The difference between the description of autumn scenery in the Preface to Prince Teng's Pavilion and the traditional description of autumn scenery is that it goes against the traditional "sad autumn" customary writing style and injects a transcendent and heroic mood into the autumn scenery.
The magnificent, distant, majestic and cheerful autumn scenery of the south of the Yangtze River painted in "Preface to Prince Teng's Pavilion" has been passed down through the ages, and the mountains and rivers have also been graced with it. If there were only exquisite descriptions of the beautiful scenery of the country, it would be far from making "Preface to Prince Teng's Pavilion" a classic. A true literary classic must have a spirit and emotion that can make the world cry.
"Preface to Prince Teng's Pavilion" was written when the Tang Dynasty was heading towards glory. At this time, the intellectuals were extremely eager to make contributions. However, the frustrations and frustrations that often occurred in reality gave the literati the idea of ??not appreciating talents and serving the country. A sense of nowhere. This article expresses this common emotion among scholars, but it does not exclusively express sadness, anger and disappointment.
In the article, there is a desire to cherish the appreciation of close friends and the ambition of "getting stronger when you are old" and "being strong when you are poor". This vigorous and high-spirited connotation surpasses most of the Six Dynasties parallel prose that only focuses on rhetorical sentences without thoughts and emotions, and also gives "Preface to Prince Teng's Pavilion" a solid foundation to become a classic.
Extended information:
Original text (excerpt):
"Preface to Prince Teng's Pavilion" Tang Dynasty: Wang Bo
Pillowed with embroidered door, looking down at the sculpture獍, the mountains are wide and wide, and the rivers and lakes are so vast that they are horrified. Luyan rushes to the ground, the bells ring and the cauldrons are home; the boat is in the middle of the river, and the boat is like a green bird and a yellow dragon. The clouds are gone and the rain is clear, and the color is bright. The setting clouds and the solitary owl fly together, and the autumn water and the long sky are the same color. The fishing boat sings late, and the sound is heard on the shore of Pengli. The wild geese are frightened by the cold, and the sound is broken by the Hengyang Pu.
Interpretation:
Push open the exquisitely carved pavilion door and look down at the colorfully decorated roof ridge. You can have a panoramic view of the peaks and plains, and the winding rivers are surprising. There are alleys and houses all over the place, and there are many wealthy people who are busy with their bells and pans. The ferry was crowded with barges, all of them large ships carved with patterns of blue birds and yellow dragons. Just after the rain, the sky clears up, the rainbow disappears and the clouds disappear, and the sun shines brightly; at sunset, the colors of the sunset in the sky keep changing, and a lonely wild duck flies slowly by.
Autumn meets the vast sky in twilight, showing the same color. In the evening, fishermen sing on their fishing boats, and the singing echoes along the shores of Pengli Lake; in late autumn, the wild geese feel the chill and scream, and their wails continue all the way to the waterfront in Hengyang.
Creative background:
During the Emperor Gaozong period, Yan Mou, the governor of Hongzhou, rebuilt this pavilion and celebrated in the Tengwang Pavilion on Chongjiu in 675 AD (the second year of the Yuan Dynasty). A banquet for officials and guests. The author passed by here when he went to Cochin to visit his father. He also participated in the event, composed an impromptu poem, and wrote this preface.
Appreciation:
This preface is a panoramic painting with Tengwang Pavilion as the center. The author gives full play to his artistic imagination, "Three Rivers", "Five Lakes", "Manjing", "Ouyue", "Chang'an", "Wuhui", "Nanming" and "Beichen", "touching the whole world in an instant". The author's imagination transcends the limitations of time and space, giving this preface a deep three-dimensional sense.
The "old county" is connected with the "new mansion", and celebrities from the past generation are connected with the distinguished guests present. Sometimes mythological legends are also appropriately used to integrate reality with the ethereal heaven and fantasy. , forming a multi-dimensional art space.
Moreover, among Fan Shan’s modeling techniques, the techniques are varied. Some are meticulously drawn and repeatedly outlined, such as the architecture of Tengwang Pavilion; some are dyed with ink and embellished with letters, such as the natural landscape outside the pavilion. Sometimes there are layers of colors and gold, which are rich and dazzling, such as "layers of towering green mountains" and "flying pavilions with flowing elixirs". Sometimes natural colors, contrasting shades. Such as the depiction of autumn scenery. The list goes on and on.
Baidu Encyclopedia - Preface to Prince Teng's Pavilion (parallel prose created by Wang Bo)