Answers to Wang Wei's Appreciation of Poems in Ji Xiang Temple

I don't know where Ji Xiang Temple is, so I climbed several miles into the clouds and peaks. Through the ancient forest without human footprints, but now I hear bells on high? The spring water in the mountains hits the dangerous rocks, and the sun in the pine forest is cold. In the evening, come to the empty pool and meditate quietly to suppress the dragon. As the originator of the school of pastoral poetry, Wang was called "Shi Fo". In his poetry creation, he often expounds Buddhism and seclusion, with distinctive features and his own style. This poem "Crossing the Ji Xiang Temple" can be said to be a masterpiece of its later maturity. This poem can integrate Buddhism and Zen with landscape, expressing the author's elegant charm and life sentiment. Guo's Ji Xiang Temple is a short five-character poem. Its name is "Crossing Ji Xiang Temple", and "crossing" means visiting. Ji Xiang Temple is a famous temple in the Tang Dynasty. The name "Ji Xiang" comes from Wei Mo Jing: "At the end of Wei Dynasty, eight Bodhisattvas were sent to the fragrant country to pay tribute to Buddha's words, hoping for Buddha's food, so it was as fragrant as Buddha, and rice was filled with incense." The temple is located at the source of Shen Nan River in Chang 'an County, Shaanxi Province, and its original appearance no longer exists. The first couplet begins with "I don't know", indicating that the poet is visiting for the first time and doesn't know the specific location. "Mile" means a long journey. "Yunfeng" refers to a misty mountain. Xie Lingyun's poem "Rewarding My Brother for Hui Lian" has a saying: "Sleep and thank others, and disappear into Yunfeng." The mountain is getting higher and higher, and there is no trace of the ancient temple, only the mountain towering into the sky. This inaccessible Yunfeng is refreshing, which suits the poet's life interest and stimulates the poet's interest in visiting ancient temples. This story comes out of thin air, highlighting the remoteness and mystery of the ancient temple. The two couplet shops in the middle are about the scenery seen on the way to the ancient temple. The ancient trees in the mountains are towering and inaccessible. Suddenly, the poet heard the long bell in the distance, and he couldn't help asking a question, "But now I hear the bell on high." Although it was a question, he gave a positive answer. This loud bell sets off the remoteness and quietness of the ancient temple. These two strokes vividly show the deep seclusion of the mountain from vision to hearing, and create a lofty and remote artistic conception. Here, "where" and "nobody" are dual, which also corresponds to the opening "I don't know", rendering a distant, mysterious, unpredictable and amazing artistic atmosphere to a person, and then putting pen to paper, using inverted sentences, "a stream sings on the winding rock" is the "spring sound" on the edge of a dangerous stone, and "the sun is reconciled by pines. Here, the words "pharynx" and "cold" are used accurately and skillfully, which is regarded as a model for refining Chinese characters in past dynasties. "Swallow" personifies people, the sound of spring among rocks is low, "cold" is synaesthesia, and the afterglow of sunset is weak. As Sun Diancheng commented: "The next word' swallow' makes you suddenly quiet, while the word' cold' makes you see a quiet scene." In addition, the four images of "spring sound", "dangerous stone", "sun color" and "pine" form a perfect combination, which sets off the silence of spring sound and the coldness of sun color and renders the atmosphere of the ancient temple far from fireworks and inaccessible to laymen. The two sentences are about the ancient temple, or the scenery in the temple is not written. Instead, I wrote about the emptiness of the pool outside the temple and the twists and turns on the shore of the pool. Poets realize Zen, except troubles, and are at ease. "Anzen" is a Buddhist language, which means that Buddhists meditate, observe their noses with their eyes and their hearts with their noses, and enter the realm of meditation and meditation. The Nirvana Sutra written by "Dragon" said: "But my family has dragons, which are violent and dangerous." "Dragon" can be compared with all the worldly distractions and delusions in people's minds, such as greed, anger and delusion mentioned in Buddhist scriptures. Another story about the "dragon" is that King Pantuo surrendered the dragon according to Buddhism. At dusk, the poet stood by the pond in front of the temple and meditated, thinking of the story of descending the dragon. First, distractions are eliminated, and the dust heart is exhausted, such as descending the dragon; First, praise the boundless dharma and yearn for it. Therefore, the conclusion that "thought can conquer passion-dragon" is logical and deepens the theme of the poem. Wang Wei's Crossing Ji Xiang Temple is praised because the poet has created two realms of transcending the secular world and forgetting my own meditation, so that the external scenery and the internal Zen realm complement each other. So as to guide the reader step by step into the undisturbed quiet meditation he longs for, which can be described as "deep and quiet, and there is a way in the poem." The key to this realm lies in its unique artistic achievements: First, the artistic structure of "mysterious colors". Landscape poetry was developed under the background of Buddhism in the Southern Dynasties, and influenced by Zhi Dun, a Buddhist in the Southern Dynasties, "color wandering metaphysics", which has always been the artistic structure mode of landscape poetry. This structure is not a simple question of form and expression, but a question of way of thinking and aesthetic principles. Wang Wei's Crossing Ji Xiang Temple adopts this traditional artistic structure. The poem describes the beautiful natural scenery outside the temple in the mountains and the scene in front of us and at dusk, close to an empty pool. Together, the two are called "color". When combined with thoughts, the passion-dragon meditation and so-called "metaphysics" can be conquered, forming an artistic structure of "color swimming metaphysics". Wang Wei's genius lies in his ability to "stand like a gazelle without trace" when using the artistic structure of "mysterious colors" (Si Kongtu's Twenty-four Poems). This also includes the intermediate link between natural scenery and Wang Wei's own Buddhist metaphysics of "indifferent to everything", so the poet can transform the highest realm of smiling in Zen into the ethereal and refined aesthetic realm in poetry. Second, the way of thinking with insight. Wang Weidu is good at Southern Zen and wrote an inscription for Huineng, the master of Southern Zen. In practice, Huineng advocates seeking truth from the outside and realizing the "self-centered Amitabha" (called "self-centered Amitabha"). This kind of epiphany practice is similar to intuition and inspiration often mentioned in psychology, and has * * * commonality with artistic thinking. Wang Wei's own understanding is extremely high, and his poetry creation seems to write scenery, but it is actually meditation. For example, in this poem "Crossing Ji Xiang Temple", natural images such as ancient trees, mountain paths, bells, spring sounds, dangerous rocks, sun colors and pine trees can all be used to prove the poet's silent mentality. Through the true and ordinary expression of natural scenery, Wang Wei reached the realm of enlightenment and Zen, which is the artistic expression of epiphany. Third, the artistic skills of Tibetan painting in poetry. Wang Wei himself is a master of Dan Qing. When he created the artistic conception of poetry, he naturally used the artistic vision of the artist. In Su Shi's Book of Clouds and Rain in Lantian, there is a classic comment: "There are paintings in poetry; Look at the picture, there are poems in the picture. " The poem Crossing Ji Xiang Temple is no exception. Poets express their ideas through painting, first of all, the combination of far and near, distinct levels. "I'm walking under a few miles of mountain clouds" is a distant view, "Through an ancient forest without human footprints" and "Sunshine Pine Tree" are close-up views, and "At dusk, near an empty pool" is a striking view. The poet combines the far and near scenery in structure, so that readers can draw first and then understand. Secondly, it pays attention to the use of synaesthesia, especially in the connection of "a stream singing on a winding rock and the sun being reconciled by pines". The "swallow" of spring stone begins with sound, and the "coldness" of pine tree begins with color. They set each other off and have both auditory and visual effects. It's confusing to read. All these are attributed to the poet's artistic sense, which perfectly integrates poetry, painting and music, making readers read poetry as if they were watching painting and listening to music, which is wonderful. Fourth, there is a poetic realm of Zen in the poem. Wang Wei is not only the discoverer, appreciator and executor of the beauty of landscape pastoral poetry, but also the pioneer who expresses Zen and mysterious consciousness with landscape pastoral poetry. In his landscape poems, Zen language is not used much or seldom, but contains Zen theory and Zen meaning, creating an ethereal and silent artistic conception. In this poem, the poet faces the "empty pond" in the sunset, and the author observes the "empty pond song" with a silent state of mind. Through meditation, he can get rid of his troubles and gain freedom. The "empty" realm here is the poetic realm that the poet pursues with Zen in his poems. "emptiness" is not emptiness, but the clear, quiet and ethereal psychological experience that poets get when they look at mountains with an ethereal mind. Wang Wei likes the realm of emptiness, which often appears in his poems, such as "The empty mountain seems empty, but I think I hear a voice" (Chai Lu), "Xing Lai goes his own way and conquers the emptiness freely" (My retreat in Zhongnanshan), "The empty mountain stands in the autumn after the rain" (An autumn dusk in the mountain) It can be said that Zen in poetry is the ultimate pursuit of Wang Wei's pastoral poetry creation. In a word, the beauty of the poem "Crossing Ji Xiang Temple" lies in that although there is no sentence about the ancient temple, it runs through the artistic conception of the ancient temple. Through the description of the artistic conception of the ancient temple, the poet made a perfect combination of visiting the ancient temple and realizing Zen, thus becoming one of his famous pastoral poems.