Xiao Yan's literary talent in poetry and fu is also outstanding. During the reign of Emperor Wudi of the Qi Dynasty, the atmosphere of poetic creation flourished, and many scholars gathered around Xiao Ziliang, the king of Jingling, to show their talents in poetic creation. Among these scholars, there are eight famous scholars, such as Xie _, Shen Yue, Ren _, Fan Yun and others, who are called Eight Friends of Jingling at that time. Xiao Yan is also one of the eight friends of Jingling. Many of his poems were written during this period. After Jianliang proclaimed himself emperor, he never lost his element. He often recruited scholars and took poetry as his pleasure. His literary creation promoted the prosperity of literary atmosphere in Liang Dynasty.
There are more than 8 existing poems of Xiao Yan, which can be roughly divided into four categories according to their contents and themes: love poems, poems about Zen Buddhism and Taoism, poems about giving answers at banquets, and poems about objects. Xiao Yan's love poems are concentrated in the new Yuefu poems, also known as quasi-Yuefu poems, accounting for almost half of all his poems. Yuefu is an ancient official department in charge of music. According to scholars' research, there was a music official in the Zhou Dynasty at the latest, which was called Dasi Music, and it began in Qin Dynasty to take Yuefu as the name of the music official. In the Han Dynasty, Emperor Hui of Han Dynasty had the post of Yuefu Order. During the reign of Emperor Wu of the Han Dynasty, the nature and scale of Yuefu were quite different from before. At that time, Yuefu not only produced music movements and trained musicians, but also widely collected folk songs to sing with music. All the songs produced and collected by Yuefu institutions, as well as poems written by scholars on Yuefu topics, are called Yuefu poems or Yuefu in later generations. Among them, folk songs are the most lively part of Yuefu poems.
During the Wei and Jin Dynasties, Yuefu stopped collecting folk songs, and Yuefu poems at that time also showed an increasingly elegant tendency. In the Southern Dynasties, the folk songs with new and different styles in the south of the Yangtze River once again attracted the attention of the upper class. Through the collection and singing of Yuefu institutions, it had a great influence on the literati's poetry creation. Because of the theme, content and delicate and beautiful style characteristics of Jiangnan folk songs, they adapted to the ruling class's love for melody and sound at that time, so they were widely simulated.
when Xiao Yan was appointed as the secretariat of Yongzhou and lived in Xiangyang, he was very fond of local folk songs. Many of his poems, such as thinking about trees and approaching a high platform, were created at this time. Even after he proclaimed himself emperor, Xiao Yan's interest in Yuefu poetry remained unchanged. In the eleventh year of Tianjian Prison, he personally changed western music, and made fourteen pieces of Yunle in Jiangnan and seven pieces of Nongnan in Jiangnan, which shows the degree of his hobby addiction.
Like Yuefu folk songs, Xiao Yan's Yuefu is also a love song, mainly for women. Most of his poems describe women's longing for love, their feelings of leaving lovesickness, their lingering feelings, their beautiful style, their plain language and their strong flavor of Jiangnan folk songs. If a year leaks away, Wan Li people will not return. Your ambition is inherent, but my drive is helpless. ; Grass trees are not fragrant, and flowers and leaves are colorful. Send a message to an old lover, knowing that my heart remembers each other. Wait. Mr. Zheng Zhenduo thinks that Xiao Yan's new Yuefu poems are the most charming and lovely. There is some truth in this statement.
What deserves special attention is Xiao Yan's seven-character poem. Xiao Yan has more than ten Yuefu poems written in the genre of seven-character lines, such as the song of water in the river, the song of Shrike flying east in Jiangnan and so on. Among them, the most famous shrike song is flying east: flying shrike west and flying swallows, and Huang Gu meets the weaver girl. Whose daughter lives opposite the door, opens her face and shines brightly. The south window and the north _ hang bright light, and the curtains are fragrant. This year, the woman will be fifteen or six years old, her figure is slim, and she is beautiful, white and beautiful. But the three spring has passed, the flowers have withered at the end of the day, the daughter, although lovely, but not the husband's family, so beautiful, who love and compassion? The creation of seven-character poems began with Cao Pi, the Emperor of Wei Wen. His Yan Ge Xing is the oldest and most complete seven-character poem of literati. Since then, Bao Zhao, Tang Huilin, Shi Bao Yue and others in Song Dynasty and Qi Dynasty have also published such works occasionally, but the influence is not great. It was not until Xiao Yan that the seven-character poem developed further. Although Cao Pi's Yan Song is a pioneering work, the whole poem rhymes sentence by sentence, which seems monotonous and lacks the interest of euphemistic chanting. Liang Wudi's seven-character poem is original, with the interchange of rhyme and rhyme. Since then, imitators have appeared everywhere. His sons Xiao Gang and Xiao Yi, ministers Shen Yue and Wu Jun all wrote seven-character poems. By the time of Chen Dynasty, the sentence pattern and structure of seven-character poems were more perfect and the rhythm was more harmonious. Later, Li Bai, Du Fu, Gao Shi and others in the Tang Dynasty creatively used this poetic style to write many magnificent poems, and the seven-character poems developed even more. The pioneering work of Xiao Yan and others cannot be denied.
The number of Xiao Yan's poems about Zen Buddhism and Taoism is second only to his Yuefu poems. He believed in Buddhism in his early years and became a Buddhist in his later years. His poems about Zen Buddhism are a self-portrait of his belief in Buddhism. These poems, like proverbs of religious philosophy, are very boring and have no art at all.
Xiao Yan's third kind of poems are poems about giving answers at banquets, which are more complicated than the first two kinds of poems. There are works that show religious philosophy, preach Buddhist thoughts and persuade ministers to believe in Buddhism, such as visiting Zhongshan and loving the temple and giving new ideas to Jiang Ge. There are works about traveling and depicting scenery, such as the first summer Pan-Tianchi poem, going to the North Gu Lou, Tianan Temple Shupu Hall, etc. There are farewell poems, such as a reply to Wang Zhongshu's poems in the Zongji room of Ren Dian. There are many excellent poems of this kind, such as the boat and the guest, and the algae and apples go hand in hand. Bichi red lotus, white sand green ripples; The new wave blows the old stone, and the residual flowers fall off the old branches; Soft leaves are easy to come out, but dense grass roads are difficult to cover. Wandering around the Zhu Ming Festival, flooding the Tianyuan Pool. The poem has vivid scenery and colorful colors, which makes it quite attractive to read. Another example is: Lan Hua didn't talk about it, but he was worried about it, and he didn't talk about it, and his affection was attached to it. Writing about the deep and sincere attachment of friends when they leave is also a good work in farewell poems.
Xiao Yan's fourth kind of poems are poems about objects, such as poems about dancing, poems about candles and poems about pens. Although this kind of poetry is struggling to catch up with the new, its content is shallow and few people can praise it.
his gift to Yimin 11: if the ridge grows wood, there is no infidelity. Birds sing in the forest, and birds have different sounds. Such as You Jiang fish, fish have ups and downs. The rocky mountain is high and the water is deep. Deeds are easy to see, but reasons are hard to find. This poem shows that the nature and laws of things in the world are really hard to find by some incredible things, such as the disloyalty of trees, the strange sound of birds, the ups and downs of fish and the difficulty in knowing the height and depth of mountains.
Later generations of scholars did not have a high opinion of Liang Shi in general, and most of them thought that he was cynical about the wind and the moon, engaged in flowers and plants, had little wind and cloud, and had much affection for his children. The poets in Qi and Liang Dynasties lacked lofty ideals to save the world and serious social responsibility, so there were few works reflecting social reality and expressing their aspirations. At that time, the literary world was flooded with a large number of poems about landscapes, chanting things and erotic feelings. Xiao Yan's poetry embodies the characteristics of Qi Liang's poetry without exception in terms of subject matter, content and style. This, of course, has something to do with the long and affluent aristocratic living environment before he ascended the throne. Although he was a founding and entrepreneurial king, he had been in a high position and pampered before he ascended the throne, and he did not suffer too many blows; It only took more than a year to destroy Qi Jianliang, and it was very smooth. Therefore, it is not surprising that in Xiao Yan's poems, there are more sentimental words, fairy tales and spirits, less wind and cloud, and less words to express one's aspirations and make positive progress.
Because of Xiao Yanya's good poems, ministers have followed suit, and even a valiant warrior can occasionally sing a few good poems. After six years in prison, Liang defeated Cao Jingzong and Wei Rui in Xuzhou and Wei Jun. After the squad returned to Korea, Xiao Yan held a banquet in Huaguang Hall to celebrate their success. In the banquet, the monarch and the minister recited poems in succession. In view of Cao Jingzong's incompetence in poetry and prose, he was afraid that he would be embarrassed if he couldn't give poetry, so Zuo Fu, the minister in charge of arranging poetic rhyme, shot Shen Yue without giving him poetic rhyme. Cao Jingzong was deeply aggrieved and insisted on rhyming poems. Xiao Yan had long known about Cao Jingzong's unwilling personality, so he comforted him and said, The general is an outstanding talent, so why should he care about writing a poem? At that time, Cao Jingzong already had some drunkenness, so he repeatedly asked for it. Xiao Yan didn't want to spoil his fun, so he ordered Shen Yue to give him poetry. At this time, the rhyme has almost been divided, leaving only the words competition and illness. Under this limitation, it is very difficult to rhyme poetry. However, Cao Jingzong only thought for a moment, and then he wrote a poem: My daughter was sad when she went, and she came back to compete. Excuse me, how can a traveler be like Huo Qubing? The poem is written naturally and smoothly, and it is very suitable for the reality of the triumph in front of us. As soon as this poem came out, the language shocked four people, and the literati sighed from themselves, even Xiao Yan lamented, and the special historian was recorded in the national history.
under the influence and advocacy of Xiao Yan, the development of cultural undertakings in the Liang Dynasty reached the most prosperous stage since the Eastern Jin Dynasty. Li yanshou, the author of southern history, commented: Since Jiangzuo, it has been more than 2 years old, and the cultural relics are flourishing, which is unique in this area. This sentence can quite reflect the reality at that time.
Music Xiao Yan is also quite familiar with music. He has created many new songs. According to Sui Shu's Musical Records, Xiao Yan, being good at clock rhythm and knowing the past in detail, made his own rites and music. For example, it was advocated that Song and Qi used Chinese songs, and sixteen songs were used by the court. Xiao Yan went to four songs and left twelve, which was also in four seasons. More innovative song, to describe merit.
Xiao Yan has created many songs praising Buddhism, such as making good deeds, having fun, having fun, having fun, having fun, being immortal, having the Dragon King destroy evil, getting rid of official website, a shopping rabbit in love the water, and breaking bitter bricks, and so on, and so on, with ten titles called Zhengle, all describing Buddhism.
Xiao Yan attaches importance to rites and music. He is good at clock rhythm, and has created four quasi-tones, named Tong. Pass three strings every time to push the moon. He also made twelve flutes corresponding to twelve laws. Each tune is equipped with chimes and chimes, which enriches the expressive ability of Chinese traditional instrumental music.
Painting Xiao Yan likes painting very much, especially flowers, birds and animals. Zhang Sengyou, a well-known painter, is good at describing appearances, which is quite appreciated by Xiao Yan. At that time, Xiao Yan's philosophers were out of town, and Xiao Yan often missed them, so he ordered Zhang Sengyou to go to various counties to paint portraits of the philosophers and hang them in the bedroom. When Xiao Yan saw the picture, he saw his son, and his thoughts were reduced. Xiao Yan believed in Buddhism. During his reign, he built many Buddhist temples and pagodas, and also ordered Zhang Sengyou to paint.
Calligraphy Xiao Yan also has profound attainments in calligraphy, and can rank among the emperors who were good at calligraphy in ancient times. Even if he abandons his imperial status, judging his handwriting by the standard of a calligrapher has its own considerable points. Xiao Yan often discussed the topic of calligraphy with Tao Hongjing at that time, and Tao Hongjing was good at cursive writing, learning from Zhong You and Wang Xizhi. The dialogue between them was arranged as a discussion with Liang Wudi, which spread to later generations and became one of the classic books in the history of calligraphy. At the same time, Xiao Yan was also the first emperor in history who highly praised Wang Xizhi's calligraphy achievements. Before that, Wang Xizhi's reputation was often hidden by his son Wang Xianzhi. Because of his admiration, the first wave of learning King's calligraphy rose from the Liang Dynasty at that time. At the same time, Xiao Yan also left Zhong You's twelve meanings of calligraphy, cursive script, a book on Tao's seclusion, and comments on the pros and cons of ancient and modern calligraphers. Four works by calligraphy theory are all excellent works in calligraphy theory's ancient books.