It is not easy for China ancient literary critics to gain personal emotional freedom and spiritual transcendence in aesthetic thinking. Because under the background of Confucian culture, most of them grew up under the influence of Confucian classics and dogmas and Confucianism. Transcendence is "deviant". Liu Xie is like this, and Wang Changling is no exception. The difference is that although Liu Xie completed the fundamental transformation from philosophical image to aesthetic image, and devoted himself to the study of Confucian classics and Buddhist books, the writing of Wen Xin Diao Long coincided with his fanatical period of pursuing "moral advice". Liu Xie's criticism of the one-sided pursuit of formal atmosphere in creative circles at that time was indeed direct and profound, but he always insisted on "and", while "Wen" did not back "reason" and "Ci" did not leave "Tao". On the other hand, Wang Changling made friends with many poets, such as Meng Haoran, Li Bai, Cen Can, Wang Zhihuan, Wang Wei and Gao Shi. He has traveled to the northwest and visited various places of interest. Military career, political ups and downs, hard life, etc. , so that he has a deeper experience of life and a broader vision. He integrated his understanding of life into artistic practice and aesthetic creation, which made him have a more unique experience and a deeper feeling about poetry outside the situation. Especially proficient in Buddhist scriptures, close contacts with Buddhist temples, and participation in the creation of Zen poems. His emotional space and spiritual freedom have been greatly expanded in the subtle influence of Buddhist "realm thinking", thus achieving his "vertical and horizontal" theory of "realm thinking" As Chen said, "Wang Changling and others actually transformed the realm of Buddhism into the realm of poets." (1) Zhang believes that, due to the Buddhist vision, Wang Changling's Poems put forward the "Three Realms Theory". ② Wang Zhenfu also said: "It is no accident that Wang Changling's poetic style constructs the theory that his poems have three realms, especially artistic conception, with Buddhist cultivation." (3) Wang Changling combined the thinking of "image" with the thinking of "environment", and advocated that "image" should be the core to form "vertical and horizontal changes" and form three aspects of "emotion", "meaning" and "image", which he called "environment thinking". The resulting "physical environment", "situation" and "artistic conception" reflect the unique effect of "thinking about the scene" and show the historical turning point of poetic artistic thinking. In the history of China's aesthetic theory, Wang Changling's theory of "homesickness" has a milestone significance.
Regarding Wang Changling's contribution to China's poetics, scholars in the past mainly paid attention to: 1. the formation of Wang Changling's thought; Second, the word "artistic conception" is put forward and its value; Third, the connotation and relationship of "three environmental theories". In fact, the purpose of paying attention to an individual is to discover his historical value. The generation of an idea or the change of thinking mode is often more important than the formation of a concept. This paper holds that Wang Changling's theory of "artistic conception" is certainly a great contribution, but his exposition of "vertical and horizontal" and "thinking in context" of poetic artistic thinking has formed the basic thinking mode of China's poetry, which is characterized by spiritual freedom and emphasizes the free expression of the subject's emotions. This is a spiritual horizontal transcendence of China's aesthetic thought with a historical span, and its value is far greater than the value of the concept of "artistic conception".
First, Wang Changling's aesthetic theory of "emotion" and "environment"
Comparatively speaking, Liu Xie's richest theory of "emotion" is "climbing high and watching the sea with emotion" (meditation), but his romantic "emotion" is loaded with heavy connotation of "ambition". Of the two, Liu Xie emphasized the social purpose of the mind, while Wang Changling emphasized the freedom of individual emotions, and the latter was more inclined to "dominate emotions". Shuowen said: "ambition, meaning also"; "Love, people's yin desire is also." It can be seen that "ambition" and "emotion" are essentially different. Wang Changling criticized Liu Gonggan's poems in Poems as "from beginning to end, only focusing on one thing, not as good as the ancients". It is emphasized that "poetry is based on ambition, the heart is ambition, words are poetry, feelings are in the middle and the form is in words, and then the book is on paper." There is a basic idea hidden here, that is, the emotions in words and books are on paper, not dominated by "ambition", but based on "fate", which is essentially an emotional liberation and spiritual freedom.
"I feel how far things are, very generous, and I miss them very much." (Poetry) This is Wang Changling's further explanation of "main emotion". He summed it up
The "Seventeen Potential" entered the poetic method, either flying down or slowing down; Or suppress first and then promote, or play hard to get; Or spread stories, or winding paths lead to seclusion; Or "thinking about the sentence" or "thinking about the sentence". Every kind of "potential" is the release of the energy accumulated by "emotion" and the response to "sex" of "emotion", which can be described as "fake things compare with images" and shows "sex" because of "potential". So he said, "Since ancient times, articles have been written from scratch, from nature and from gratitude. They are all unadorned, and the speech should be decent. " "Entertainment and resentment are all in the body, and then think about it and get its feelings." (Poetry) Wang Changling quotes poems about 150 times, mostly typical works that get feelings by feeling things, gain power by fate, guide feelings by potential, and release feelings to the extreme.
Wang Changling advocated "releasing emotions" and "bringing life to the environment", which fully affirmed the initiative and freedom of the subject's emotions. The so-called "environment" is an artistic imagination space with three-dimensional and aesthetic significance presented by "emotion" in the extension of time and space. Without the infiltration of emotion, all "things" are worthless. Therefore, he advocated that mountaineering water should be "leisurely" and "entertaining"; The process of conception should be "free" and "arbitrary"; When the interest comes, it will "screen out the affairs and fall in love full time"; The narrative process needs "dense forest lingering"; The mind has the immortal taste of "letting go of feelings". Most of the examples he quoted in the poem "Poetry" were to highlight the characteristics of "main emotion". For example, he quoted his own "Send it to the State": "I know how far you are, and I don't know how deep the clouds are." It can be said that indulging in the sea is not deep; "Farewell": "The spring river is sad to send the king, and the grass is fragrant." In fact, it is to send love and let the grass worry; "A Answer to Master Daifu's Wind": "The murderous look is stagnant, and the wind is sad and cold. Wandering four miles away, the wanderer is not happy. " It should be grief coagulation; "Give me a gift": "The wind is more sad than cicada." Feeling more attached to family and touching ghosts and gods; Wang Wei's poem "Cry for Yin Si": "It's cold in the suburbs, and you can't hear crying in depression. The sea of clouds is boundless and birds can't sing. " Crying cold makes birds stagnate; Yan Yannian's poem: "Far wind is sad, and thousands of miles hurt the body." Sad feelings wander endlessly; Compared with the situation of "Acacia River", the situation is unimpeded; Changling poem: "Mulberry leaves fall in the market, and owls crow in the fields. Every time something happens, I have a long way to go. " I deeply feel that things fluctuate with the wind. There are countless examples like this, all of which are "melodramatic" and "vertical and horizontal".
"Love" means the change from "image" thinking to "environment" thinking, which means the detachment from all utilitarianism, just like a wild horse without a rein, letting it run wild. "Love" should not only "surpass the image", but also "go to the ring". We should have both Qu Yuan's passion of homesickness and Zhuangzi's carefree mind. Zong Baihua said: "The creation of China's artistic conception requires both Qu Yuan's sentimental feelings and Zhuangzi's extraordinary ethereal spirit. Only touching can go deep into the hearts of all things, the so-called' entering the ring'; Super ethereal, you can be like a flower in the mirror, a moon in the water, a gazelle hanging from the horn, without a trace. The so-called' super image'. " This is what Wang Changling said: "It is better to use words than shapes, to use gas than to use gas, and to use potential than to use God." Because "God" is the freest and truest, and also the most nervous and restrained. Taking "God" as the line, you can be far and near, and you can go in and out freely, and you can rise and fall. Therefore, Wang Changling further proposed: "Restrain, forbid and declare feelings without reason". This is obviously a strong challenge to the rope of "expression stop ceremony" On the basis of Zhong Rong's "Emotion-based Poetry" and Liu Xie's "Wandering between God and Things", this proposition clearly advocates emotional liberation and spiritual freedom in theory, which puts forward a new lyric scale for the emotional aesthetic realm of poetry, which is rare in the history of ancient China poetics.
The understanding of "main emotion" can also be compared from Wang Changling and his comments on "Fu", "Bi" and "Xing";
Zheng Xuan, a Confucian scholar in the Han Dynasty, said: "Fu Zhi's words are passed down, and the good and evil of politics and religion are passed down directly; Than, see today's loss, dare not denounce, take metaphor; Xing, seeing the beauty of today, is too flattering, and persuade it with kindness. " ("Zhou Li Zhu")
Liu Xie's "Wen Xin Diao Long Bi Xing": "With comparison; Those who prosper will rise ","Fu Zhu ":"Those who give, pass on, pass on, gather, and write their aspirations in kind. "
Zhong Rong's Preface to Poetry: "The text is full of meaning, and it is also full; Because things are metaphorical, they are better than others; Straight books, fable writing, and fu also. "
Wang Changling's poem: "The order of heaven and earth is called the wind. Under the above influence, unhealthy trends are still rampant. It is windy in spring and cold and windy in autumn. It is said that the monarch and the minister should not underestimate the wind. " "The giver is mixed with everything, which is a blessing." "Compared with reality, it is false, such as' Guan Yu'."
Zhu's Biography of Poems: "The giver is the truth of Chen Qi. Compare, compare this thing with another. When you are excited, just say something else that will make you say something. "
Hu Yin, who was roughly contemporary with Zhu, said: "Those who study poetry must divide their meaning. Such as Fu, Bi and Xing, there are many ancient and modern theorists, but Li from Henan is the most important. It is said that the narrative of things is endowed with words and feelings, and feelings are everything; Seeking things is the ratio of pleading, and affection is attached to things; Touching things with emotion is called prosperity, and those who have feelings are also. " (Volume 8 of Wen Ji, Volume 3 of Stubborn Learning, and Volume 1 of Yi Yuan's Last Words by Wang Shizhen are all quoted. )
Among the above annotations, Zheng Xuan's annotation is a thorough "enlightenment" theory; Liu Xie pays attention to literary talent and "writing books with things", and has a strong atmosphere of Confucian classics; Zhong Rong's "expressing ambition with things" tends to be "predestined love"; Wang Changling put aside "expressing ambition" and talked about "the name of heaven and earth is called the wind", highlighting "letting love" and "vertical and horizontal", and also put forward that "the monarch and the minister should not underestimate its wind"; Zhu further turned to "regulating qi" with things and things; Hu Yin, on the other hand, more clearly affirmed the aesthetics with "emotion" as the core.
Their notes show that since Wang Changling's poetics, the flavor of ambition theory has gradually weakened and disappeared, and the trend of emotion theory has gradually risen, becoming the main category of poetics and the core task of "Fu", "Bi" and "Xing". It can be seen that the acquisition of emotional freedom takes time and requires the gradual breakthrough of countless theorists. Wang Changling's theory of "thinking about environment" is a brand-new beginning. Huang Baozhen believes: "Poetics is still in the development stage as a vassal of Confucian classics, and it was not until Zhong Rong's poems came out that poetics was independent from Confucian classics." ⑤ Wang Changling's theory of "letting go of emotion" and "vertical and horizontal" did give an independent aesthetic interpretation of "emotion" in theory, emphasizing the free expression of the subject's emotion, which marked the formal emergence of "scene" theory as an artistic aesthetic theory and became one of the basic characteristics of "artistic conception" theory. As Qi Zhixiang said: "Although the discussion about the theory of" situation "has a long history, the two concepts of" emotion "and" situation "were put forward in pairs ... from the Tang Dynasty. Judging from the available data, Wang Changling's poems first put forward this theory. "
Emotional freedom is the premise that emotions can be vertical and horizontal, and vertical and horizontal emotions are the necessary conditions for creating artistic conception. In Wen Xin Diao Long, Liu Xie elaborated on the relationship among "sentiment", "sentiment" and "sentiment words", while Wang Changling put forward the concept of "scenery words" on the basis of "releasing sentiment", from which Wang Guowei's "Ci on earth is sentiment words" came. Wang Changling's theory of "environment" is based on emotional freedom, which is a major breakthrough in artistic thinking of the theory of "emotion and things" in Wen Xin Diao Long.
Secondly, Wang Changling's aesthetic theory of "environmental thinking" and "material environment"
Wang Changling put forward and expounded the theory of "homesickness" and "homesickness" from the perspective of "landscape poetry". As the fusion of emotion and object, image is no longer a concrete and real object. The connotation of Liu Xie's "image" was completely obtained in Wang Changling's ideological system.
Inherit. For example, there are some expressions in the poem, such as "Long-term careful thinking, lack of imagery", "Four Seasons", "Looking for imagery", "Fake things are not as good as the real image, looking for imagery", "Don't be empty but look at the real image", "The article is a landscape, and looking for imagery is the basis, depending on its imagery", which shows that Wang Changling not only emphasizes "imagery", but also ". At the same time, he combined "image" with "environment" and put forward the concept of "environmental image", which is called "understanding environmental image, so it is similar" (poetry). It can be seen that Wang Changling's "scenery" and "things" are no longer ordinary "tangible" but "images" and "environmental images", which are abstract visual aesthetic objects, three-dimensional realms with "images" as the core, and rational material aesthetic categories beyond inertia. They are impacted by emotional fluctuation and inspiration, and contain independent personality and thoughts. Lu Shiyong said that "the image of Changling is deep" (General Theory of Poetry Mirror) is reasonable. Therefore, it can be considered that "image" is another sublimation of "image" in aesthetic theory.
Wang Changling's theory of "image" does not stop at inheritance, but advocates taking "image" as the origin, expanding "vertical and horizontal meaning" and "arbitrary vertical and horizontal change" and seeking a broad imagination space. After thinking vertically and horizontally, starting from "one thing" and "one image", he develops multi-dimensional association and imagination in the form of radiation, and constructs a multi-dimensional, three-dimensional and infinite aesthetic space spread by "things" and "images" in time and space, which is what he calls "material environment" or "images". He said:
As for everything, it is light and worth thinking about at this time. The scenery must be like the four seasons. Look at it in spring, summer, autumn and winter, open at any time. Take it, you must be calm and cautious when using it. When you see it, you enter your heart. The heart is connected with other things, and things are connected with words. You must say what it looks like. Words must be in the sky and the sea, and everything is accepted. At dawn, the scenery far and near and the wonders in secluded places must be arbitrary. If you want to write a composition, write on impulse. ("Poetry")
Wang Changling believes that the conception process of "material environment" is "environmental thinking". From "as for a thing" to "scenery" is a process of thinking: "scenery must be like four seasons", which shows that "scenery" as a "shape" must have a sense of time and space, in which people can move and their feelings can flow freely. This is the process of "framing"; At the same time, according to the "colors of spring, summer, autumn and winter", we should "do business at any time" with "similarity", and we should calm down, see things into our hearts, and achieve "the heart communicates its things", which is the process of "taking meaning" Then there is the poetic process of "material environment": "words must be like scenery", and language "must be within the sky and the sea, and all are contained within the square inch", which has the ability to contain the universe. As for "the scenery near and far, the wonder in the secluded place", we must "start at will" and "act on a whim". On this basis, Wang Changling put forward "poetry is thoughtful":
"Yue thought, two feelings, think twice. Kenichi Long-term use of ideas, not images. Exhausted strength and wisdom, calm down and think. Heart accidentally according to the environment, spontaneous. Feeling two. Probe into the preface, satirize the ancient system, and feel it. Three thoughts. Search for the image, the heart enters the realm, and God will be in things and learn from it. "
"Life thinking" originates from the subject, which is to give full play to the initiative of the subject's thinking wisdom and realize "mood" through "careful thinking"; "Feeling thinking" takes law from history, which is to "ponder" the aesthetic experience of predecessors in order to gain enlightenment and understanding; "Thinking" to understand the object is to "find" the intersection of mind and environment, God and things from the aesthetic object, arouse the autonomy of mind and get the main inspiration. Through "thinking twice", we can realize the combination of "mind" and "environment", and enjoy "spirit" and "things". People are in the "environment" and their hearts are in the "environment". This kind of "vertical and horizontal meaning" based on "image" thinking is constructed into a three-dimensional thinking space in the external form of "physical environment", that is, "image environment", which is the aesthetic result of "environment thinking". Here, there are not only things in the environment and feelings in the environment, but also images outside the image and things outside the image. Wang Changling used the concept of "things" in a measured way, such as things, scenery, everything, things to be, things to be attached to, things to be found, things to be sensed, things to be heard, and things to be around. So, Wang Changling's explanation of "material environment" is:
Physical condition one. If you want to be a landscape poem, Richard cheung kuen's Shi Yunfeng scenery is beautiful, beautiful, and God is in your heart. Being in the environment, seeing the environment in your heart, holding it in your palm, and then understanding the environment with your mind, you get the shape. ("Poetry")
The "physical environment" includes three levels: physical and mental "entry", physical and mental "integration" and physical and mental "accommodation". It is an open and free spiritual and emotional world. "Being in the environment, regarding the environment as the heart" is consistent with "the heart is in the environment, and God is in things", which is actually the realm of "everything is for me" as Zhuangzi said. Ran Ying is in the palm of your hand, and then you understand the image of the environment with your thinking, so you get the shape. This shows that the material environment is condensed in the environmental thinking, and it is a spiritual realm that is felt, transformed and melted by emotions, and there is only similarity between things and emotions.
There are many descriptions of "material environment" in Wang Changling's poems. For example, "if you climb to the top of the mountain, you will face everything, such as in the palm of your hand." Look at the image like this, look at it in your heart and use it here. "The" Vientiane "here is actually what he called the" material environment ",which is actually an" environmental image ". Compared with Liu Xie's "full of emotions" and "overflowing the sea", this thinking of freely controlling time and space highlights the independence of aesthetic feelings. "Other mountains are dwarfed under the sky." "; " The faint scenery and the weather at four o'clock are arranged according to the meaning, so there is an order, and both of them are wonderful to say. It shows that the "material environment" has both the landscape in space and the weather in time, and it is a whole that "things" and "meaning" are integrated, and it is a "wonderful environment" with "order", which opens up a three-dimensional thinking space that is suddenly enlightened. Fu's poems, like the four seasons, also reflect personnel and language, indicating that "human environment" and "material environment" also belong to the category of "material environment", and sublimate the philosophical thoughts of "the unity of things and me" and "the unity of man and nature" into a unique aesthetic realm. Jiao Ran integrated Wang Changling's "three realms" into "artistic conception", and its framework was based on "the realm of objects and images".
Wang Changling's "foreign atmosphere" and "foreign atmosphere" are concrete explanations of "physical environment", which in essence refer to "foreign atmosphere environment" and "foreign atmosphere environment". It can be seen that "contextual thinking" is another breakthrough of "imagery" thinking in Wang Changling's Wen Xin Diao Long.
Third, Wang Changling's aesthetic theory of "vertical and horizontal" and "artistic conception"
On the premise of "free love", Wang Changling further advocated "arbitrary vertical and horizontal". He said in the poem "Ge": "Ge, meaning also. It means high and it means low. " He also said, "Meaning means regulation, sound means law, meaning is high, regulation is high, sound is clear, regulation is complete, and then there is a tone." The intention is above the ancients, then the realm of heaven and the hole are considerable. He advocated that "high meaning" should be "higher than the ancients" and become "heaven realm". This infinite realm beyond history and reality and time and space is what he calls "artistic conception". At present, there are disputes about Wang Changling's "three realms" relationship, which are mainly manifested in the viewpoints of "juxtaposition" and "hierarchy". This paper holds that Wang Changling's "artistic conception", "material environment" and "situation" are both juxtaposed and hierarchical.
Artistic conception, as a coordinate relationship, is equivalent to the meaning of artistic conception in poetry, including artistic conception, but mainly expounds the relationship between artistic conception and scenery. The explanation of "material environment" quoted above is an example, which further proves his explanation of "situation" and "artistic conception":
"The second situation. The troubles and grievances of the entertainment circle are all in the body, and then think about it and get your own feelings. Artistic conception three. It is also a meaningful thing, and you will understand it when you think about it. " ("Poetry")
In Wang Changling's view, "situation" and "artistic conception" have their own places. They are all "interested", but the former is "being" and the latter is "thinking". The former is "getting the feelings" and the latter is "getting the truth". The key to the connotation of Wang Changling's "artistic conception" lies in "attaining the Tao", which is the essence of our understanding of Wang Changling's concept of "artistic conception".
"Truth" is truth, philosophy and true meaning. Wang Changling's "artistic conception" is a philosophical poetic realm that combines "scenery" and "reason" into "realm", that is, the so-called "poetry is intentional and eloquent, and the light is absolutely ancient." Since it is called "artistic conception", Wang Changling put forward "putting reason into the scene", "putting the scene into the situation" and "putting the sentence in the heart" in the Seventeen Trends. The first two are naturally the relationship between reason and scenery. "Those who fall into the sentence at the heart stage have a certain period." "The heart has a certain period" can be understood as various wishes and also contains "ambition", but it is broader than "ambition". Therefore, the combination of "reason" and "scenery" becomes "artistic conception", which is beyond the theory of "poetry expressing ambition"
As far as the relationship between reason and scenery is concerned, before Wang Changling, there was no so-called "poetry expressing reason", and the "ambition" of "poetry expressing ambition" focused on "ambition" and was more about education. The annotation and development of "Fu, Bi and Xing" have always been vague, and the position of "poetic theory" can't be seen. The "reason" in Wen Xin Diao Long has several meanings: first, it is natural reason and divine reason, such as "the classics of emotion, the latitude of reason in speech" (emotion) and "emotion speaks form, reason speaks text" (style). Second, it refers to "righteousness", which mainly refers to the "righteousness" of "image" in Zhouyi and Wang Bi's "meaning", and thinks that everything is in Zhouyi.
The third refers to the meaning of "rules" and "rules". In Wen Xin Diao Long, there are "skillful in arts and sciences" and "fluent in reason" (Jing Zong). "Sanctification" says that "knowledge is three-dimensional" and "essence is literature". "Thinking" also has "heart response". These are "principles" that need to be understood, mastered and followed. Liu Xie talked more about feeling, art and thinking. However, he believes that whatever has the meaning of "law" and "rule" is "divine rationality" and "natural rationality". Fourth, it refers to reasoning and argumentation. There are "reasoning based on facts" in essays, "reasoning based on truth", "general reasoning" and "reasoning" in historical biographies, various scholars, arguments and events, which mainly refer to the narrative and argumentation of applied styles. Although Li Sao is highly praised by Liu Xie, it does not clearly put forward the aesthetic relationship between "reason" and "scenery", because "every poet's work has its own criticism" (poem). Wang Changling combined "reason" with "scenery" and put forward the concept of "artistic conception". Zong Baihua said: "Artistic conception is not a natural reproduction of a single plane, but a deep creation of a realm. "It can be seen from three levels: the shaping of intuitive feelings, the communication of active life and the revelation of the highest spiritual realm." ⑦ Wang Changling's "artistic conception" is different from the later "artistic conception", but his theory of "thinking about the realm" highlights the emotion of "reason" in "realm" and strengthens its artistic aesthetic significance.
"Vertical and horizontal meaning" was put forward by Wang Changling in "On Artistic Conception", and the concept of "vertical and horizontal meaning" was used many times. For example, "the meaning must matter, and then change vertically and horizontally", "you must not always do vertically and horizontally" and "you must change the number of revolutions vertically and horizontally". He advocated that "whenever you conceive a poem, it is a dangerous job, and there is no need to be afraid." This shows that Wang Changling not only advocates "vertical and horizontal" emotional freedom, but also advocates "vertical and horizontal" freedom of reasoning with words. This requires transcending all psychological constraints, especially getting rid of the shackles of political and moral spirit, having extraordinary courage and courage, and more importantly, having a realm that transcends everything. Wang Changling's following two paragraphs further illustrate this point:
My husband writes articles, but he has many ideas. Let the left stab the right point, suffering wisdom. You must forget about your body and be free. If you don't come, you must let go of your feelings but be lenient, so that the situation will arise. ("Poetry")
When a husband makes up his mind to write a poem, he must concentrate on it, witness it, and then hit it with his heart and go deep into its territory. ..... ("Poetry")
Contemporary people generally only absorb and judge this theory as an aesthetic theory, but from the political point of view at that time, this extraordinary "vertical and horizontal meaning", like Qu Yuan's Li Sao, inevitably has the risk of "losing to the original school".
The meaning of "vertical and horizontal" also needs the help of scenery, based on "image" and expanding the thinking space of "reason" through "letting go of feelings". Therefore, Wang Changling expounded "potential" and "body" respectively. He said that people who "put reason into the scene" should "put reason into the scene all the time", "the scene and reason are incompatible, the reason is tasteless" and "the scene language should be put into the reason language". It is required that "far and near scenery, secluded wonders, must be arbitrary." But at the same time, we should be "inspired by nature and grateful." He also believes that "thing" and "meaning" can't just be a patchwork of shapes, but should be "words, things and meaning, which are interdependent." He said: "I want to go out of the territory of ten thousand people and look under the grid of the ancients to save the sky and the sea." It is necessary to form a physique of "broad and far-reaching, seeing the big from the small". It is unprecedented to expound the aesthetic relationship between reason and scenery from different angles. At the same time, Wang Changling put Gog at the top of five tastes: Gog, quaint, leisurely, deep and immortal. In the "poetry has three gains" of "getting interest", "getting reason" and "gaining momentum", "getting reason" is the core. It can be seen that Wang Changling's artistic conception based on reason, like material environment and situation, has the same and comparable aesthetic realm and consistent aesthetic taste. Antique thought: "The artistic conception here is actually a rational environment. The object of' Li Jing' is not the general meaning, but the profound meaning of' what is in my heart'. " Of course, it is too absolute to say this today, but it can be concluded that the subject of Wang Changling's "artistic conception" is "artistic conception". It can be said that Wang Changling's most outstanding contribution to the theory of artistic conception is that he formally expounded reason and scenery as an aesthetic category, highlighting their aesthetic characteristics, which is another new breakthrough of Wang Changling's artistic thought.
As a hierarchical relationship, the "three realms" in Shi Ge have signs of mutual crossing and tolerance. The "realm" is due to the release of emotion, the "physical realm" is the unity of mind, and it is the mutual travel between God and things. The "artistic conception" is also "enlightened by the mind and thought by the heart", and the "three realms" have something in common, all of which are rooted in the "mind", swimming in the "things" and formed in the "realm". The former becomes the basis of the latter, and the latter contains the meaning of the former. However, this logic in Shi Ge is vague and ambiguous, which shows that there is a "parallel" and contradictory relationship between the three, which is also the logical limitation of Shi Ge. This contradiction was finally solved systematically by Jiao Ran. With the help of Zen, truth and falsehood, Jiao Ran systematically integrated the "three realms", took "image" as the spirit, integrated the "three realms" and unified emotion, reason and meaning, making the theory of "artistic conception" a stereotyped framework system. Si Kongtu's "four views" and Wang Guowei's "realm" are the continuous expansion and perfection of Jiao Ran's artistic conception theory.
In a word, Wang Changling unified the thinking of "image" with the thinking of "environment", so that "image" and "environment" were integrated, and he founded the theory of "environment thinking" and advocated the thinking of "letting go of feelings". He initiated the aesthetic thinking of "emotion", "image" and "meaning" in the history of China's poetry theory, which is far more valuable than the word "three realms" he proposed. As Cai Zhenchu said, this "has epoch-making aesthetic significance in the history of China's literary poetics criticism".
Contextual thinking is the aesthetic thinking method of artistic conception, the blending of mind and scene is the aesthetic feature of artistic conception, and vertical and horizontal is the aesthetic imagination space of artistic conception. "Thinking about the environment" also includes aesthetic theories such as "taking the environment" and "interest orientation". It can be said that Wang Changling's unprecedented "open" artistic thought in his "Thoughts on the Scenery" promoted the development of poetry creation and poetry theory throughout the Tang Dynasty and beyond. Although the theory of "artistic conception" has been continuously integrated, excavated and explained by later generations, the connotation of "artistic conception" has been gradually enriched, and the aesthetic space has been continuously extended, which has developed into the core category of China's poetic aesthetic theory, and then gradually extended to other artistic fields such as music, painting and architecture. , but the thinking system has never been divorced from Wang Changling's "thinking about the environment" theory.
I hope I can help you!