 400 years in history of China, during which the literature has its own unique characteristics in history of the Chinese literature. Reflecting the social and political situations in the forms of poems and novels, the literature in the Wei Jin Northern and Southern dynasties also laid the groundwork for literature development in the following dynasties from perspective of ideology and culture, which had a close relation with the introduction of Buddhism as well. The ancient Chinese novel has two systems, namely, classical Chinese novel system and vernacular Chinese novel system. Only the classical Chinese novels were available in the Wei Jin Northern and Southern dynasties, known as note-book novels to the later generation, which mainly recorded strange and intriguing stories, and both story narration and depiction of characters had taken form then. As far as the subjective intention of the authors was concerned, the novels then excelled in telling true stories but not at artistic fabrication owing to their immature forms. The mature form of the classical Chinese novel and vernacular novel are the Tang legend (from the Tang dynasty) and Hua Ben (form the Song and the Yuan dynasties) respectively. Marked by prevalence of ancient-style poems (with five or seven characters to a line), the literature in the Wei Jin Northern and Southern dynasties was very prosperous, during which the penta-syllabic ancient-style poetry reached its peak time. Great changes took place in literature during the Wei Jin Northern and Southern dynasties, and literary was a more personal creation, during which the imperial court had a core effect on literature, resulting in a considerable palace literary group. A number of excellent poets emerged from the palace literary group, including Cao Zhi, Ruan Ji and Yu Xin, however, the most outstanding poem was Tao Yuanming, who belonged to no particular group. The literature of the Wei Jin Northern and Southern dynasties was actually as a result of inheritance and development of that of the Han dynasty, especially in penta-syllabic ancient-style poetry and Fu (Han-style poetry), and the scholars (mostly poets) put the penta-syllabic ancient-style poetry into its peak through learning from Han Yuefu (musical poems). A number of professional books on literary theories and literary criticism came out during the Wei Jin Northern and Southern dynasties, including Ancient Records and Papers by Cao Pi, Wen Fu by Lu Ji, Literary Heart and the Carving of Dragons by Liu Xie, Quality of Poems by Zhong Rong, Anthology by Xiao Tong and New Versification upon the Jade Station by Xu Ling.
Concerning the Unity of Truth, Kindness and Beauty Wang Chong puts forward 2 basic requirements on works of art in his works – Lun Heng, namely, realness and usefulness, and he says that the works of art should reflect the realities of life and the truth. He emphasizes that only those that are real could be beautiful. As for the relation between content and form, Wang Chong gives first rank to content, and he also stands firmly against exaggeration (owing to his little understanding between the authenticity of art and history of China), who also advocates that the works of art should meet the requirement of kindness. As Wang Chong emphasizes the usefulness of art, he means that it should play a part in advising to be good and penalizing the vicious in our society as well as singing the praises of the rulers. As for the functions of art in cognition, the art should play a part in enabling the common people to know things better. Wang Chong’s Cultural Thought of Development Wang Chong intensively criticizes the trend (from the Eastern Han dynasty) of returning to the ancient literary style and stressing the past rather than the present, and the considers that the culture has a close relation with our social life; the more advanced our social society is, the more prosperous our culture is, and he requires that the art be useful in our society. Although Wang Chong is against the trend mentioned, he has a comprehensive cognition on relationship between the ancient and the modern, and the doesn't deny the ancient people and the ancient books completely, instead, he claims that a real man should be erudite and informed, know the past well and know the present clearly. In addition, Wang Chong proposes that the articles should be varied in styles and forms and new and ingenious in contents, which should not become slavish imitation of the ancient people.