This paper starts with Qian Qi's inheritance of Wang Wei's landscape poems, and then involves the comparison between them. Through the further study and comparison of the images, forms and contents of the works, this paper tries to explain Qian Qi's view that Wang Wei's landscape poems are only formal inheritance. The contrast between Qian Qi's and Wang Wei's landscape poems is more the imitation of the predecessors by the younger generation than the real successors. This paper will discuss the comparison of Qian Qi's and Wang Wei's landscape poems, the exchange and inheritance of Qian Qi's and Wang Wei's landscape poems, so as to demonstrate the author's point of view.
Qian Qi's Inheritance and Comparison of Wang Wei's Landscape Poems
Comparison of landscape poems
Since ancient times, landscape poetry has been full of seclusion and frustration. As a famous poet who deeply believes in Buddhism, Wang Wei is deeply influenced by Zen. In his later years, he showed obvious feelings of seclusion, and what's more, he integrated the detachment of Buddhism into his poems. Therefore, the quantity and quality of his landscape poems are good, which can be said to conform to the inherent laws of landscape poems. Wang Weizhi's landscape poems are very famous and widely known, so I won't repeat them here. As the representatives of the Middle Tang Poetry School, although most of the ten talented people in Dali are famous for their harmonious poems, they all experienced the disaster of Anshi Rebellion and suffered from displacement. And most of them have a bumpy career path in Chang' an. These frustrated talented people are suffering again and again in the face of the reality that their ideals and dreams that are keen on official career are constantly shattered. As the first of ten talented people in Dali, Qian Qi's experience naturally accords with this whole experience. Therefore, on the one hand, he wrote poems in order to get promoted by powerful people, on the other hand, his inner contradictions and frustrations made him constantly seek a moment's peace in the mountains and rivers. Therefore, Qian Qi's poems will present the coexistence of entertainment poems and landscape poems. It is precisely because of the different causes of Qian Qi's and Wang Wei's landscape poems that there are some inherent and subtle differences between them.
As far as landscape poetry is concerned, although there are similarities in the choice of images and the expression of the word "Qing", there is still a long way to go in the internal meaning and expression of poetry. Therefore, the statement that Qian Qi is Wang Wei's successor is not accurate, and it is mostly superficial. The differences are as follows:
(A) no I have me.
There is always a sense of emptiness in Wang Wei's poems, because his poems often have no ego. "Non-ego", also known as "non-ego", is a concept in the origin theory of Buddhism, which says that "impermanence means suffering, and those who suffer have no ego." Wang Wei's "no self" is the result of deliberately suppressing subjective feelings in his landscape poems and is influenced by Buddhism. In short, it is the expressive effect obtained by hiding perceptual colors.
However, due to the lack of indifference and Buddhist realm of Wang Wei, and the influence of his own experience and style of the times, Qian Qi adopted a writing style that rooted his feelings in mountains and rivers. Let's call it "you and me" here, which is also the obvious perceptual color in Qian Qi's landscape poems, which caused the difference between Qian Wang and Qian Wang's landscape poems. Reading Wang Wei's poems is like a wanderer walking to see the scenery, but only the scenery is in front of him. Reading Qian Qi's poems is like listening to people talk about the scenery, seeing the scenery in your ears and having a person in your heart. Therefore, "with me" and "without me" can be called the biggest difference between Qian Wang's landscape poems.
Specifically, in the performance of poetry, Wang Wei devoted himself to capturing the picture sense of scenery, the combination of point, line and surface of landscape scenery, the change of light and shadow, the contrast between motion and static, and the change of color. Observing his poems is more like looking at his paintings, thick ink and light color, dyeing mountains and rivers. Here are two poems for detailed analysis:
Singing birds and deer firewood in the stream
People are idle, osmanthus flowers fall, and the night is quiet and empty. No one can be seen in the silent valley, only the voice is heard.
When the moon comes out, the birds are startled, and the sound enters the spring stream. The shadow of the sunset shone into the depths of the forest, and the scenery on the moss was pleasant.
Wang Wei tried his best to write "quietness" in "Bird Watching Creek" and compared it with "Bird Moving". The petals of osmanthus fragrans are very small, and the blooming flowers are slightly inaudible, let alone at night. It is because of people's "leisure" that they noticed this tiny action. What seems to be "leisurely" on the surface is actually "quiet". Without these two factors, there would be no scene of "osmanthus falling". The "moonrise" on the necklace can actually "surprise the birds". From the side, the mountain birds are used to the quiet here, and even the moonlight scares them. "Spring Stream is singing at that time" makes the end of the poem seem to hear the long birdsong echoing from time to time in the deep mountain stream.
In Chai Lu, Wang Wei not only used the combination of motion and static, but also used the change of light and shadow to produce a picture and film effect. The neck couplet turns from sound to color, and the forest is dark, and the moss under the trees in the forest does not see the sun all year round. Although silence and darkness are related to hearing and vision respectively, they often belong to the same category in people's general impression, so silence and stillness often belong to the same category. Instead of repeatedly rendering its quietness as usual, Wang Wei deliberately wrote down a touch of oblique light, which shone into the dark deep forest and brought some warmth to this moss. However, in careful taste, the author used this pen to make a strong contrast between the afterglow exposed by this short mottled tree shadow and the darkness all year round. Just like the faint moonlight in the dark night sky, it highlights its darkness.
Wang Wei is a poet, painter and musician. Most of his poems reflect the combination of poetry, painting and music. It often appears in his poems, accompanied by the silence of sound and the darkness of light. He can always restore the scene in front of him to a simple uncut picture, capture the most poetic part and make it natural. It is precisely because of this pursuit that his poems unconsciously fade the characters out of the picture or examine them as part of the landscape. Coupled with their own understanding of Buddhism and the integration of Zen, it constitutes a realm of "no self" beyond subjective observation mode.
Maybe it's the difference between talent and pursuit. Although Qian Qi's poems are somewhat similar to Wang Wei's. However, the essence of poetry still shows its uniqueness. His poems are full of emotional colors, and traces of "I" can be seen everywhere. Different from Wang Wei's emphasis on objective representation, Qian Qi pays attention to perceptual aesthetics, that is, the expression of subjective aesthetics. The scenery in his works is often characterized by the expression of his preferences or mood, that is, the spiritualization of material. For example, Qian Qi was very interested in Scared Birds and Singing Insects, and he chose them as poems for many times.
For example:
The star is low, the magpie is surprised, and the sound of insects is beside the luggage. Autumn night, with Cao
Magpies follow the leaves in surprise, and fireflies go far into the smoke. The South Gate of Pei Di is opposite to the moon in autumn.
Scared cicadas make dark willows, and the moon hides cloisters. Quiet nights reward those who ask questions.
Last night, the full moon was like a magpie. Listen to the lawsuit in Shuige, the county seat in the morning.
It can be seen from the poems such as Autumn Night Cao and Thinking in Quiet Night, Rewarding People and Asking about Diseases that these poems are all related to real people. However, Qian Qi only chose "the star shadow begins with the magpie", "the magpie begins with the leaves scattered" and "the cicada begins with the willow" to focus on describing the frightened scene of insects and birds, while "the bird and the magpie begin with the insects" in a few words, which shows his meticulous observation. However, judging from Qian Qi's poetic style and title, this kind of bird-insect shock is not a simple description, but more a portrayal of his heart. "Jing" is a word that frequently appears in these poems, which is intended to express Qian Qi's inner hesitation and anxiety as "Jing Chan" and "Jing Que" when writing poems.
In addition, Qian Qi not only directly portrayed his own heart with "shock", but also used contrast to make it more prominent and reasonable. For example, The Full Moon is a beautiful and complete scene, but the author is "like a magpie" in his heart. Warm and beautiful night, sad feeling in my heart. The perceptual color gradually melts into the scenery, which makes this kind of subtle sound like magpie "surprised" and insect "singing" so frightening in the quiet night and bright moonlight. The images and scenery here can not but be called the carriers of their spiritual feelings, and the poems here can also be said to be the products of their emotional materialization.
The subject color of Qian Qi's poems is very strong, and the projection of the subject's feelings can be said to appear consciously in the poems, rather than being deliberately carved.
For example:
The stars enter the sparse trees, and the magpies are tired of the autumn wind. Accidental achievement
The wine is cold and the flowers laugh, and the court is empty. I'm free in September and send some children to climb mountains.
Willow color from the countryside, warbler sound see Fu Jian back. Longshi sent Wei San back to Beijing.
The warm warbler returns to the tree first, but the clouds are clear but love the mountains. "Appreciating Miao Fayuan and Leaving Longchi Temple"
In the above four sentences, images such as "surprised magpie", "cold flower" and "lost bird" can clearly see people's modality. It can also be called "personification". Through the introduction of various subjective feelings, he made the scene in front of him feel alienated from the original ecology of nature, and made the connection and emotion between things, scenes and even people and scenes transcend the natural level. Just as in "Lantianxi Miscellaneous Fu 22", natural scenery has the same emotion and color as "people". Qian Qi pursues a strong subjective color, full of emotion, and does not express his mind directly. In his poems, he realized the originality of this elaborate and tempered writing. This is completely different from Wang Wei's. Therefore, if Wang Wei's landscape poems show an original nature, then Qian Qi's landscape poems can be said to be a subjective anti-nature. He constantly endowed the natural scenery with emotion and thought, which made it show a strong humanistic color in the transformation of words and expressions. Although it is cold, it is full of life. In this respect, his poems are better to read than those of Wang, and his temperament is more profound.
(2) Whether there is emotional color.
The difference between Qian Wang and Qian Wang's landscape poems lies not only in whether there is me, but also in whether there is perceptual color. Mr jiangyin said in the study of Dali poets that "most of the scenery in Wang Wei's works presents a natural and comfortable interest, which does not involve the author's subjective factors." (p 162) Wang Wei's landscape poems are like "An empty mountain stands on an autumn night after the rain. Moonlight in the pine forest, crystal stone in the stream. " It depicts natural scenery with quiet description, just like a pure ink painting. Even "the bamboo language laundry girl returns, and the lotus leaf bends to the fishing boat." In this way, the poem of "human" appeared, without any subjective emotion. In addition, in Baishitan, the Huan girl who lives near the water is under the bright moon and in the bamboo. "I" is "leaning alone in the dense bamboo, playing the pipa and humming a song". In Wang's poems, these characters have become a scene and a painting in his works, seemingly natural, without the poet's own subjective image and the slightest emotional expression. The poet seems to be just a passer-by in the world, recording the personnel of this picture with an objective pen, but he doesn't comment or have his own shadow hidden behind him.
If we carefully read Wang Wei's landscape poems, there will often be a kind of Zen without joy, sadness, greed and anger. The scenery he writes is often a scene that can make people feel calm and distant. The Zen in Wang Wei's poems is caused by his deep belief in Buddhism, so his poems often have an overall appearance of detachment. Although landscape poems are generally lyrical and satirical, Wang Wei's Zen landscape poems can be said to be fresh and refined, long and profound. It is also its own pursuit, a subject's suppression and avoidance of self-color, which forms its unique poetic style like a picture scroll.
"And Qian Qi's poems, although also pursuing a quiet and tranquil interest, describe the empty and distant scenery, but it is obvious that the perception is rampant. Not only the adjectives of scenery obviously leave a perceptual impression, but also these scenery are obviously placed in the position of viewing objects. (p 162) As Mr. Jiang Yin said, the scenery in Qian Qi's landscape poems is unique. As can be seen from Qian Qi's poems, Qian Qi has a preference, that is, adding his own perceptual color to the description of landscapes. In short, it is to add subjective feelings to the landscape. What is more intuitive is Qian Qi's love for the word "seclusion" in "Twenty-two Miscellaneous Poems on Lantian River". such as
Knowing the secluded stone, I don't know Wuling Tong's "Twenty-two Stone Classics of Lantianxi"
The net is connected with the color of the stream, which is suitable for raindrops. Twenty-two Miscellaneous Poems of Lantianxi: Moss on Stone
It can help families live in secluded places and attract seabirds. Twenty-two miscellaneous poems of Lantianxi: Building Springs.
Youshi gives birth to hibiscus, and flowers shame beauty. Twenty-two Miscellaneous Poems of Lantianxi: Stone Lotus
The stone sutra is a "secluded stone", the moss on the stone is "secluded and suitable for loosening raindrops", the spring under the stone is "secluded and secluded", and the lotus flower is "secluded stone gives birth to hibiscus". In this way, we can clearly see Qian Qi's habit of describing scenery. He is paranoid to integrate his perceptual color into the description of scenery, and even uses the same description in similar poems. This emphasis on perception can be called an unconscious habit produced in a specific era.
In addition, it is also different from Wang Wei's objective description of the scenery in his poems. Qian Qi not only substituted his feelings into the description of the scenery, but also expressed his praise and love for this kind of scenery without stint. This is not even the same as Wei Wang. such as
When pity the geese, stay in the pond. Twenty-two miscellaneous poems on Lantianxi, titled Nanpi.
Love this moss and water green under the flowers. Twenty-two Miscellaneous Fu Poems of Lantian River in Northeast China
I prefer the wind to come and a few pieces of snow turn over. Twenty-two Odes on Gulls in Lantian Creek Opera
Qian Qi directly expresses his feelings with words such as "pity", "love" and "preference" which contain subjective feelings. There seems to be a "person" in Qian Qi's poems, who tells feelings before the poem, or hints at thoughts after the poem, and marks every scene with perception. Wang Weizhi's poems are more like paintings painted by poets, and almost no "human" color can be found, which is natural. Mr jiangyin called it "frameless scenery".
When studying Dali poets, Mr Jiangyin chose Wang Wei's Pavilion on the Lake and Qian Qi's Pavilion on the Pool for comparison.
Lake Pavilion and Pool Pavilion
Wang qi
Welcome guests with a light song, and come up to the leisurely lake. Apricot beams are built near the pool, and guests return to the smoke pool.
When drinking under the porch, hibiscus blooms all around. The water curtain is good, and the lotus is fragrant.
"For Wang Wei, the fact that the lotus ring is open is enough. But Qian Qi wants to tell you that this time, he knows to flap the curtains, so as to put the pure fragrance of lotus and Du Ruo in. This difference is just like the difference between the Third Moon Appreciator and the Fifth Moon Appreciator written by Zhang Dai in July and a Half in West Lake. This strong perceptual tendency is actually determined by the lyric paradigm of the whole era. " (p 163)
Therefore, Wang Weizhi's poems are like hermits who live in seclusion in the mountains, lying on their backs in the misty mountains and rivers, ignoring the clouds and forgetting about things and me. Qian Qi's poems are like literati enjoying the scenery, entering the mountains and rivers, observing their cultivation, and it is difficult to let go without spitting. Because Wang Wei's heart is extremely strong and detached, he does not deliberately express and portray, and often focuses on the surface. Readers need to guess what he intentionally or unintentionally revealed in his poems and try to figure out his mood in order to understand. Qian Qi, on the other hand, regards mountains and rivers as another sky, a world different from the fame and fortune he pursues. Therefore, here, he sends his feelings to the mountains and rivers, blends his feelings into the scenery without reservation and expresses his feelings. Readers can clearly see his love and hate, but Qian Qi is cute in this respect.
In this way, Qian Qi's landscape poems are far from Wang Wei's paradigm, and it is only superficial to regard Qian Qi as Wang Wei's direct biography.
Second, communication and inheritance.
On the other hand, Qian Qi's poetry was really influenced by Wang Wei. Qian Qi imitated Wang Weizhi's poems to a great extent, which was concentrated and strengthened in their friendship and singing in Lantian.
(A) the chorus of Wang Wei and Qian Qi and its influence
Wang Wei's friendship with Qian Qi took place during Qian Qi's tenure as deputy commander of Lantian County. According to poems sung by Qian Qi and Wang Wei, such as "A Bamboo Pavilion on a Spring Night Presents Qian Shaofu Lantian" and "A Bamboo Pavilion on a Spring Night Presents Wang Weibie", it is inferred that Qian Qi served as the commandant of Lantian County for about two years, that is, in 759 AD.
At this time, Wang Wei is 58 years old and belongs to the later period of his poetry creation. His landscape poems have been widely known. Poetry had a great influence at that time. When he moved to Qian Qi, Qian became a scholar in the 9th year of Tianbao (750), and he wrote "Try the Soul Drum of Huxiang". It took some time for this poem to attract people's attention. It was about eight years since Qian Qi was appointed as the magistrate of Lantian County, and he was already in his thirties. At this time, Qian Qi was in the prime of life, and he was famous in the poetry circle. When Qian Qi was appointed as the magistrate of Lantian County, Wang Wei was appointed as the illegitimate son of the Prince and a national scholar.
A series of duets between Wang Wei and Qian Qi began with Wang Wei's Spring Night Bamboo Pavilion Sending Money to Shaofu to Lantian. In other words, they crossed before the second year of Gan Yuan (759). Chen Tiemin's Chronicle of Wang Wei After Wei claimed to be the Qingtian Mountain, Tianbao was trapped by thieves fifteen years ago, and he often went back to Lantian to rest in his leisure or vacation. Sometimes he lives in Luanchuan for a long time, and sometimes he leaves Luanchuan for a long time. According to Jiang Yin's textual research on Dali poets, "Wang Wei often swims in Wangchuan in the middle, and Qian Qi, the magistrate of Lantian County, has to swim here." During his tenure as deputy commander of Lantian County, Qian Qi's poems were well known and appreciated by Wang Wei and others. In Wei Wang's view, Qian Qi is a rising star and deserves praise and commendation. Coupled with the coincidence of the right time and the right place, it is natural for them to make friends.
Among the poems they sang with him, the most coherent is the four poems they sang with him. Wang Wei wrote "Bamboo Pavilion on Spring Night Give Money to Courtyard and Return to Lantian". But when I recall being in the mountains, there is a place far west of the mountains. I envy you for sending me. I want to pick ferns and light my crown. "Qian Qi wrote" Reward Wang Weichun Night Bamboo Pavilion "."The host was very excited when the moon and the mountains came with the guests. " Under the bamboo forest tonight, who feels that the flower source is far away. I was so sad that I cried. The lonely cloud is still unique. "Later, Wang Wei wrote" Send money back to Lantian ",and Qian Qi reconciled with" Returning to Lantian late and enjoying Wang Wei's gift ". Later, there were other chorus poems, such as Wang Wei's "Filling the Que of Maozi Period in Blue", "Wang Sheren's Old Residence in Wangchuan" and "Peony bloom in front of Tang Cheng, Wang Weiyou", which were sad and touching. In fact, Wang Wei's influence on Qian Qi lies not only in his recluse thoughts, but also in his poetic images. Qian Qi is not only regarded as the crown of "Ten Talents", but also regarded as a bridge between the past and the future in poetry. At that time, some people called Qian Qi Wang Wei's successor and successor. Gao Zhongwu commented on "Qian Qi" in the volume "Miracle in Zhongxing": "The poems written by overseas members are novel in form and clear in reason. The higher you climb, the better the article. Literati right cheng, Xu to Gao Ge; After the power is gone, the members are men. " [Gao Zhongwu's Miracle in Zhongxing [M]. Shanghai Ancient Books Publishing House, 1978 edition. Weng Fanggang said, "Harmony is familiar with the aftermath of Cheng" [Zhou Shi Shi Hua [M] Volume II. Shuo Ling by Wang Wan: "It's just a matter of scale, but it's beautiful. Wang Shiyi also agreed. " Liu Xizai said, "Qian Zhongwen and Lang Junyi led Wang Meng and Xu Zhi." [Outline of Art and Poetry [M]. Shanghai Ancient Books Publishing House, 1978 edition. This proves that in the eyes of future generations, Qian Qi is a descendant of Wang Wei, and his poems are also works that inherit the style of Wang Weizhi.
Wang Weizhi's poetry is known as "painting in poetry and poetry in painting", and its poetic style is light and profound. Fu Donghua once said: "Wang Wei's poems do not contain any profound philosophy or strong feelings;" His advantage lies only in shallow interest. " [1] preface to Wang Wei's poems [M]. Commercial press 1933 edition. Similarly, Yang's "Wang Wei and Meng Haoran" also pointed out that Wang Wei's poems can be called "light and tasteful". He likes to use beautiful words in his poems, but only sings in a low voice, making people smell the sound of streams. [② Wang Wei and Meng Haoran of Yang [M]. Shanghai Commercial Press, 1936 edition. 】 ② In Wang Meng's Theory of Advantages and Disadvantages, Cheng also thinks that "Wang's strength is Qingyuan Elegance". As a descendant of Wang Wei, Qian Qi's poetic style is naturally similar to Wang Wei's, which is quite light and distant. However, the simple similarity can't explain Wang Wei's influence on Qian Qi well, so it is quite critical to analyze where the similarity is and how it is influenced.
In this regard, Mr. Ma Xiaodi's Wang Wei and Qian Qi [③ Jiang Yin's Study of Dali Poets [M]. Zhonghua Book Company, 1995 Edition, 184 Page] ③ This paper studies this issue, pointing out that "the images in the poems of the two poets have great inheritance" and "they prefer youth and coldness in the tone of their poems. Both of them pursue and try to show a "realm of perfect integration of quiet image and transcendental charm". For this state, Mr. Jiangyin called it "Qing". [④ Jiang Yin's research on Dali poets [M]. Peking University Publishing House, 2007, 17 1 page. Mr. Fu Donghua commented on Wang Wei's Light and Deep.
When it comes to the similarity of their poems, the poems sung by Wang Wei and Qian Qi are undoubtedly extremely suitable research objects in terms of art and historical facts. First of all, both Wang Wei and Qian Qi tend to be cold and silent in their choice of poems, with rocks, vegetation and clouds as their objects. For example, Wang Wei's Night, Forest, Mountain, Stream, Grass and Mountain Cherry Blossoms, Chai Fei, Qian Qi, Farewell to Wang Weichun Bamboo Pavilion at Night, and Wang Wei's Endless in the Maozi Period in Blue. Their prejudice in image selection is particularly similar. From Qian Qi's early years, there was a lot of coldness in his poems. "At the end of the song, people are scattered, and there are several peaks on the river." . In his poems, he often reveals secluded thoughts. Even when I was waiting in Chang 'an, I didn't have much excitement and hope. I just "think back to Xun Lin and admire Li Shu with joy" and there was nowhere to go. "Therefore, it is similar to Wang Wei in poetic style. In the friendship with Wang Wei, he unconsciously learned from him and gradually focused on pursuing the realm of tranquility and detachment.
However, although the choice of images and the pursuit of artistic conception are similar, the unique charm shown in their works is quite different. In the shaping of artistic conception, Wang Wei pays attention to the contrast between dynamic and static, and often shows a cold and distant temperament through vivid description of natural scenery. In Qian Qi's poems, we can always find traces of people, either hidden outside the poems or directly expressed in the words. The description of scenery is often related to people's emotions, which is quite subjective. Mr Ma Xiaodi pointed out that there is a difference between Wang Wei's poems and Qian Qi's. Mr. Jiangyin also proved this view by comparing Wang He's and Lantian's essays in A Study of Dali Poets. Compare Wang Wei's Bamboo Pavilion on a Spring Night with Qian Qi's Bamboo Pavilion on a Spring Night.
Give money to the bamboo pavilion in the spring night, and the house will be returned to Lantian, and the bamboo pavilion in the spring night will bid farewell to Wang Weichun.
All creatures are quiet in spring and night, and every time they hear several dogs barking in the bamboo forest. The host was very excited when Shan Yue came with the guests.
But when I recall being in the mountains, there is a place far west of the mountains. Under the bamboo forest tonight, who feels that the flower source is far away.
I envy you for leaving tomorrow, content with the glory of ferns. The melancholy warbler cries, and the lonely cloud is still unique.
It can be clearly seen that in the process of poetry creation, Wang Wei's Spring Night Bamboo Pavilion Returns Qian Shaofu to Lantian is based on "listening to dogs barking at night" and "people in the mountains", with "Qu Jun" as the center of the poem. Using the writing method of enlarging from far to near, from mountains and rivers to a person with extremely weak performance.
On the other hand, Qian Qi's Farewell to the Bamboo Pavilion is just the opposite of Wang Wei's. Mountains and moons come with guests, who thinks flowers are far away and so on are quite subjective, and most of the feelings expressed have obvious traces of "human" emotion and perception. And the last sentence, "I am sad when I cry, but the lonely cloud is still unique." Its realm suddenly widened and the picture expanded. Although each sentence describes the scenery, the feelings expressed are closely related to "people". The picture changes from "guest" to "bamboo forest" and then to "lonely cloud", which is different from Wang Weizhi's poetry.
Another poem by Wang Wei, Farewell to Qian Qi, was also written by Qian Qi, while Wen Yuanhua Ying is also called "Farewell to Others" in Chinese books, which is slightly different. "Chronology of Tang Poetry" said: "Returning to Lantian, Wang Wei said goodbye:' The grass color is getting better, and the Taoyuan people are getting thinner and their hands are flat, looking after Lao Lai's clothes. Every time the cherry blossoms bloom, they return with petrels. This year's cold food and wine should return to Chai Fei. "Answer a poem:' Humble and sexual, every time with the white clouds. I'm still pregnant with oranges, and I don't want to pick roses when I look at the mountains. A farewell to the mountains was only yesterday, and the spring dew stained the clothes. Picking ferns is full of dreams, but looking at flowers is tired. The yellow bird goes to the horse first, and the new moon stays. When I look back at lonely people, my bosom friend is green. ""this is two people rewarding each other. So we can see that the author of this poem is undoubtedly rich. It is stamped with the title of "Liu Bie" and "Qian Qi" is the author's name. This book focuses on the same chant, or because of the continuous connection of books, it is mistakenly called that the four words are all poetic topics, so it is a poetic ear.
There are two more poems:
Send money back to Lantian, Pay Wang Wei farewell when he returns to Lantian late.
Wang qi
The grass color is getting better and the people in Taoyuan are getting thinner. Humble but sexy, every time I return to Baiyun.
Fu reached out to Ping Zi, watching Lao Lai get dressed. I'm still pregnant with oranges, and I don't want to pick roses when I look at the mountains.
Every time the cherry blossoms bloom, they return with petrels. The yellow bird goes to the horse first, and the new moon stays.
This year's cold food and wine should be returned to Chai Fei. Looking back at Han Xiao, my bosom friend is green and embarrassed.
People can be seen everywhere in Wang Wei's poems. People are people who share happiness and return with Haiyan at the same time. However, although this poem involves one thing about people, it is different from ordinary poems. It objectively depicts people as objects no different from mountains and rivers, so that the whole poem always maintains a clean and distant atmosphere, but it is also sincere.
This is closely related to Wang Wei's own meditation and seclusion thought. Wang Weizhi's poems capture the most poetic and authentic scenery with the painter's keen sense. In this way, it is completely out of the subjective paradigm of the author when writing landscape, and the pictures in the poem are out of the bondage of the frame and extend indefinitely. Qian Qi's poems not only express his subjective feelings about scenery, but also often incorporate his additional feelings about life. In this poem, his attitude towards being an official and cherishing friendship are integrated into the poem. Although sincere, it is very different from Wang Wei.
In a word, Qian Qi not only inherited Wang Wei's quiet image, but also inherited his detailed description of the scenery. Although Qian Qi showed a strong subjective tendency in poetry content, instead of Wang Wei's carefree mood, there is no doubt that he followed the pattern of Wang Wei's poetry. During years of friends, Wang Wei infected Qian Qi with his clean and distant poetic sentiment and charm, which made his poems have the poetic charm of the prosperous Tang Dynasty. Because of this, although Qian Qi's poems were endowed with strong subjective color by the mood of the times, they still have a legacy in the prosperous Tang Dynasty. Coupled with his meticulous description of the scenery, he became a key figure in the transformation of Tang poetry from the prosperous Tang Dynasty to the prosperous Tang Dynasty.