"Deer and Chai"
No one can be seen in the empty mountain, but the sound of people's voices can be heard.
Returning to the deep forest, the light shines on the moss again.
"Zhuli Pavilion"
Sitting alone in the secluded bamboo, playing the piano and whistling loudly.
The people in the deep forest don’t know that the bright moon comes to shine.
Xinyiwu
Hibiscus flowers bloom at the end of the wood, with red calyxes in the mountains.
There is no one in the stream, and they open and fall one after another
Ambition
Wengjuan
One day in autumn, it is a cold and clear bay, with countless peaks far and near. between.
I was leisurely going up the mountain to see the wild water, and suddenly I saw green mountains under the water.
Jiangshang
Wang Shizhen
How is the road at the end of Wutouchu? The misty autumn has deep dark white waves.
I took advantage of the cold wave to cross the river in the evening, and there were many sounds of wild geese in the forest with yellow leaves.
.Spring
When spring comes, all things shine brightly----------The ancient poem "Long Song Xing" by Han Dynasty Yuefu
I don’t know who cuts the thin leaves, but the spring breeze in February is like scissors -------- "Ode to the Willows" by Tang He Zhizhang
The light rain on the sky street is as moist as crisp, but the color of grass looks far away but not up close. The most beautiful thing about spring is the willows that fill the imperial capital - Han Yu of the Tang Dynasty, "Early Spring Presents Zhang Shiba of the Ministry of Water"
Three or two branches of peach blossoms outside the bamboo are a prophet of the warmth of the spring river. -----------"Two Evening Scenes on the Spring River by Hui Chong" by Su Shi of the Song Dynasty
It is easy to recognize the east wind, and spring is always bright and colorful----Zhu Xi of the Song Dynasty "Spring Day"
The rain of apricot blossoms makes your clothes wet, and the wind from the willows blows on your face without chilling. ---------- "Quequatrains" by Monk Zhinan of the Southern Song Dynasty
Chaos The flowers gradually become more charming, and only Asakusa has no horse hooves. ――――Bai Juyi 〈〈Spring Tour in Qiantang Lake〉〉
The moonrise scares the birds, and they sing in the spring stream. ―――――Wang Wei's "Birdsong Stream"
The spring tide brings rain that comes late, and there is no boat crossing the wild river. ――――Wei Yingwu's "Chuzhou West Stream"
2.. Summer
The lotus leaves touching the sky are infinitely blue, and the lotus flowers reflecting the sun are uniquely red ―――Yang Wanli's "Dawn Out of Silence" Farewell to Lin Zifang from Ci Temple"
It rains every house during the Huangmei season, and frogs are everywhere in the grassy ponds----"A Visitor" by Zhao Shixiu of the Song Dynasty
Why do you need to regret that Fang Fei has gone away? The summer trees are so gloomy that they are pleasant ----------- Song Qin Guan's "Odd Titles on a Dark Sun in March"
The red and purple colors have turned into dust, and the sound of cuckoo is a new sign of summer --- ------ "Early Summer Quatrains" by Lu You of the Song Dynasty
3. Autumn
The setting clouds and solitary swans fly together, the autumn water is the same color as the sky ----- ---Wang Bo of the Tang Dynasty, "Farewell Preface to the Knee King Pavilion of Hongfu in Autumn"
The trees are all in autumn colors, and the only sunset on the mountains-------------Tang· Wang Ji's "Ambition"
The wind blows thousands of miles away to send the autumn wild geese, for which we can enjoy the high-rise building -------- Li Bai of the Tang Dynasty "Farewell to the Secretary Shu Yun at Xietiao Tower in Xuanzhou"
The howling autumn wind in August rolls up the triple thatch on my house---------"Song of Thatched House Broken by the Autumn Wind" by Du Fu of the Tang Dynasty
The cold autumn light of red candles paints the screen, lightly Luo Xiaofan flutters at the flowing fireflies. The sky is as cool as water at night, and I lie down to watch the Altair and Vega ----- "Autumn Eve" by Du Mu of the Tang Dynasty
The sky is blue, the leaves are yellow, the autumn colors are in waves, and the waves are cold Smoky Green ----------- "Su Mu Zhe" by Fan Zhongyan of the Song Dynasty
4. Winter
Suddenly like a spring breeze coming overnight, thousands of pear trees bloom ---------Cen Shen's "Bai Xue Ge Sends Magistrate Wu Back to the Capital"
The difference in the air can be planned by spreading salt, but it is not like the catkins blowing up due to the wind---------Jin· Xie Daoyun's "Snow Couplet"
The snowflakes in Yanshan Mountain are as big as mats, blowing down Xuanyuan Terrace one after another----------"Travel to the North Wind" by Li Bai of the Tang Dynasty
Thousands of Mountains Birds will fly away, and all traces of people will disappear. A man with a coir raincoat in a lone boat, fishing alone in the snow in the cold river. -------- "Snow on the River" by Liu Zongyuan of the Tang Dynasty
Who would cut and carve thousands of piles of snow from the flat ground to create this continuous ceiling -------- "Li Hua Er" by Han Yu of the Tang Dynasty "First"
When the six flying flowers come into the house, sit and watch the green bamboos turn into green branches---------"Dui Xue" by Gao Pian of the Tang Dynasty
5. Moon< /p>
A pot of wine among the flowers, drinking alone without any blind date. Raise a glass to invite the bright moon, and make three people in the shadows. ----Li Bai's "Drinking Alone under the Moon"
The moonlight shines brightly in front of the bed, which is suspected to be frost on the ground. I look up at the bright moon and lower my head to think about my hometown.----Li Bai's "Quiet Night Thoughts"
< p>Speechlessly, I went up to the west building alone, the moon was like a hook——Li Yu's "Happy Meeting"The bright moon was frightening at the branches, and the cicadas were chirping in the breeze in the middle of the night. ——Xin Qiji's "Moon over the Xijiang River"
The moon shines brightly in the Qin Dynasty and the Han Dynasty passes, and the people who marched thousands of miles have not yet returned. ——Wang Changling's "Out of the Fortress"
People have joys and sorrows, and the moon waxes and wanes. This is a difficult thing in ancient times.
——Su Shi's "Shui Tiao Ge Tou"
The spring breeze is green again on the south bank of the river. When will the bright moon shine on me again? ——Wang Anshi's "Boat Boating at Guazhou"
The moon is falling. The sky is full of cry and frost, Jiang Feng and fishing fire are facing melancholy.——Zhang Ji's "Night Mooring on Maple Bridge"
The bright moon rises on the sea, the end of the world ***At this time——Zhang Jiuling's "Looking at the Moon and Huaiyuan"
The sky is wide and the trees are low, the river is clear and the moon is close to people. --- Meng Haoran's "Staying on the Jiande River"
Looking at the mirror at dawn, but worried about the clouds on the temples, singing at night and feeling the cold moonlight --- Li Shangyin's "Untitled"
6. Friendship
There are close friends in the sea, and there are neighbors in the world. --------Wang Bo's "Sending Du Shaofu to Shuzhou"
I advise you to drink a glass of wine. There is no old friend when you leave Yangguan in the west. ——Wang Wei's "Send Off the Second Envoy of the Yuan Dynasty to Anxi"
The shadow of the solitary sail in the distance is gone in the blue sky, and only the Yangtze River can be seen flowing in the sky. ——Li Bai's "Sending Meng Haoran to Guangling"
The water in Peach Blossom Pond is a thousand feet deep, and it is not as deep as Wang Lun's sending me love. ――――Li Bai's "Gift to Wang Lun"
Don't worry, there will be no friends in the future, and no one in the world will know you. ——Gao Shi's "Farewell to Dong Da"
7. Birds
Thousands of birds have disappeared, and thousands of people have disappeared. ――――Liu Zongyuan's "Snow on the River"
I sleep in spring without realizing the dawn, and I can hear the singing of birds everywhere. ――― Meng Haoran's "Spring Dawn"
The moonrise scares the birds, and the spring calls are heard all the time. In the stream. ――――Wang Wei's "Birdsong Stream"
The mountain air is getting better day by day, and the birds are returning. ―――Tao Yuanming's "Drinking"
The flowers splash with tears when I feel sad, and the birds are frightened by the hatred. ――――Du Fu's "Spring Outlook"
Strata of clouds grow in the chest, and returning birds enter the canthus. ――――Du Fu's "Wang Yue"
8. Rain
Green bamboo hats, green coir raincoats, the slanting wind and drizzle do not need to return. ――Zhang Zhihe's "Yu Gezi"
The apricot blossom rain makes your clothes wet, and the willow wind blows on your face without chilling it. ――――Monk Zhinan's "Quatrains"
The morning rain in Weicheng is also light and dusty, and the guesthouses are green and willows are new. ――――Wang Wei's "Send Off the Second Envoy of the Yuan Dynasty to Anxi"
In the 480 temples of the Southern Dynasties, there are many towers in the mist and rain. ――――Du Mu's "Jiangnan Spring Quatrains"
Lying down at night listening to the wind and rain, the iron horse glaciers fell into sleep. ―――――Lu You's "Wind and Rain on November 4th"
Good rain knows the season, and spring will happen. ――――Du Fu's "Spring Night Happy Rain"
Seven or eight stars are outside, two or three spots of rain are falling in front of the mountain - Xin Qiji's "Moon over the Xijiang River"
The sound of wind and rain at night is known by the falling flowers. How many. ——Meng Haoran's "Spring Dawn"
It rains heavily during the Qingming Festival, and pedestrians on the road want to die. -----Du Mu's "Qingming"
The water is bright and sunny, but the mountains are empty and rainy. ――――Su Shi's "Drinking from the First Sunny and Later the Rain on the Lake"
The mountains and rivers are broken and the wind is floating in the catkins, and the life experience is ups and downs and the rain is beating down - ―― Wen Tianxiang's "Crossing the Lingding Ocean"
9. Mountain
Green trees border the village, and Qingshanguo slopes outside. ――――― Meng Haoran's "Passing the Old Friend's Village"
Going thousands of miles to join the army, you will pass through mountains and rivers like flying. ――――Mulan Poetry‖
To the north of Gushan Temple and to the west of Jia Pavilion, the water surface is flat at first and the clouds are low at the feet. ――――Bai Juyi's "Spring Journey to Qiantang Lake"
You can't be seen on the mountain winding road, leaving a place for horses to walk in the sky above the snow. ――――Cen Shen's "Bai Xue Ge Sends Magistrate Wu Back to the Capital"
The apes on both sides of the strait can't stop crying, and the boat has passed the Ten Thousand Mountains. ——Li Bai's "Early Departure from Baidi City"
But the flying generals of Dragon City are here, and Hu Ma is not taught to cross the Yin Mountain. ——Wang Changling's "Out of the Fortress"
The sun sets over the mountains and the Yellow River flows into the sea. ——Wang Zhihuan's "Climbing the Stork Tower"
Far above the Yellow River, among the white clouds, there is an isolated city called Wanren Mountain. ――――Wang Zhihuan's "Liangzhou Ci"
The mountains and rivers are full of doubts and there is no way out, and there is another village with dark willows and bright flowers. ——Lu You's "Visit to Shanxi Village"
When you reach the top of the mountain, you can see all the small mountains at a glance. ―――――Du Fu's "Wang Yue"
Picking chrysanthemums under the eastern fence, leisurely seeing the Nanshan Mountain. ―――――Tao Yuanming's "Drinking"
10. Flowers
My clothes are wet due to the rain of apricot blossoms, and the wind from the willows is not cold on my face--------Zhinan Monk's
The lotus leaves that touch the sky are infinitely green, and the lotus flowers that reflect the sun are particularly red ---------- Yang Wanli's "Sent Off to Lin Zifang at Dawn from Jingci Temple"
The fragrance of rice flowers talks about a good year, and the sound of frogs is heard-----------Xin Qiji's "Moon on the West River"
Children run in a hurry to chase yellow butterflies, flying into cauliflower and nowhere to find them--Song Dynasty - Yang Wanli "Xugong Store, Suxin City"
The beauty of April in the world is gone, and the peach blossoms in the mountain temple begin to bloom - Bai Juyi's "Peach Blossoms in Dalin Temple"
Wang Wei lived in seclusion in Wangchuan At that time, he created a number of exquisite landscape poems. He compiled the "Wangchuan Collection" by himself, which contains twenty five-character quatrains each of which he and his friend Pei Di sang in harmony with each other. The content mainly describes the scenery near Wangchuan Villa and expresses the taste of reclusive life. Let's take a look at "Xinyiwu" among them:
The hibiscus flowers at the end of the wood have red calyxes in the mountains.
There is no one in the stream, opening and closing one after another.
In the silent mountain stream, the Xinyi flowers bloom and fall on their own, growing and dying on their own. They are not fake, have nothing to do with the world, and no one knows about them.
This is a world far away from the hustle and bustle, and it is also the unique artistic conception of the poet Wang Wei that integrates subjectivity and objectivity. It is simply a symbolic realm of the Buddhist concept of emptiness and annihilation. Therefore, Hu Yinglin, a literary critic in the Ming Dynasty, said that this poem is a work of "entering Zen". "When reading it, I forget my life experience and all my thoughts are silent." (Volume 6 of "Shisou") The artistic conception created by Wang Wei here, Born outside the image is a combination of poetry and Zen. It has great suggestiveness and strong artistic appeal. This kind of artistic achievement can only be attributed to his study of Buddhism and the influence of Buddhist thinking.
Wang Wei was called the "Poetry Buddha" by later generations. He believed in Buddhism at an early age. My mother, Ms. Cui, has been practicing Zen for more than thirty years. Wang Wei and his younger brother Wang Jin "both worshiped the Buddha and lived on a vegetarian diet, which is not as good as meat and blood" ("Old Book of Tang·Biography of Wang Wei"). When Wang Wei was 31 years old, his wife died and he no longer married. He lived alone in a single room, isolated from the world, and "had no descendants" ("Referring to Brother Biao"). He also wrote many poems and essays about Buddhism and had high attainments in Buddhism.
Among the Buddhist schools of the Tang Dynasty, Wang Wei believed in Zen, and mainly believed in Southern Zen. Nanzong Zen is the product of the combination of Buddhist thought and China's native Confucianism and Taoism. Its philosophy of life of letting one's fate prevail provides the latest and most complete way of life for Chinese scholar-bureaucrats and intellectuals. Some of the practice methods of Southern Zen are similar to poetry creation with Chinese characteristics. Yan Yu, a literary critic in the Song Dynasty, said: "In general, the path of Zen only lies in wonderful enlightenment, and the path of poetry also lies in wonderful enlightenment" ("Canglang Poetry Talk"). Miaowu is the insight into Zen, which can also be expressed as the sensitivity to art. Both poetry and Zen require keen inner experience, both emphasize revelation and metaphor, and both pursue implication. The Southern Zen School talks about "sudden enlightenment" and often uses visual expressions to teach the Dharma, with special emphasis on the role of intuition, suggestion, induction, and association in understanding. Wang Wei has gained experience in Zen practice, so he naturally has a deep understanding of this method of grasping the world. He integrated his understanding of Buddhism into his outlook on life, turned religious emotions into poetic thoughts, and created a poetic artistic conception of "emptiness", "silence" and "idleness". Zen Buddhism advocates the style of scenic mountains and forests, and it also guided and inspired Wang Wei to consciously get close to mountains and rivers and explore their aesthetic value.
Wang Wei described his inner experience in the poem "Zhuli Pavilion":
Sitting alone in the secluded bamboo, playing the piano and whistling loudly.
The people in the deep forest don’t know that the bright moon comes to shine.
The poet sat alone in the deep bamboo forest, playing the piano and screaming. No one knew he existed, only the bright moon came to accompany him. Nature understands his inner loneliness best, and the clear brilliance of the bright moon brings him a kind of quiet happiness. Things and I are one and things and I are forgotten, Zen and poetry are in harmony. "Deer Chai" is also like this:
No one can be seen in the empty mountain, but the sound of people's voices can be heard.
Returning to the deep forest, the light shines on the moss again.
There is no one in the empty mountain. Only intermittent human voices can be heard floating in the deep forest. A ray of sunset shines on the moss deep in the dense forest, making it so trance-like and desolate. This is exactly the kind of empty and lonely realm far away from the hustle and bustle that Wang Wei pursues. Although lonely, it is also enriching.
Wang Yuyang of the Qing Dynasty said that Wang Wei's small poems "every word is like Zen" and "the wonderful truth is spoken in a subtle way, which is no different from the World Honored One holding flowers, Kasyapa smiling, etc." ("Silkworm Wei Continue" arts"). In other words, Wang Wei's landscape poems have Zen interest, Zen joy, and Zen flavor. Their words are exhaustive and their meanings are endless, conveying the meaning of Zen. Naturally, it fully expresses the poet's unique taste for the beautiful scenery of mountains and rivers.
Wang Wei does not necessarily only seek Zen in deserted places, he also sets his sights on the vast world and the lively farm life:
Xinqing The wilderness is vast, and as far as the eye can see there is no dirt. Guomen faces the ferry, and the village trees connect to the mouth of the stream. Outside the clear fields of white water, behind the green peaks emerging from the mountains. There is no idle person in the farming month, and the whole family is busy in the south.
——"New Sunny Ambition"
A spring rain washes away the dirt and makes the scene completely new. Farming is busy, and people and scenery are bathed in the fresh air. The two sentences "white water" combine the close and distant views into a layered picture. The water is bright, the peaks are green, and the contrast between light and color is very harmonious. On the surface, we cannot see the Zen meaning of this poem. In fact, that spring rain is more like the holy water pouring from a Buddhist purification vase, washing everything until it becomes clear and ethereal. It's just that Wanwu combines Zen and poetry so wonderfully that he doesn't let Zen principles overwhelm poetic taste. Of course, what we pay attention to is the kind of praise of farm life, and what we appreciate is the aura of the beauty of the landscape, without having to diligently seek its Zen philosophy.
Wang Wei is a versatile cultural giant who is good at poetry, music, painting, and calligraphy. Su Dongpo, a great writer in the Song Dynasty, said: "When you taste the poems of Mojie (Wang Wei), there are paintings in the poems; when you look at the paintings of Mojie, there are poems in the paintings." ("Shu Mojie's Picture of Misty Rain in Lantian") His words are insightful and to the point. Wang Wei was an accomplished landscape painter in the Tang Dynasty. He used Xiaoshu and light ink brushwork to paint, created ink landscape painting, and became his own brand. He is called the founder of the Southern School of landscape painting by later generations. His paintings emphasize freehand brushwork, pursue spiritual resemblance, and express subjective emotions. Therefore, "there are many things painted regardless of the four seasons. For example, flowers are often painted with peach, apricot, hibiscus, and lotus flowers in the same scene." Zhang Yanyuan is quoted in "Mengxi Brushwork") Therefore, Wang Wei is also known as the ancestor of Chinese literati's freehand painting. If paintings can achieve spiritual resemblance, they will also have the charm and interest of poetry, that is, there is poetry in the paintings. If you use this kind of painting idea to gaze at the natural landscape, chant it, and create a scene into a poem, you will inevitably have the charm of painting in the poem.
Wang Wei’s profound artistic qualities in painting, music, and calligraphy enabled him to feel and capture the wonderful scenery and beauty of nature more accurately and meticulously than ordinary poets when creating poetry. The magical sounds and ever-changing nature are brought to life through writing. He is also better at using words and colors, and pays attention to the harmony of the tone of poetry. There is the artistic conception of painting in the poem, the flow of music in the poem, and the changes in calligraphy in the poem. In this way, his unique poetic artistic style of "paintings in poems" and "hundreds of warblers and palace merchants playing in succession" was formed. When appreciating his landscape poems, we should closely grasp this feature.
Wang Wei is good at describing majestic and magnificent scenery in general. This type of poetry is majestic in spirit, broad in artistic conception, using white strokes, thick lines, and varied angles. Please look at "Zhongnan Mountain":
Taiyi is close to the capital of heaven, stretching from mountains to sea corners. The white clouds look back and merge, and the green and amiable people look at nothing. The peaks in the field change, and the clouds and sunshine are different. If you want to stay somewhere, ask the woodcutter across the water.
Taiyi Peak is the main peak of Zhongnan Mountain (can be generally called Qinling Mountains). The poem starts from the main peak and covers the whole mountain, describing the majestic momentum of Zhongnan Mountain. The first few sentences describe the tallness and majesty of Zhongnan Mountain, while the last two sentences leave the mountain aside to describe the people, which contrast the majesty of the mountain, just as the contrast between the human body and the mountain is often used in landscape paintings. The two sentences "Baiyun" are particularly fascinating. Everyone who has mountain climbing experience will feel like they are there when they read this poem. This poem is about mountain climbing, while the following "Looking at the Han River" is about facing the water:
Chu Sai is connected to three Xiang provinces, and Jingmen is connected to nine schools. The river flows beyond the sky and the earth, and the mountains are beautiful. In the county town of Bucheonpo, waves ripple across the sky. It's a nice windy day in Xiangyang, and I'm left drunk with the mountain man.
This is a poem describing the scenery of Xiangyang. First, he writes about the situation in the Chu region, in the middle, he writes about the mighty landscape of the river, and at the end, he writes about the lingering feelings. The outlines of thick lines and the grandeur of the realm are all written in white. They don't even describe whether the mountain color is green or purple, whether it is thick or light, but only say whether it is there or not, like an ink landscape painting. The poet grasps the overall impression, and uses poetic thoughts instead of the naked eye to unify the image (this point is different from the logic of Western poetry), showing the artistic effect of scattered perspective in Chinese painting (this point is also different from the logic of Western painting) . There are many similar poems by Wang Wei, such as: "Ten thousand valleys have towering trees, thousands of mountains ring with cuckoos", "The rivers and lakes are white at sunset, the sky and earth are green when the tide comes", "The solitary smoke is straight in the desert, the sun is setting in the long river", etc.
Wang Wei is also good at capturing the moving moments where sounds, colors, images, and feelings are intertwined, unifying them into the artistic conception that best conveys emotion, and expressing them with appropriate language. Please read his landscape poem "Birdsong Stream":
The people are idle, the sweet-scented osmanthus falls, the night is quiet and the spring sky is empty.
When the moon comes out, birds startle the mountains, and they sing in the spring stream.
In the quiet mountain forest on a spring night, the four-season osmanthus falls silently. Suddenly the bright moon rises in the east, filling the empty mountains with light. The mountain birds are awakened and chirp in the mountain stream, which is particularly crisp and clear, and highlights the tranquility and beauty of the spring mountains on a moonlit night. Some versions of "Renxian" are called "human world", and its meaning is also understandable. "Osmanthus" can be interpreted as moonlight. The poet writes movement with stillness, and stillness with movement. The combination of movement and stillness brings readers into a more beautiful and profound artistic conception. The poet wrote by seizing the most expressive and imaginative moving moment of "the moonrise and the bird startling the mountain". This is a small scene of a moonlit night full of music. Compared with the emptiness and tranquility of Zen in "Xinyiwu", this poem is lively and lively, full of human atmosphere.
Wang Wei has a short poem describing the scenery of late autumn, called "In the Mountains":
White rocks emerge from Jingxi River, and the red leaves are sparse in the cold weather.
There is no rain on the mountain road, and the sky is green and people's clothes are wet.
Jingxi originates from the northwest of Lantian County, Shaanxi. Red leaves are maple leaves. I was walking in the mountains early in the morning, admiring the mountain scenery all the way. Suddenly I felt that my clothes were wet. I thought it was raining, but when I looked closely, there was no rain. There was only the unobservable mist in the mountains. Maybe my clothes were wet because of it! The poet condensed this feeling process of tourists into two poems, which is very interesting. This poem has colors: white stones, red leaves, green orchid. There is a sound: the stream washes over the stone bed. There are also tourists’ feelings. Although the poem is short, it is rich in content. Zhang Xu, a calligrapher and poet in the Tang Dynasty, also wrote a poem called "A Guest in the Mountains":
The scenery of the mountains and objects create the glow of spring, so don't be tempted to return home because of the light shade.
Even if it is sunny and cloudy without any rain, my clothes will still be stained deep in the clouds.
The word "Zhanyi" in the poem is a literal representation, showing another scene of the deep mountains covered in clouds and fog. The "wet human clothes" in Wang Wei's poems are about hallucinations and illusions, and the poetic feelings given by the lush green mountains. The two poems have different tunes and similar works, and each is wonderful in its own way.
Wang Wei's five-character poem "Dwelling in the Mountains in the Twilight of Autumn" is a masterpiece that combines poetry and painting:
After the new rain in the empty mountains, autumn comes late. The bright moon shines among the pines, and the clear spring flows over the rocks. The bamboo noise returns to Huan Nu, and the lotus moves off the fishing boat. The spring fragrance rests at will, and the king and grandson can stay.
This poem describes the scenery of the mountain village after the rain in the autumn evening. Write freely and speak naturally. In this poem, the coolness of autumn after the rain on the empty mountain, the clear light of the bright moon among the pines, the sound of the clear spring flowing on the rocks, the laughter of the girls returning from washing clothes in the bamboo forest, and the mood of the small fishing boat slowly passing through the lotus are all harmonious. Perfectly intertwined, it is like a fresh and beautiful audio painting, and also like a quiet and beautiful lyric song. We seemed to be breathing the fresh air after the rain.
Some famous sentences by Wang Wei can trigger our wonderful reverie: "The pines are in the sound of wind, and the flowers have shadows in the pond." "Red peaches bloom in willows", "The sound of springs swallow dangerous rocks, and green pines are cold in the sun", "Egrets fly in the desert paddy fields, and orioles sing in the overcast summer trees", etc. There are paintings in the poems, and there is music in the poems.
Wang Wei's poems pursue the effect of freehand brushwork, pay attention to harmony, and fully convey the poet's subjective interest. There is a poem "Lake Pavilion" in "Wangchuan Collection":
The light boat welcomes the guests, coming up the lake leisurely.
When the water is sprayed on the bottles in the pavilion, hibiscus blooms on all sides.
It expresses the poet's leisurely and quiet mood. "Mountain Dwelling" describes the poet's state of mind in more detail:
Loneliness covers the wood door, and the vastness faces the falling light. There are crane nests and pine trees everywhere, and few people visit the pigeon gate. The young bamboo contains new powder, and the red lotus sheds its old clothes. The lights are on at the ferry, and people are collecting water chestnuts everywhere.
The boiling life further highlights the desolation of the poet's family. Is it a kind of envy, or is it really transcendent from reality? Hard to understand. Similar to this, there is a song "Wangchuan Leisure Residence Presented to Pei Xiu Caidi":
The cold mountains turn green, and the autumn water flows day by day. Leaning outside the firewood gate, listening to the evening cicadas in the wind. The sun is setting over the ferry, and there is a solitary smoke in the ruins. When I get drunk again, I sing wildly in front of the five willow trees.
This poem describes the autumn evening scenery of Wangchuan River, which is quiet and elegant, just like in a painting. After Pei Di got drunk, he sang wildly in front of Wang Wei's door, which was very interesting. The couplet "Dutou" is said to be the swan song. Xiang Ling in "Dream of Red Mansions" once highly praised the picturesque poetry of this poem based on her own life experience. Wang Wei's poems are the easiest to bring readers into the poetic realm because "there are paintings in the poems". No wonder that when Xiang Ling asked Daiyu for poetry writing methods, the first thing Daiyu asked her to read was not the works of Li Bai or Du Fu, but "The Complete Works of Wang Mojie" (see Chapter 48 of "A Dream of Red Mansions").
The value of Wang Wei's landscape poetry
The value of Wang Wei's landscape poetry should first be understood in the history of the development of Chinese classical landscape poetry.
In the poems of the pre-Qin period (such as "The Book of Songs" and "Chu Ci"), there are some poems describing landscapes, but they are in a subordinate position in content and are not sung as independent aesthetic objects. It was not until the Jian'an period at the end of the Han Dynasty that the earliest complete landscape poem in the history of Chinese poetry appeared. This is the four-character poem "Viewing the Sea" written by Cao Cao:
To the east is the Jieshi to view the sea. Where is the water? The mountains and islands are standing tall. There are many trees and lush grass. The autumn wind is bleak and the waves are rising. The movement of the sun and the moon can be seen within it; the brilliant stars can be seen within it. Fortunately, even singing praises one's aspirations.
But such poems were rare at that time.
Landscape poetry began to rise after the Wei and Jin Dynasties. Due to the political darkness and social turmoil at that time, the scholar-bureaucrats wanted to live in seclusion and focus on the mountains and rivers to avoid disasters. When the Jin Dynasty crossed south, the beautiful natural mountains and rivers south of the Yangtze River attracted the scholar-bureaucrats even more. The prevailing metaphysical trend at that time combined the Confucian "religion of fame" with the Taoist "nature" and guided the scholar-bureaucrats to find the philosophy and interest of life from natural mountains and rivers. The advocating simplicity also brought about the development of elegances praising landscapes (see Shishuo Xinyu). Beautiful lines about landscapes also appear in Xuanyan poems. After a long period of multi-faceted deliberation, the first landscape poet was finally produced, namely Xie Lingyun in the late Jin Dynasty and early Song Dynasty.
Xie Lingyun traveled to famous mountains and scenic spots for a long time and wrote a large number of landscape poems. His poetic language is rich and exquisite, he likes to carve, and pursues resemblance in form. The structure of the poems is often in the form of a journey, and there is always a tail of a metaphysical poem at the end. His poems often have sentences but no chapters. Here are some poems: "Spring grass grows in the pond, garden willows turn into songbirds" describes the garden; "The wilderness and the sandy shore are clean, the sky is high and the moon is bright in autumn" describes the autumn; "The bright moon shines on the snow, the new wind is strong and sad" describes the winter; "The forest ravine collects the dim color, and the clouds collect the sunset" describes the twilight; "The green fields are beautiful in the spring evening, and the white clouds are high in the rocks" describes the spring scene. These exquisite poems are like exquisite landscape paintings. Xie Lingyun established the status of landscape poetry.
Subsequently, Xie Tiao, a poet of the Southern Qi Dynasty, also wrote some fresh and beautiful landscape poems, including some good lines: "The remaining clouds disperse into clouds, the clear river is as quiet as practice", "The river flows day and night, and the guest's heart is still sad." , "I know the boat in the sky, and the trees on the river in the clouds" and so on. He Xun, a poet from the Liang Dynasty in the Southern Dynasty, also has some famous poems about scenery: "The dew wets the grass in the cold pond, and the moon reflects the clear Huaihe River." ", "The river is dark and the rain is about to come, the waves are white and the wind is beginning to rise", "the night raindrops are empty on the steps, and the light is dark when leaving the room." But their poems all have the problem of having no sentences and no chapters.
Landscape poetry did not become popular until the prosperous Tang Dynasty. Meng Haoran and Wang Wei pioneered the Landscape Poetry School, which was widely recognized by future generations of poets. Meng Haoran is slightly longer than Wang Wei, and his landscape poems are very artistic. For example, "Staying on the Jiande River":
Moving the boat to Yanzhu, the guests are worried about the new arrival at dusk.
The sky is wide and the trees are low, the river is clear and the moon is close to people.
It writes about the traveler's sadness and subtle feelings about nature. The first four sentences of "Looking at Dongting Lake as a Gift to Prime Minister Zhang":
The level of the lake in August is too clear.
The steam is rising over Yunmengze, and the waves are shaking Yueyang City.
The writing is heroic, powerful and majestic. The last four sentences of "Yu Yan Qiantang Climbing the Barrier Tower to Watch the Tide":
The sun shines brightly with autumn clouds, and the sky floats wide.
The stormy waves come like snow, and it feels cold when you sit there.
Written with courage and feeling. The first four sentences of "Reporting an Old Tour to Guangling by Staying at Tonglu River":
Hearing the ape's sorrow in the dark mountains, the Cangjiang River flows rapidly at night.
The wind rustled the leaves on both sides of the bank, and the moon shone on a lonely boat.
It is also written with great artistic conception.
Compared with Meng Haoran, Wang Wei created the artistic conception of the poem in which things and I forget each other, in his meticulous taste of the beautiful scenery of natural landscapes, in his skillful use of poetic techniques, in the number and number of landscape poems. The quality is much more outstanding. It can be said that Wang Wei is not only a comprehensive landscape poet, but also a pioneering poet. The "Wei Liu" (Wei Yingwu and Liu Zongyuan) poetry school of the mid-Tang Dynasty, up to Wang Shizhen's "Shen Yun Theory" of the Qing Dynasty, all inherited this legacy. Li Bai's landscape poems win with momentum and have a rebellious spirit. Du Fu's landscape poems are melancholy, concerned about the country and the people, and are broad and profound. Wang Wei's landscape poems have an ethereal artistic conception, full of Zen interest, and are thought-provoking. Although they do not have the shocking ideological aura in the poems of Li Bai and Du Fu, they greatly enriched the poetry garden of the prosperous Tang Dynasty in terms of artistic style. Without reading Wang Wei's landscape poems, one cannot fully understand the essence of Chinese poetry art.
Wang Wei's landscape poetry also has its contemporary value:
It can cultivate our love for nature. Let us more fully appreciate the beauty of nature, and then consciously protect the environment and nature, so that it can better benefit mankind.
Of course it can also cultivate our patriotic feelings. Patriotism is not abstract. Appreciating Wang Wei's masterpieces of landscapes can enhance our love for the magnificent mountains and rivers of our motherland and our deep attachment to every plant and tree in our hometown. Wang Wei's landscape poems contain rich nutrition of the traditional culture of the motherland. From this, we can gain the joy of exploration, enjoy the nourishment of the excellent culture of the motherland, and thus abandon the nihilistic attitude towards the traditional national culture.
It can cultivate our body and mind. Taste the beautiful artistic conception of Wang Wei's poems and daydream about the magic and mystery of nature, and you will get some kind of spiritual pleasure. There are similarities between Zen and Qigong. Entering the realm of poetry is also entering the "Zen realm" created by Wang Wei. We may be able to obtain some kind of "Qigong effect".