In the history of ancient Chinese poetic theory, Wang Changling of the Tang Dynasty was the first to introduce the concept of "jing" into poetic theory, advocated "vertical and horizontal" thinking, elaborated on the theory of "jing thinking", and proposed the aesthetic category of "artistic conception". This is a major turning point in the artistic thinking of Chinese poetry. From a historical perspective, the development process of artistic thinking in Chinese poetry can be summarized as two major changes: one is from "image" to "image", which is the change in thinking from philosophy to aesthetics; the second is from "image" to "artistic conception" ”, the transformation from “single-line” thinking to “unbridled” and “vertical” thinking in time and space, this is the beginning of the aesthetic theory of spiritual freedom in our country. The first transformation was marked by Liu Xie's theory of "spiritual thinking" in "Wen Xin Diao Long", which emphasized "Zong Jing" and "Conquest of Saints". It was controlled by the Confucian ideological system and constituted the "emotion-thing-ci". Single-line" thinking characteristics. The second transformation, marked by the "Thinking of the Realm" in Wang Changling's "Poetry", was in the Tang Dynasty when Confucianism, Taoism and Buddhism were integrated and Buddhist thought was prevalent. It not only absorbed Taoism's "empty tranquility" and "remoteness" "Wandering", more importantly, permeates the concepts of "emptiness" and "enlightenment" of Buddhist Zen and the concept of "images arise from the heart, and the environment changes with the heart", forming the characteristics of ethereal and broad-minded thinking.
It is not easy for ancient Chinese literary commentators to achieve personal emotional freedom and spiritual transcendence in aesthetic thinking. Because in a context dominated by Confucian culture, most of them grew up through the upbringing of Confucian classics and dogmas and the influence of Confucian thoughts. Transcendence means "deviating from the classics". Liu Xie was like this, and Wang Changling was no exception. The difference is that although Liu Xie completed the fundamental transformation from philosophical imagery to aesthetic "imagery" and devoted himself to the study of Confucian classics and Buddhist books, the writing of "Wen Xin Diao Long" coincided with his careful pursuit of "cultivating virtue and advising people" Frenzy times. Liu Xie's criticism of the one-sided pursuit of form in the creative world at that time was indeed direct and profound, but he emphasized "emotion" and "emotion" without departing from "ambition", praised "literary" but "literary" without betraying "reason", and emphasized "diction". "Ci" is not separated from "Tao", and he always strictly adheres to the creed of "Zong Jing" and "Conquest of Saints". The Confucian spirit has always constrained his aesthetic perspective and thinking path. This was not the case with Wang Changling. He had friendships with many poets such as Meng Haoran, Li Bai, Cen Shen, Wang Zhihuan, Wang Wei, Gao Shi, etc. He had traveled to the northwest frontier and traveled to various scenic spots. Military career, political ups and downs, life tribulations, etc., gave him a deeper experience of life and a broader vision. He integrated his understanding of life into his artistic practice and aesthetic creation, which enabled him to have a more unique experience and deeper feelings about poetry outside of situations. In particular, he understood the Buddhist scriptures, had close contacts with monks and temples, and participated in the creation of Zen poems. The Buddhist "realm" thinking had a subtle influence on him, which greatly expanded his emotional space and spiritual freedom, thus achieving his success. The "Zongheng" style of "Jingsi" theory. As Chen Liangyun said: "Wang Changling and others' discussion of poetry in terms of realm is actually transforming the Buddhist realm into the realm of poets." ① Zhang Bowei believes that because of the Buddhist perspective, Wang Changling's "Poetry" put forward the "Three Realms Theory" ". ②Wang Zhenfu also said: "It is not accidental that Wang Changling's "Poetry" uses Buddhist cultivation to construct his theory that "poetry has three realms", especially "artistic realm"." ③Wang Changling combines "image" thinking and "jing" thinking, and advocates "Image" is the core, and "vertical and horizontal changes" form three aspects: "emotion" vertically and horizontally, "meaning" vertically and horizontally, and "image" vertically and horizontally, which are called "contemplation thoughts". The "objective environment", "situation" and "artistic conception" formed by this embody the unique effect of "environmental thoughts" and show the historical turning point of poetic artistic thinking. In the history of aesthetic theory in my country, Wang Changling's theory of "Jingsi" is of milestone significance.
Regarding Wang Changling’s contribution to Chinese poetics, previous scholars have mainly focused on: 1. The formation of Wang Changling’s thoughts; 2. The proposal and value of the term “artistic conception” theory; 3. The development of the “three realms theory” connotation and their interrelationships, etc. In fact, the purpose of paying attention to an individual is to discover his historical value. The emergence of an idea or the change of a way of thinking is often more important than the formation of a concept. This article believes that Wang Changling's theory of "artistic conception" is certainly his major contribution, but his elaboration on the "vertical and horizontal" and "contemporary thinking" of poetic artistic thinking formed the Chinese poetry that is characterized by spiritual freedom and emphasizes the emotional freedom of the subject. The basic thinking mode of expression. This is a spiritual horizontal transcendence of Chinese aesthetic thinking with a historic span, and its value is far greater than the value of the concept of "artistic conception" itself.
1. Wang Changling’s aesthetic theory of “insolence” and “situation”
Comparatively speaking, Liu Xie’s most “emotional” theory is “mountain climbing” "The mountains are full of love, and the sea is full of meaning" ("Shensi"), but his romantic "love" carries a heavy connotation of "ambition". In terms of "expressing one's will" and "emotion", Liu Xie emphasized the social purpose of one's will, while Wang Changling emphasized the freedom of individual emotion, with the latter leaning more towards "main emotion". "Shuowen" says: "Zhi is the meaning"; "Qing is the Yin Qi of people with desires." It can be seen that there is an essential difference between "Zhi" and "Qing". Wang Changling criticized Liu Gongqian's poems in "Poetry" for "only discussing one thing from beginning to end, which is why he is not as good as the ancients". It emphasizes that "poetry is based on ambition, the heart is the ambition, the speech is poetry, the emotion is moved in the heart and the words are formed, and then the book is on the paper." There is a basic idea hidden here, that is, the shape is in the words, and the book is in the paper. Emotions cannot be controlled by "ambition", but should arise from "emotions". Indulging in emotions is essentially a promotion of emotional liberation and spiritual freedom.
"I feel how far away things are, and I remember the ancient people generously." ("Poetry") This is Wang Changling's further explanation of "main emotion".
The "Seventeen Movements" summarized by him are incorporated into the rules of poetry, either flying downhill, or coming slowly; Or "a sentence with thoughts", or "a sentence with thoughts". Each kind of "potential" is the release of energy accumulated by "emotion", and is responded to by the "nature" of "emotion". It can be said to be a "fake thing compared to an image", because "potential" leads to emotion and shows "nature". Therefore, he said, "Since ancient times, articles originate from nothing, are inspired by nature, and are written with gratitude. They are all without embellishment. They speak as they should and respond to things." "Entertainment, sorrow, and resentment all focus on the mind and body, and then reflect " ("Poetry") Wang Changling quoted poems about 150 times, most of which were "feeling things" to get feelings, "predestined feelings" to get "potential", "turning feelings" due to "potentials", and "letting go". "The ultimate typical work.
Wang Changling advocates "letting go" and "making the environment live", which fully affirms the initiative and freedom of the subject's emotions. The so-called "situation" is an artistic imagination space rich in three-dimensionality and aesthetic meaning presented by "emotion" in the extension of time and space. Without the wandering infiltration of "emotion", all "things" are worthless. Therefore, he advocated that climbing mountains and rivers should be "leisurely" and "put emotions into interest"; the process of conception should be "uninhibited" and "anything goes"; when the interest comes, "shut up the affairs and concentrate on emotion"; the narrative process should be " The dense forest contains lingering feelings"; the soul has the fairy-like tendency of "letting go out to the sky". Most of the examples he quoted in "Poetry" are used to highlight the characteristics of "main emotion". For example, he quoted from his "Send to Huanzhou": "I know you from afar, but I don't know the depth of the clouds and the sea." It can be said that you indulge in the sea without knowing the depth; "Farewell": "The spring river is sad to see you off, and the hucao is full of atmosphere." It is actually a send-off. "The master of Fufeng replied": "The murderous spirit cannot flow, the wind is sad and the sun is cold. The floating clouds rise in all directions, and the wanderers are unhappy." It should be the sadness that makes people's blood solidify; "Gift to Li Shiyu" ": "Moving guests are seeing each other off again, the wind is sad and the cicadas are more calling." I feel attachment and affection move ghosts and gods; Wang Wei's poem "Crying in the Yin Dynasty": "In the cold suburbs, I can hear the cry in the depression. The sad clouds are boundless, and the birds can't sing. "The cry is cold and the birds are stagnant; Yan Yannian's poem: "The wind is so sad that it hurts thousands of miles away." The sadness is wandering endlessly; the situation is like "the flow of the lovesickness river", and the situation is unstoppable. Poem: "Under the mulberry leaves in the village, the roosters crow in the fields of Nagisa. Every time the situation of things declines, my way becomes clearer." I feel deeply that the ups and downs of the feelings of things are drifting in the wind. There are countless examples like this, all of which are works of "unbridled" and "vertical".
"Letting go" means the transformation from "xiang" thinking to "situation" thinking, which means detachment from all utilitarianism, like a wild horse without a rein, letting it run wild. "To be unrestrained" requires both "beyond the outside world" and "get within the circle". It must have the intensity of Qu Yuan's "love of country" and the openness of Zhuangzi's "free" soul. Zong Baihua said: "The creation of Chinese artistic conception requires both Qu Yuan's lingering pathos and Zhuangzi's transcendent emptiness. Only through lingering pathos can one be deeply moved and penetrate into the core of all things. The so-called 'getting in the ring'; transcendent emptiness, Talent is like a flower in the mirror, the moon in the water, or an antelope hanging its horns. There is no trace to be found. The so-called 'beyond the image. It is better to use force, and it is better to use force than to use spirit." Because "spirit" is the freest and most authentic, the most tense and the most restrained.
With "God" as the line, it can be far or near, traveling through the past and the present, retracting and releasing freely, rising and falling at will. Therefore, Wang Changling further proposed: "Detention is strictly prohibited, and there is no way to declare the Chinese situation." This is obviously a powerful challenge for ropes such as "when it comes to emotions, but when it comes to etiquette". Based on Zhong Rong's "Poetry on Love" and Liu Xie's "Wandering between Gods and Things", this clear theoretical advocacy of emotional liberation and spiritual freedom has proposed a new lyrical standard for the emotional aesthetic realm of poetry, which is very popular in my country. It is rare in the history of ancient poetry.
The understanding of "main emotion" can also be compared through Wang Changling's and his subsequent annotations on "Fu", "Bi" and "Xing":
Confucian scholars of the Han Dynasty Zheng Xuan: "The words of Fu directly lay out the good and evil of today's politics and religion; Bi, seeing the shortcomings of the present, dare not criticize, and use analogies to describe them; Xing, seeing the beauty of the present, are disgusted with flattery, and use good things to describe them. "("Zhou Li Annotation")
Liu Xie's "Wen Xin Diao Long·Bixing": "The comparison means attachment; The person who writes the poem is to write the poems and write down the poems. "
Zhong Rong's "Preface to Poems": "The poems have been exhausted but there is more than enough meaning. "It's a story written directly, a fable written about something, and a poem written in poetry."
Wang Changling's "Poetry": "The order of heaven and earth is called wind. The movement of the wind is like the movement of spring grass." When the autumn order is carried out, the cold wind kills, and the emperor and his ministers should not take the wind lightly. "Ju Jiu" and the like. "
Zhu Xi's "Collected Poems": "The one who expresses the story and speaks directly. The one who compares it with other things is the first. Talking about other things can lead to the words that are chanted. "
Hu Yin, who was roughly the same generation as Zhu Xi, said: "Those who study poetry must distinguish its meanings, such as Fu, Bi, and Xing. There are many ancient and modern commentators. Henan Li Zhongmeng said the best. He said: To describe things is to describe things with emotions, and emotions are the expression of things; to search for things is to express feelings, and to express emotions is to attach things to things; to touch things is to arouse emotions, which is called excitement, and things are emotional. ” (Volume 8 of "Fei Ran Ji", Volume 3 of Wang Yinglin's "Kun Xue Ji Wen", and Volume 1 of Wang Shizhen's "Yi Yuan Si Yan" have all been cited.)
In the above annotation, Zheng Xuan's annotation is A thorough theory of "education"; Liu Xie focused on literary talent and "writing ambitions with objects", and had a strong flavor of Confucian classics; Zhong Rong "expressed ambitions based on objects" and tended to "predestined feelings"; Wang Changling put aside "verbal ambitions" and talked about " "The name of heaven and earth is called wind", highlighting the "unbridled" and "vertical", and also proposed that "the emperor and his ministers should not take the wind lightly"; Zhu Xi further turned to talking about "regulation of Qi" in terms of things and things; Hu Yinze more clearly affirmed the use of "the wind". "Emotion" is the core aesthetic concept.
Their annotations show that since the beginning of Wang Changling in poetry theory, the flavor of "Zhi" theory has gradually weakened and disappeared, while the trend of "Emotion" theory has gradually risen and become the main category of poetry theory, becoming "Fu", "Fu" and "Emotion" theory. The core tasks of "Comparing" and "Xing". It can be seen that the acquisition of emotional freedom requires time and gradual breakthroughs by countless theorists. Wang Changling's "Jingsi" theory is a new beginning. Huang Baozhen believes: "Poetics is still in the development stage of being dependent on Confucian classics. It was not until the publication of Zhong Rong's "Shipin" that poetics became independent from Confucian classics." ⑤ Wang Changling's "unbridled passion" theory and "Zongheng" theory are truly Theoretically, it provides an independent aesthetic interpretation of "emotion" and emphasizes the free expression of the subject's emotions, marking the formal emergence of the "situation" theory as an aesthetic theory of art and becoming one of the basic features of the "artistic conception" theory. As Qi Zhixiang said: "Although discussions related to the theory of 'scene' have been around for a long time, 'emotion' and 'scenery' were put forward as a pair of concepts... starting from the Tang Dynasty. Judging from the existing data, it was first proposed The author of this theory is Wang Changling's "Poetry".
Emotional freedom is the prerequisite for "emotion" to be "vertical and horizontal", and the "vertical and horizontal" of emotion is a necessary condition for creating "artistic conception". . Liu Xie elaborated on the relationship between "emotional objects", "emotional writings" and "emotional words" in "Wen Xin Diao Long". Wang Changling proposed the concept of "scenery language" on the basis of "letting go". Wang Guowei The phrase "all scenery words are love words" in "Humanjiancihua" should come from this. Based on the freedom of emotion, Wang Changling's "situation" theory is a huge breakthrough in artistic thinking on the "emotional object" theory in "The Literary Mind and the Carving of Dragons".
2. Wang Changling’s aesthetic theory of “contemplation of environment” and “object realm”
Taking “landscape poetry” as the starting point, Wang Changling proposed and elaborated on the theory of “contemplation of environment” and “contemplation of environment”. "Image" theory.
"Xiang", as a fusion of "emotion" and "thing", is no longer a concrete and real "thing". The connotation of Liu Xie's "imagery" has been completely inherited in Wang Changling's thinking system. For example, in "Poetry", there are "I have been thinking hard for a long time, but I have not understood the image", "The weather of the four seasons", "Searching for images", "Fake things are not as good as real images, fake things are better than images", "Don't be nihilistic and focus on reality." Phrases such as "an article is a scene, observation is the basis, and you can see its image by looking at it". It can be seen that Wang Changling not only emphasized "image" and "image", but also elaborated on its relationship with "things", "scenery" and "image". The essential difference between "form". At the same time, he combined "image" and "image" and put forward the concept of "image", which is the so-called "understanding the image, so the shape is similar" ("Poetry"). It can be seen that the "scenery" and "objects" mentioned by Wang Changling are no longer ordinary "tangibles", but "images" and "images", which are abstract visual aesthetic objects and are developed with "imagery" as the core. The three-dimensional realm beyond time and space is also a rational material aesthetic category that goes beyond inertia. It is impacted by emotional fluctuations and impact and generates inspiration. It is an aesthetic imagination space that contains independent personality and thoughts and has the characteristics of illusion. Lu Shiyong said that "Chang Ling's imagery is profound" ("A General Theory of Poetry Mirror"), which makes sense. Therefore, it can be considered that "image" is another aesthetic theoretical sublimation of "image".
< p> Wang Changling's theory of "image" does not stop at inheritance, but advocates taking "image" as the starting point to expand "meaning vertically and horizontally", "arbitrarily vertically and horizontally", and "vertical and horizontal changes" to seek a broad imagination space. "Vertical and horizontal" thinking starts from "one thing" and "one image", unfolds "radiating" multi-dimensional associations and imaginations, and constructs a multi-dimensional, three-dimensional and vast world made up of "things" and "images" spread out in time and space. The infinite aesthetic space is what he calls "object realm" or "image". He said:As for an object, it is all light and color. At this time, the scenery mentioned must be used. It's like the four seasons. The mood of spring, summer, autumn and winter changes at any time. When you use it, you must calm your mind and think about it. It must be like the scenery. The words must be contained in the sky and the sea. At dawn, the distant and near scenery and the secluded places must be composed at will. ("Poetry")
Wang Changling believes that the process of conceiving "object realm" is "thinking about the environment". From "as for an object" to "scenery" is a process of "thinking": "The scenery must be like the four seasons. """, indicating that "scenery" as a "shape" must have a sense of time and space, people can move in it, and emotions can traverse it. This is the process of "scenery"; at the same time, according to the "spring, summer, autumn and winter complexion", To "do business at any time" with "similarity", one must calm the mind, see things, and enter the heart, so that "the mind can understand the things". This is the process of "getting the meaning". Next is the process of forming the poem from the "object scene": " To describe its shape, it must be like its scenery." The language must "contain everything within the sky and the sea within a square inch." It has the capacity to encompass the universe in one mind. For "the distant and near scenery and the secluded and wonderful places to be seen", all must be "arbitrarily started." ", "Compose when you are inspired." On this basis, Wang Changling proposed that "poems have three thoughts":
"It is called thinking, the second is thinking, and the third is thinking. Thoughts are not enough. When I am tired and my mind is exhausted, my mind suddenly reflects on the situation. Reflection 2. Reflect on the ancient system and think about it. 3. , the mind enters the environment, the spirit meets the things, and is obtained by the heart. "
"Thoughts" originate from the subject, which is the initiative to exert the subject's thinking wisdom, and realize "heart and mind" through "exquisite thinking". "Enlightenment"; "Reflection" is based on history, which is to "search" for the aesthetic experience of the predecessors to obtain inspiration and understanding; "Taking Thoughts" to comprehend the object is to "search" for the heart and state from the aesthetic object , the intersection between God and things, arouses the autonomy of the soul and obtains subjective inspiration. Through "Three Thinkings", the union of "mind" and "objects" is realized, and "God" and "things" travel, and people are in the "environment". "Situation" is in the heart. This "meaning vertical and horizontal" based on "image" thinking is constructed into a three-dimensional thinking space that appears in the external form of "physical environment", that is, "image environment", which is "contemplation thinking" "Aesthetic results. Here, there are not only things in the "jing" and feelings in the "jing", but also "images outside the image", "things outside the image" and "a realm outside the image" are formed, which is the so-called "seeing all things, feeling as if feeling them" .
Regarding the concept of "things", Wang Changling is very measured when using it, such as "things", "scenery", "all things", "should be things", "attachments", "objects", "things", "things", "things", "things", "things", "things", "things" There is a difference between "object sound" and "object environment". Therefore, Wang Changling's explanation of "object realm" is:
Object realm one. If you want to write a landscape poem, then the scenery of Zhang Quan, rocks, clouds and peaks is so beautiful that it is so beautiful that you will find it in your heart. Being in the scene, seeing the scene in the heart, shining in the palm, and then using thinking to understand the scene, so the shape is similar. ("Poetry")
"Object realm" consists of three levels: "entry" of body and mind, "integration" of body and mind, and "accommodation" of body and mind. It is an open and free spiritual and emotional world. "Being in the environment, seeing the environment in the heart" is consistent with "the heart is in the environment, and the spirit is in the things". In fact, it is the state of "all things are one with me" as Zhuangzi said. "Yingran holds it in the palm, and then uses thinking to understand the scene, so the shape is similar", which shows that the "object scene" is condensed in the "contemplation of the scene", and is a kind of feeling that is felt by "emotion" and transformed by "emotion" , because of the spiritual realm that "meaning" is integrated into, the "object" and "emotion" are just "similar" in form.
Regarding "object realm", Wang Changling also has many descriptions in "Poetry". For example, "It's like climbing to the top of a high mountain and seeing all the phenomena, as if they are in the palm of your hand. You can see the phenomena in your heart and use them immediately." The "all phenomena" here are actually what he calls "object realms", which are actually "environments". elephant". Compared with Liu Xie's "love overflowing in the mountains" and "meaning overflowing in the sea", this kind of thinking that controls time and space and can freely expand and expand highlights the independence of aesthetic emotions "seeing all the mountains and small mountains at a glance"; , all are arranged according to meaning, so that there is order, and it is wonderful to explain it with both meaning and meaning. "It shows that "object realm" has the "scenery" of space and the "weather" of time, which is the integration of "object" and "meaning". The "wonderful realm" that is a whole and has "order" opens up a three-dimensional thinking space that suddenly opens up; "Husband's poems, life and death, are used to represent the four seasons, and also describe people and events, and all kinds of language are the same." , which shows that "human realm" and "thing realm" also belong to the category of "object realm", sublimating the philosophical thoughts of "the unity of things and myself" and "the unity of nature and man" into a unique aesthetic realm. Jiaoran integrated Wang Changling's "three realms" into "artistic realm", and his framework is based on "object realm".
The "xiangwai language style" and "xiangwai comparison style" proposed by Wang Changling are specific elaborations of "object realm", which essentially refer to "the realm outside the image" and "the realm beyond the border" . It can be seen that "Thinking of the Realm" is another breakthrough of Wang Changling's "imagery" thinking in "The Literary Mind and the Carving of Dragons".
3. Wang Changling's aesthetic theory of "vertical and horizontal" and "artistic conception"
Based on the premise of "letting go", Wang Changling further advocates "arbitrary vertical and horizontal". He said in "Poetry Ge": "Ge means meaning. A high meaning means a high grid, a low meaning means a lower grid." He also said, "The meaning is the pattern, and the sound is the rhythm. If the meaning is high, the grid is high, and if the sound is distinguished, the pattern is high." The law is clear and the rhythm is complete, and then there is harmony. If the intention is higher than that of the ancients, the heavenly realm will be visible." He advocated that the "high intention" should be "above the ancients" and become the "celestial realm". The infinite realm beyond history and reality, beyond time and space, refers to what he calls "artistic conception". Regarding Wang Changling's "three realms" relationship, there is currently controversy in academic circles, which is mainly manifested in two types: the "parallel" view and the "level" view. This article believes that Wang Changling's "artistic conception", "material realm" and "situation" are both parallel and hierarchical.
As a parallel relationship, "artistic conception" in "Shige" is equivalent to the meaning of "reasonable realm", which also includes "zhijing", but mainly explains the relationship between "reason" and "scenery" . The aforementioned explanation of "material realm" is an example, and his explanation of "situation" and "artistic conception" is further proved:
"Situation 2. Entertainment, sorrow, and resentment are all about the mind and body, and then thinking about it. , and get the feeling. The third artistic conception. If you open it to your mind and think about it, you will get its truth." ("Poetry")
In Wang Changling's view, "situation" and “Artistic conception” has its place. They both "open up their minds", but the former is "in the body" and the latter is "thinking in the heart". The former "gets its emotion" and the latter "gets its truth". The key to the connotation of Wang Changling's "artistic conception" lies in "getting its truth", which is the essence of our understanding of Wang Changling's concept of "artistic conception".
"Truth" means truth, philosophy, and truth. The "artistic conception" mentioned by Wang Changling is a philosophical poetic realm that combines "scenery" and "reason" to form "jing", which is the so-called "poetry has good meaning and expresses the truth, which is outstanding today and ancient."
"Since it is called "artistic conception", Wang Changling put forward "reason into scene situation", "view into scene situation", and "mind period falling sentence situation" in "Seventeen Movements". The first two are naturally "reason" and "reason". The relationship between "jing" and "the heart is expected" can be understood as various wishes, including "ambition", but it is broader than "ambition". Therefore, "reason" and "scenery" merge into "artistic conception", which is a transcendence of the theory of "poetic expression"
From the perspective of the relationship between "reason" and "scenery", Wang Changling. Previously, there was no such thing as "poetry expressing principles", and the "ambition" in "poetry expressing ambition" focused more on "ambition" and more on education. The explanation and development of "fu, comparison, and xing" have always been very vague. , we can’t see the status of “Poetry and Reason”. The “Li” in “Wen Xin Diao Long” mainly has several meanings: First, it means “Heavenly Reason” and “Divine Reason”, such as “The Scriptures of Love and Words”. "The weft of rationality" ("Qingcai"), "the emotions move to form, and the haircut reflects the text" ("Ti Xing"). The second refers to "righteousness", which mainly refers to the "Xiang" in the "Book of Changes" "Yili" and the "meaning" mentioned by Wang Bi, and believe that the principles of all things are in the "Book of Changes"
The third refers to the meaning of "laws" and "rules", "Wen Xindiao". In "Long", it is said that "words are also craftsmanship in literature and theory", "seeking principles is smooth" ("Zong Jing"), "Zheng Sheng" talks about "clear principles are based on three dimensions", and "Shen Si" also says ". "The heart should respond by reason". These are all "reasons" that need to be understood, mastered and followed. Liu Xie talks more about "reasons", "literary principles" and "thinking principles". But he believes that everything with "laws", The meanings of "rules" are "divine principles" and "natural principles". The so-called "namely principles are constant" refers to reasoning and reasoning. There is "to distinguish the principles of affairs" in "Zawen", "Historical Biography" and "Principles of History". "Zhuzi", "Lunshuo", and "Shi Lei" include "analyzing the principles to be the right one", "all the principles can be combined", "differentiating the principles", etc., which mainly refer to the narrative and argumentation of the application of literary style. Although "Li Sao" was praised by Liu Xie. Wang Changling praised "Li" and "Scenery", but did not clearly put forward the aesthetic relationship between "Li" and "Scenery". This is because "all the works of poets have complaints about their loss in the original sect" ("Poetry"). The combination of "scenery" puts forward the concept of "artistic conception". Zong Baihua said: "Artistic conception is not a natural representation of a single plane, but a creation with deep realms. There are three levels from the imitation of intuitive feelings, the communication of active life, to the revelation of the highest spiritual realm. ”⑦ Although the “artistic conception” mentioned by Wang Changling is different from the later “artistic conception”, his theory of “environment thinking” highlights the emotional nature of “reason” in the “environment” and strengthens its artistic aesthetic significance. .
"Meaning vertically and horizontally" was specially proposed by Wang Changling in his theory of "artistic conception", and he used the concept of "vertical and horizontal" many times, such as "the meaning must be tight, and then change vertically and horizontally", " "You can't do it all the time, you have to do it vertically and horizontally", "Everything must be done vertically and horizontally in all kinds of ways, with countless changes", etc. He advocated that "every poem has an idea, it is all about taking risks, and there is no one around, so there is no need to be afraid." This shows that Wang Changling Not only does it advocate the "vertical and horizontal" freedom of emotion, but also the "vertical and horizontal" freedom of using scenery and reasoning. This requires transcending all psychological constraints, especially getting rid of the spiritual fetters of politics and morality. It requires extraordinary courage and courage, and even more detachment. The following two paragraphs by Wang Changling further illustrate this point:
When writing, you must have more intentions. You must work hard and forget your body and not be restrained. If it doesn't come, then you have to be relaxed and tolerant, so that the situation will come alive. ("Poetry")
To write a poem with your mind, you must focus on it, see the thing, and then hit it with your heart. Penetrate deeply into its context... ("Poetry")
Contemporary people generally only absorb and judge this kind of theory as an aesthetic theory, but from the political point of view at that time, this extraordinary The "meaning of vertical and horizontal", like Qu Yuan's "Li Sao", inevitably has the risk of "losing the original line"
The "meaning of vertical and horizontal" also needs to rely on scenery, based on "image", and through "letting go". "Emotion" to expand the thinking space of "reason". Therefore, Wang Changling has specific explanations in "shi" and "ti" respectively. He said that "reasons should be integrated into the scenery". "Poems cannot always grasp the reasons, they must all be integrated into the scenery." ", "The scenery and the rationale are not comfortable, and the rationale is tasteless", and we must use "the language of scenery to enter the language of rationality". It is required that "all the distant and near scenery, as well as the secluded and wonderful places to be seen, must be arbitrarily created." But it must also be " "Inspired by nature and made with gratitude". He also believed that "objects" and "meanings" cannot be just a patchwork of shapes, but should be "things and meanings that are not dependent on each other."
He said: "The intention must be beyond the realm of thousands of people, look at the ancients under the grid, and gather the sky and the sea in a square inch." It is necessary to form a body of "broad intention and far-reaching heart, and use the small to accept the big." It is unprecedented to explain the aesthetic relationship between reason and scenery from different angles. At the same time, Wang Changling placed "high style" first among the five "interest directions" such as "high style", "quaint", "leisurely", "deep" and "fairy"; Among the "Three Gains in Poetry" of "getting reason" and "getting power", "getting reason" is the core. It can be seen that Wang Changling's "artistic conception" which mainly focuses on "reason", like "material realm" and "situation", has the same and parallel aesthetic realm and consistent aesthetic taste. Gufeng believes: "The 'artistic conception' here is actually the 'reasonable conception'. The object represented by 'reasonable conception' is not the general 'meaning', but the profound 'meaning' of 'thinking in the heart'."⑧This Of course it is too absolute, but it can be concluded that the main body of the "artistic conception" mentioned by Wang Changling is "rational conception". From this, it can be said that Wang Changling’s most outstanding contribution to the theory of “artistic conception” is that he formally elaborated the relationship between “reason” and “scenery” as an aesthetic category, highlighting the aesthetic characteristics of “reason”. This is what Wang Changling said in Another new breakthrough in artistic thinking.
As a hierarchical relationship, the "three realms" in "Poetry" also show signs of intersection and inclusion. "Situation" comes from "letting go", "object realm" refers to the unity of mind and state, and the mutual exchange of gods and objects. "Artistic realm" also means "expanding it in the mind and thinking in the heart". The "three realms" have the same thing. They all originate from "mind", swim in "things" and form from "environment". The former becomes the basis of the latter, and the latter contains the meaning of the former. However, the logic in "Poems" is vague and ambiguous, which shows that the three have a "parallel" and contradictory relationship. This is also the logical limitation of "Poems". This contradiction was finally solved systematically by Jiaoran. Jiaoran systematically integrated the "three realms" with the help of Zen theory and virtual reality. He used "imagery" as the spirit to integrate the "three realms" and unified emotion, reason and intention. , made the "artistic conception" theory become a stereotyped framework system. Sikong Tu's "Four External Theory" and Wang Guowei's "Realm Theory" are the continuous expansion and improvement of Jiao Ran's "artistic conception" theory.
In short, Wang Changling unified "image" thinking and "jing" thinking, integrated "image" and "jing", created the theory of "jing thinking", and advocated "unrestrained" thinking. He opened up the aesthetic thinking of "emotion", "image" and "meaning" in the theoretical history of Chinese poetry, which is far more theoretically valuable than the "three realms" term he proposed. As Cai Zhenchu ??said, this "has epoch-making aesthetic significance in the history of Chinese literary and poetic criticism."
"Contemplation of the environment" is the aesthetic thinking method of "artistic conception", "mind and environment" and "situation blending" are the aesthetic characteristics of "artistic conception", and "vertical and horizontal" is the aesthetics of "artistic conception". Imagine the space problem. "Thinking about the environment" also includes aesthetic theories such as "appreciating the environment" and "interesting direction". It can be said that the unprecedented "open" artistic thinking pioneered by Wang Changling in his "Jingsi" theory promoted the development of poetry creation and poetry theory throughout the Tang Dynasty and beyond. Although later generations continued to integrate, excavate and interpret the theory of "artistic conception", the connotation of "artistic conception" gradually became fuller, the aesthetic space continued to extend, and it developed into the core category of my country's poetic aesthetic theory, and then gradually expanded to other arts such as music, painting, and architecture. The field has expanded, but the thinking system has never departed from Wang Changling's "Jingsi" theory.
Hope this helps!