At the foot of the southern hillside, there is my bean field, which is overgrown with weeds and the bean seedlings grow sparsely. Get up in the morning to clear the weeds in the field, and go home to rest under the stars and the moon. Vegetation covered the narrow road home, and the dew at night wet my rough coat. It's a pity that clothes are wet, as long as they don't go against your will.
I planted beans at the foot of Nanshan, and the weeds in the field were covered with peas.
These two sentences are about planting beans in Nanshan, with lush grass but sparse bean seedlings. The first sentence is very plain, just like an old farmer standing there talking, which makes people feel very cordial.
Get up early in the morning to get rid of weeds, and come back with hoes in the moonlight at night.
In order not to make the bean field barren, the poet went to the fields early in the morning and came back in the moonlight at night. Although it was hard, he didn't complain, which can be seen from the beautiful scenery of "the moon and the lotus returning home".
The narrow path covered with vegetation, the night dew wet my clothes.
It's not a pity to get wet, but I hope it won't be against my will.
The road is narrow and the grass is long, but the clothes are wet. What's the pity? This sentence seems dull, but this kind of dullness just reflects the ending sentence "but I don't want to violate it", which makes "I don't want to violate it" fully emphasized. The "wish" here contains the meaning of not losing yourself in the dirty real world.
The language of this poem is very plain and natural. "Planting beans in Shannan" and "Dew on my clothes" are all random, without any modification. This natural and simple poem is integrated into the artistic conception of the whole poem, which turns spoken language into poetry, harmoniously unifies simple spoken language and poetic mellow beauty, and forms the artistic characteristics of Shi Tao's simple and mellow beauty.
Tao poetry is plain and interesting. The interest of Tao poetry comes from freehand brushwork. "Go home with the moon hoe", the poet who returned from work is alone, but accompanied by the bright moon. The poet under the moon walked through waist-deep grass with a hoe on his shoulder. Returning to the countryside on a moonlit night, what a beautiful picture! It is full of the poet's happy mood and seclusion pride. The plain language of "planting beans in Nanshan" and the beautiful sentence of "bringing lotus home in the moon"; The first sentence is real, and the last sentence is empty. The whole poem is soft and perfect with the mutual complement of simplicity and reality.
Poems with four seasons
In the dead of winter, spring water overflowed fields and Shui Ze.
Clouds in summer are unpredictable, mostly like Qifeng.
The autumn moon is bright, and under the bright moonlight, all the scenery is covered with a layer of blurred colors.
In winter, a pine tree on sorghum shows great vitality in the cold.
With the help of scenery, the poet praises nature, exaggerates the atmosphere, expresses personal feelings and exposes social darkness, which fully demonstrates the lyric function of poetry and creates an artistic conception different from social turmoil and ill-fated with natural and simple language.
Some people say that this poem is Gu Kaizhi's "expressive poem"
Gu Kaizhi's "Expressive Poetry"
Spring waters are all over the ocean, and Xia Yun has many strange peaks. The autumn moon is bright and the winter ridge is solitary and loose.
Appreciation of Gu Kaizhi's Lyric Poems
The spring water is full of four rivers, and Xia Yun has many strange peaks. The autumn moon is bright and the winter ridge is cold and loose.
In the old paintings, the scenery of the four seasons in spring, summer, autumn and winter was painted into four screens hanging in a room, which made people see the scenery of the four seasons at a glance, and also reflected the painter's means of depicting nature and his subtle observation. Gu Kaizhi was a great painter in Jin Dynasty. He was immersed in art and even went crazy, so people called him "Gu Chi". This "Poem of Expression" is a group of typical four-season scenery paintings with vivid words, which shows his true colors as a painter. Let's look at the images in his paintings first.
The river is as green as blue in spring. When the spring breeze blows away the ice and snow in the dead of winter, a spring water brings people the information that spring is coming back. Therefore, the ancients had famous sayings such as "The Prophet of Warm Duck on the Spring River" (Su Shi) and "An Evil Spring Water Surrounds the Moon" (Wang Anshi). Especially in Jiangnan water town, when the spring rain is crisp, the ditches in the four fields are full of water, and the fields and Shui Ze are moist and vast, while poets and painters are. Summer is unbearable, and the days in midsummer make people feel dignified and dreary. The scenery in summer is heavy and monotonous, but the poet turned his attention to the unpredictable clouds in the sky. Xia Yun sometimes collapses and condenses, and sometimes runs away, like a strange peak rising abruptly. The light and shadow, colors and lines, forms and states are constantly changing, which makes you dazzled and fascinated. It is said that Huai Su, a great calligrapher in the Tang Dynasty, once said, "I saw many strange peaks in summer, so I should always learn from them." From this, we can understand the mystery of calligraphy and show the charm of Xia Yun. Autumn is naturally an unforgettable season, but the most fascinating thing is the bright night of the autumn moon, and the cool wind blows from afar. Under the moonlight, all the scenery was covered with a hazy color, and the painter's pen was difficult to describe, while the poet told the whole story with the words "autumn moon shines brightly". Winter is stifled by cold weather. However, a pine tree on the high mountain not only adds a little vitality to the world wrapped in silver, but also reminds people of the famous saying of ancient philosophers, "It's cold before you know that pine and cypress are withered", which gives people unlimited room for reverie. Poets are like photographers who are good at shooting typical images. Just press the shutter gently and the four seasons will be included in the scale. Only twenty words are used here, and four vivid pictures are outlined.
Gu Kaizhi's painting theory emphasizes verve, but it is not divorced from the fidelity of form and image. He once put forward the famous thesis of "Writing God in Form" (Volume 5 of Famous Paintings of Past Dynasties), and thought that the expression of spirit could not be separated from the basis of writing form. In Shi Shuo Xin Yu Joey, it is said that he is good at drawing characters, but he hasn't made the finishing point for several years. Someone asked why, and he replied, "Four-body beauty is just a vivid portrayal, which is being blocked." It can be seen that he believes that the essence of painting is "vivid portrayal", which requires both form and spirit. Let's look at this little poem, which is a typical example of "writing God in form". All four sentences are vivid and true scenery. However, it is through these typical landscapes that readers appreciate the spirit of the four seasons. The scenery written by the poet is full of vitality and gives people positive inspiration, such as summer and winter. As far as seasons and climate are concerned, they often can't cause people's pleasure. However, the phrase "There are many strange peaks in summer" has given us an infinite imagination space, not to mention the unpredictable beauty of Xia Yun, which is the association of life like wild dogs and white clouds, making people forget the opportunity to rest. Another example is the pine trees on the mountain in winter, which stand proudly against frost and snow, obviously symbolizing the spirit of being proactive and fearless. Even the words "Yang" such as "the autumn moon is bright" and "Xiu" such as "Winter Ridge and Cold Pine" can vividly turn static into dynamic, giving life and charm to natural scenery. In short, through these four landscape paintings, we see the spirit of nature and the spirit of the author. Therefore, although this poem is purely a landscape painting, its aesthetic significance can be recalled with the theme of "performance".