Bamboo is not relaxed at all, its roots are firmly embedded in the cracks in the rocks.
After thousands of tortures and blows, it is still strong, whether it is the southeast wind or the northwest wind in winter, it can bear it and will still be tough and straight.
Interpretation of vernacular Chinese: bamboo does not relax in grasping green hills, and its roots are firmly rooted in cracks in rocks. After countless hardships and blows, you are still strong, no matter whether the southeast wind blows in the hot summer or the northwest wind blows in the cold winter.
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Appreciation of articles:
This is a poem with profound implications. Writing bamboo on the surface is actually writing people. The strong bamboo in the poem symbolizes the poet's indomitable character in the face of all kinds of difficulties and hardships, never giving in to any evil forces, and his clank and pride in refusing to go along with the dark society. This poem is often used to describe the revolutionary's firm stance in the struggle and unshakable character when the enemy attacks.
Insist that Qingshan does not relax, and a word "bite" personifies bamboo. Biting is an active action that requires strength. It not only depicts the scene of bamboo climbing to the green hills, but also shows the spirit of bamboo not afraid of difficulties, fighting against nature and tenacious survival.
Following the previous sentence, the second sentence "Rooted in broken rocks" tells us that the foundation of bamboo standing proudly on the green hills lies in its deep roots in broken rocks. Bamboo in Zheng Banqiao's poems and paintings is often inseparable from "stone".
Sometimes, the stone constitutes the opposite of bamboo, such as "draw a bamboo branch and insert a stone. The stone is one foot higher than the bamboo branch. Although one foot makes it higher, I will lift my strength for many years"; Sometimes the stone becomes the background of bamboo, for example, "The autumn wind passed Xiaoxiang last night, and I was crazy when I touched the stone through the forest;" Only bamboo branches are not afraid, but they can fight a thousand games. "
In this poem, bamboo and stone are integrated. Without it, bamboo would be stiff and mountains would be green. These two poems also illustrate a simple and profound philosophy: deep foundation and strong power.
The bamboo in this poem has one characteristic. Not solitary bamboo, not static bamboo, but rock bamboo, wind bamboo. In Zheng Banqiao's poems and paintings, bamboo is often a symbol of noble conduct and tenacious will, while wind is often a representative of evil forces.
The poet used the words "thousand" and "ten thousand" to write the indomitable, calm and confident expression of bamboo, which can be said that the artistic conception of the whole poem suddenly emerged.
At this time, what stands in front of us is no longer a few ordinary bamboos. What we feel is an indomitable vitality and perseverance, and all this is contained in the rustling bamboo.
In fact, the bamboo in the poem is also the embodiment of the noble personality of the author Zheng Banqiao. In life, the poet is such a kind of rock bamboo that has close ties with the lower class, hates evil and is not afraid of powerful people. Zheng Banqiao's poems on paintings, like his paintings, have a strong three-dimensional sense and can be appreciated as paintings.
This poem is like this. Both bamboo and stone are vivid in the poet's pen. There is no real wind, which is also described as passing by.
However, the poet's pursuit is not only in the external shape, but also in every thin and hard rock and bamboo, which injects his own ideals and melts into his own personality, thus making this bamboo stone reveal a profound meaning outside animals and an internal charm.
Writing background:
In the eighteenth year of Qianlong, Zheng Banqiao was sixty-one. He thought that the people were asking for help for provincial officials. When we arrived in Weifang, the people blocked the way, and every family made a portrait to offer sacrifices, and spontaneously set up a shrine for Zheng Banqiao in Weicheng Island Temple. After leaving office, Banqiao made a living by selling paintings, traveled between Yangzhou and Xinghua, and interacted with fellow painters and poets.
In the 19th year of Qianlong, Zheng Banqiao traveled to Hangzhou. After Qiantang, go to Huiji, explore Yu's point, visit Lanting, and go back and forth. I participated in the activities of repairing Hongqiao hosted by Yu Jianzeng, the Commissioner of Communications of Huaibei, got to know Yuan Mei and had poems with each other. During this period, Banqiao made many paintings and calligraphy works, which were widely circulated.