The life-long pursuit of traditional Chinese literati is the ability to shoulder the social responsibility while not obsessed with the loss of personal interests. People usually admire this status and call it “The realm”. In the history of Eastern Han dynasty, there is such a respected man. He retired from the public life after contributing to the stability of the country, without obsessed with personal reputation. It is his broad mind that left this country a respectable and intelligent realm. 

Before Han dynasty, the aesthetic orientation of Chinese culture is “simple but powerful” and “harmony between men and the nature”. These are reflected in the Cloud Patterns, portrait Brick and the bronze of Han dynasty, which form the stage space of Yan Ziling. These typical visual features reflect Yan Ziling’s aesthetic taste and his life philosophy. 

The three sets of stones form the framework of the stage. The cold and hard quality of Duan stones, Seven Star Crags and stones of Yao Village all reflect Bao Zhen’s reason and determination. Further, a grand and deep perspective of the interior of Xingyan Academy and Songtai Station respectively mirror Bao’s kindheartedness. All these designs have made it possible to conserve his subjective determination in the realist world. This is also why he achieved such a high level of spiritual life that reaches the “Top heaven”.  

熊春红

中国文人历来追求一种理想的人生坐标，既“心有大千而不着一尘”。人们很崇敬这种人生态度并称之为“境界”。在东汉历史中就真实存在着这么一位“功成，身退”的风骨人士严子陵，他的胸怀为后世留下了一片高尚、旷达的智慧境地。