Analysis:
Preface to the Orchid Pavilion
In the ninth year of Yonghe, when I was in Guichou, at the beginning of late spring, I met at the Orchid Pavilion in Shanyin, Kuaiji, to repair the evil spirits. All the talented people have arrived, and the young and old have gathered together. Here there are high mountains, lush forests and tall bamboos; there are also clear and turbulent streams that reflect the surroundings, making them look like flowing water. Sitting next to each other, although there is no grandeur of silk and bamboo orchestral music, one drink and one chant are enough to express the quiet feelings.
It is a sunny day, the air is clear, and the wind is gentle and gentle. Looking up at the vastness of the universe and looking down at the prosperity of categories, wandering around and wandering around is enough to provide great visual and auditory entertainment. I believe it is a joy.
The lady's relationship with her lasted a lifetime, or she would hold her in her arms and talk to each other in the same room; Although there are many choices and choices, tranquility and restlessness are different. When you are happy with what you encounter, you are temporarily satisfied with yourself, and you are happy and self-sufficient. You don't know that old age is coming, and you are tired of what you are doing, and your emotions change with things, so you can sigh with emotion. Looking towards it, admiring and admiring it, I feel that the traces of the past are still there and I can't help but feel happy about them. The situation will be shortened and changed, and it will eventually end. The ancients said: Life and death are equally important. Isn’t it painful?
Every time I look at the reasons for people's interest in the past, if they are combined into one, I will always feel sad and mournful, which cannot be described in my heart. I know that death and rebirth are just illusions, and mourning for Qi Peng is an illusion. The future looks upon the present, just as the present looks upon the past. Sad husband! Therefore, I listed people from that time and recorded what they said. Although the world is different and things are different, I am interested in keeping them consistent. Those who view it later will also feel the elegance.
Note: Lanting Preface is also known as "Lanting Banquet Collection Preface", "Lanting Collection Preface", "Linhe Preface", "Ye Preface", "Ye Tie". Line calligraphy post. On March 3, the ninth year of Yonghe (AD 353) of Emperor Mu of the Eastern Jin Dynasty, Wang Xizhi, Xie An, Sun Chuo and other 41 people went to Lanting in Shanyin (today's Shaoxing, Zhejiang) to "repair evil spirits". At the meeting, everyone wrote poems. , a manuscript preface written by Wang Xizhi to their poems. The preface describes the beauty of the mountains and rivers around Lanting and the joy of the party, expressing the author's feeling that good times do not last long and life and death are impermanent. The original copy of the Dharma calligraphy has twenty-eight lines and three hundred and twenty-four words. It is perfect in composition, structure and writing style. It was his proud work when he was thirty-three years old. Later generations commented that "Youjun's font is a change from the ancient method. Its majestic and elegant style comes from nature, so it is regarded as a follower in ancient and modern times." Therefore, calligraphers of all ages have praised "Lanting" as "the best in running script". In the Tang Dynasty, it was acquired by Emperor Taizong and he was regarded as the representative of Wang Shu. He once ordered Zhao Mo and others to copy several copies and distribute them to close relatives and ministers. Unfortunately, it was used as a burial object by Emperor Taizong of the Tang Dynasty and buried in Zhaoling. From then on, the original work has never been seen in the world. Among the extant Tang Dynasty ink imitations, the "Shenlong Edition" is the best. During the reign of Emperor Taizong of the Tang Dynasty, Feng Chengsu had a gold seal, so it is called "Lanting Shenlong Edition". This edition is a fine copy, with brushwork, ink style, style, and charm all reflected, and is recognized as such. It is considered to be the best copy; among the stone carvings, the "Dingwu version" is preferred. After Guo Moruo's research, he believed that the second half of the "Lanting Preface" that was passed down was gratuitous and had no similarity with Wang Xizhi's thoughts. The style of the calligraphy was also not similar to the epitaphs of the Wang family in the Eastern Jin Dynasty that had been unearthed in recent years, and he was suspected to have been forged by the Sui and Tang Dynasties. But there are also those who disagree with it. "Lanting Preface" expresses the highest state of Wang Xizhi's calligraphy art. The author's magnanimity, phoenix spirit, broadmindedness, and emotion are fully expressed in this work. The ancients said that Wang Xizhi's writing style was like "the breeze comes out of the sleeves and the bright moon enters the arms", which is a wonderful metaphor.