Up and down the Huazigang, what a melancholy feeling.
This is a five-line poem that describes what you saw and felt when you went to Huazigang in autumn.
The main idea of this poem is:
Crowds of birds gathered together and flew from the horizon in front of the poet. The surrounding mountains have all shown autumn colors and are almost invisible in the fading sunset.
In this bleak Huazigang, the poet's sadness is endless!
In late autumn, everything in the world has reached the last season of growth, which makes people feel melancholy. However, what the poet feels from these disappearing scenes is real. This is enough for poets.
For a poet, what he cares about is not the fleeting future, but the existence he can understand in the present, and internalizes what he feels in the present into an eternal treasure.
This is highly similar to the modern Japanese thought that "mourning is greater than heart death".
Abe Zhongmalu, whose Chinese name is Chao Heng, is a Japanese envoy to the Tang Dynasty. /kloc-arrived in Chang' an at the age of 0/9 and was deeply attracted by the culture of the Tang Dynasty and the classics of Chinese studies. I study hard every day, study hard. A few years later, I took the imperial examination and became an official in high school. He worked with Li Bai and Wang Wei in the same dynasty and had a very close relationship.
During his stay in Chang 'an, he was at the peak of Tang poetry creation, deeply influenced by Li Bai, Wang Wei and others, and fell in love with Tang poetry creation. He often drinks with them and writes poems, many of which have been handed down to this day.
On the eve of his return to China, Wang Wei specially presented him with a poem "Send the Minister of Chaojian to Japan", and wrote a eloquent preface before the poem, praising Abe Zhongmalu's outstanding talent, noble character and contribution to Sino-Japanese friendship.
It's a pity that Abe Ma Lu had to turn back to Chang 'an in the middle of the storm. In 770, Ma Lu of Abe died in Chang 'an at the age of 73.
Ma Lu Abe did not return to Japan, but he lived in Chang 'an for more than 50 years, and had a very close relationship with Japan, which had a far-reaching impact on Japan's spiritual culture.
Four mainstream aesthetic cultures in Japan: mystery, sorrow, silence and passion.
Ai Wu originated in heian period, which is equivalent to the time from Tang Dynasty to Song Dynasty in China. In the Edo period in Japan, the literary theory put forward by Xuan Chang, a great sinologist, can also be said to be his world outlook. Simply put, this concept is "true feelings".
Metaphysics, which was formed in Japan in the Middle Ages, was gradually standardized by Song theorists from different angles. Emphasis is placed on advocating the beauty of "lingering", and in terms of style and interest, from emphasizing "coquettish" to talking about "quiet", it has enriched the content in the development and change. "Xuan" is an important theoretical concept in Japanese theory of music and energy, and also an important aesthetic consciousness in Japanese aesthetic concepts.
Silence is defined as: rough appearance and perfect heart. Simply put, it refers to an intuitive way of life, emphasizing the discovery of beauty in imperfection and accepting the natural cycle of birth, illness and death. Quiet is an integral part of Japanese aesthetic consciousness, which generally refers to simple and quiet things. It comes from the three dharma seals in Hinayana Buddhism (impermanence of all lines, nirvana without self), especially impermanence.
The spirit here is not the high-spirited spirit in China traditional culture. "Yi" in Japanese means starting from the body and taking oneself as the basis. Passion is actually the beauty of body. In Murakami's works, there have been many descriptions of women's bodies, with primitive and natural charm.
Among them, the funeral culture should be the most widely known.
What is the sadness of things?
Throughout his life, people are either happy or sad, or sigh or sad. When you empathize with things, you achieve a close combination of things and feelings, which is the mourning for things. The sorrow of things, also known as "knowing the sorrow of things", is the stimulation of people's inner feelings. Mourning for Things builds a bridge between object and subject, micro and macro, opposition and original-finally returning to all sources? "I".
-"is this Wei's thought? 」
The deep logic of Japanese mourning aesthetics is an aesthetic form based on Buddhism and Zen, which is highlighted in Buddhist thought and Wang Wei's poems.
Why did Japan accept the mourning aesthetics so highly, and even developed into an independent aesthetic form that influenced Japan?
The birth of a national culture is inextricably linked with its national characteristics, and the emergence of Japanese national consciousness of "mourning for things" has a great relationship with Japan's special geographical environment (island country).
The islands of Japan have been shrouded in fog since ancient times, hazy, elegant and unpredictable. No country can capture many beautiful scenery in the world in a narrow area like Japan, such as snow-capped mountains, mountain streams, hot springs and waterfalls. There are lush forests, misty snow, flowing bamboo forests and elegant courtyards. At the same time, no country in the world has suffered so many natural disasters such as earthquakes, snowstorms, tsunamis and hurricanes since ancient times like Japan. For thousands of years, the Japanese people have often seen the illusion and sadness that the beauty in front of them is fleeting, and it is very likely to disappear in an instant-and all this makes them believe that "impermanence" is often hidden behind beautiful things. With the introduction of Buddhist culture, this "impermanence" nihility consciousness in Japanese national culture has been strengthened. It can be said that the concept of the impermanence of everything and the fantasy of life revealed by Buddhism have accelerated the final formation of the hazy and vague "mourning for things" consciousness of the Japanese nation.
Mourning for beauty has been the mainstream of Japanese literature and art since ancient times, and Yasunari Kawabata is undoubtedly a typical representative.