On Wang Wei's Poetry and Prose
Due to the limitation of talent, ordinary people often write poems not by images, but by images. In other words, the mood and artistic conception of poetry are influenced by the images used in it. A first-class poet has the ability and tolerance to control all images. In their poems, there are clouds and air, chess windows and idle shadows, happy red and green, and lonely moons and cold stars. Therefore, even if a good poem has countless images, it will be transparent because of its strong creative concept, inspiration and overall directivity, which will make readers unconsciously integrate a single image with the ontology of the poem, and then forget the existence of the former.
The simplicity of the unity of heaven and man in Wang Wei's poems is a complex collection of many complex elements. Because these elements have strong directionality, Wang Wei's poems as a whole can present a quiet, far-reaching and clear artistic conception. Because Wang Wei's Zen Yue poems left a deep impression on people, in most people's eyes, Wang Wei will always be the one who "leans alone near the bamboo and I play the piano and hum songs", and it is easy to forget the grandeur of "looking back at the carving, thousands of miles of clouds are flat" and "Xinfeng has a thousand fights and Xianyang has been a ranger for many years". Free and easy, forget the deep feeling of "persuading you to drink more, people have no reason to leave Yangguan in the west", forget the meditation of "persuading you to get together more as a symbol of our love", and forget "the grass is green in the rain and the peach blossoms are red on the water" ("Wangchuan Bieye"). There are many different landscapes in Wang Wei's world. Perhaps mountain springs and moonlight are recognized as the most beautiful for thousands of years, but they are by no means all.
Next, let's analyze the changeable contents and forms of Wang Wei's poems.
The following are some statistics of images and words in 387 poems of Wang Wei included in The Whole Tang Poetry, which can be used as evidence.
Look at the color first. In these poems, the colorful "red" * * is used 2 1 time, "gold" * * * is used 58 times, and "yellow" * * * is used 30 times; The bright and simple "white" was used 94 times; "Green" from plants was used 73 times and "green" was used 22 times; The suppressed "black" is only four times, and there is no "gray" at all. It can be seen that:
First, Wang Wei likes innocence. Like Li Bai, he is also talented in writing poems.
Secondly, Wang Wei's poems give people a quiet impression, but he also uses dazzling "gold" many times, and there are also many bright reds and yellows.
Thirdly, there are many plant colors in Wang Wei's poems. It is worth noting that "green" is more than "green", which may be regarded as a psychological hint of bright and clean light (because green is darker than green).
Fourth, Wang Wei's avoidance of talking about black and gray is also a hint (Wang Wei rarely has social critical poems, and he himself is not as keen on politics as Bai Juyi and Liu Yuxi).
Generally speaking, Wang Wei's poems are rich in color, which seems to be inconsistent with our usual impression. This is because the integrity of Wang Wei's poems is very strong. In many cases, strong color difference is eliminated by mixed artistic conception, which only exists as a basic aesthetic element, but the resulting aesthetic feeling is always simple.
Look at the images in Wang Wei's poems again. When referring to Wang Wei's poems, people often think of white clouds and bright moons. In these poems, "cloud" appears 138 times, and "moon" appears 55 times, which is quite a lot. Among the plants, "bamboo" appeared 32 times, "grass" appeared 60 times and "flower" appeared 83 times. Wang Weizhi's poems give people an elegant feeling, but the image of "flower" is more than the sum of "grass" and "bamboo", which shows that Wang Weizhi's brushwork is contrary to people's usual impression. This is the same reason that Wang Wei likes to use bright colors mentioned above. They all use ingenious brushstrokes to turn stone into gold, so that dazzling things fade away in the poetic realm and breed harmonious and quiet poetry.
There are frontier fortress themes in Wang Wei's early poems, but Wang Wei seems to hate weapons. He didn't use the word "sword" and only used "knife" twice, once because of the place name. In addition, Wang Wei only used the word "blood" once, which reflected his character. However, the lack of weapons and bloody words does not mean that Wang Wei's poems lack majestic artistic conception. "Clouds and thunder are hard to transport, rivers and seas sink" ("See Doctor Wei stays in Tokyo"), "Looking back and shooting sculptures, thousands of miles of clouds are flat" ("Hunting"), clouds can also be transformed into magnificent shapes in Wang Wei's hands. In addition, "horse" appeared 53 times in Wang Wei's poems. Most of the horses in the poems were the poet's own mounts, and more were Mercedes-Benz horses, which also revealed the poet's mind. In order to create masculinity and rich artistic conception, many poets consciously or unconsciously have extreme violent tendencies and bloody tastes, which even the great poet Li Bai cannot avoid. However, the boldness in Wang Wei's poems is a kind of clean boldness, and more is a pure and bloody yearning for life when he was young. He can't see the actual golden horse and blood horse, only the clouds at dusk and the background of yellow sand and snow, only the wide-angle audio-visual effects of golden drums, wolf smoke and Ma Si wind whistling.
In addition, from the change of poetic form, we can also glimpse the poet's personality and ideological characteristics from one side. For example, Shangguan Yi's poems, the whole Tang poetry, contain 19 poems, among which there is only one miscellaneous poem (mainly five words), three seven words, and the rest are all five words. Moreover, there are many similarities in structure and scene exchange in these five-character poems, and he is destined to be just a little poet. When we think of Wang Wei, we will think of his five laws and five unique skills, but when we think about it carefully, it is only because his five-character poems are so excellent. In fact, there are many swan songs in Wang Wei's seven-character poems, such as "Cheng Wei Qu" and "Mountain Holiday Silu Brothers", which are all first-class masterpieces in Tang poetry and are by no means inferior to poets who specialize in writing seven-character poems. Five words are always expensive, and seven words are expensive. People who are good at collecting are not good at writing, and those who are good at releasing are easy to bind their hands and feet. Wang Wei, on the other hand, gathers the moon and hides the stars, releasing spring water, which is natural and natural, not inferior to Taibai, and cleverly loses Lao Du.
Moreover, Wang Wei also has many rare six-character poems in the Tang Dynasty, such as "Peach Blossom with Rain, Willow Green with Spring Smoke" in "Seven Pastoral Songs". The phrase "flowers fall at home, servants are not swept, and guests in the mountains are still sleeping" has the rhyme of Song Ci, but the height of Song Ci is raised. The realm of poetry is different, and those who can write ci in Tang Dynasty are Taibai, Xiangshan and octagonal. Although Wang Wei has no lyrics, the rich meanings in his six-character poems can also explain Wang Wei's rich emotions and talents.
In addition, Wang Wei's four-character poems are also well written, which is extremely rare among poets in the Tang Dynasty. As we all know, due to the invasion and migration of ethnic minorities, the ancient sounds before the Han and Wei Dynasties changed greatly to the Sui and Tang Dynasties, so it can be said that four-character poems are just words. At the same time, the exquisite atmosphere of the literary world in the Tang Dynasty made most poets no longer in the mood to write four-character poems. Wang Wei's four-character poem "Repaying a Gentleman" begins with "I am sorry for the loss, but I am sorry for this lonely life." Screen in Lantian, plough in thin fields. At the age of 20, I lost my tax in order to serve the prosperous times. In the morning, when I arrived in Gaodong, the grass was not exposed, which was quite charming, showing Wang Wei's thorough understanding of the spiritual temperament of ancient poetry. And at the back, "Watch the tuna and overlook the white sand." Birds are flying in the mountains, and the sun is uncertain. Get on the bus, get on the horse, and suddenly disappear. The words "the birds are lonely and the crows are empty" have the ethereal beauty of quatrains. The whole poem is light, layered, swaying and natural. Finally, the Wang Wei-style ending of "returning to solitude" makes the whole poem calm, and several artistic conceptions are skillfully mixed together, showing the poet's rich inner world.
In addition, Wang Wei's poems also show obvious stage characteristics, which will be analyzed in detail later.
In a word, the quiet beauty in Wang Wei's poems is a general image. If the details are specific, we will be surprised to find that Wang Wei's poems are actually all-encompassing. We can recognize the poems of third-rate poets at a glance, because only one or two of his poems have really been handed down; We can also recognize the poems of second-rate poets, because they can write few things and only use deliberate images to create styles; We can also know the poems of first-class great poets, but we can't say why. His style is shown to readers through thousands of images as a whole. It seems to be just a grain of Ganges sand, but in fact there are 3 thousand worlds, and talents are unpredictable. In fact, the richness of content and form of Wang Wei's poems should have been dominant, but because of people's interpretation of it, the dominant existence was shielded from the field of vision by habitual thinking, and it was repeatedly defined by scholars' comments in previous dynasties, which finally made the dominant existence hidden and forgotten. Moreover, even in the most respected Zen poems, there are actually unknown passwords, which together with the neglected parts above constitute the double hidden existence in Wang Wei's poems.
On the Aesthetic Implication of Wang Wei's Landscape Poetry
Among Wang Wei's poetry creation, landscape poetry is the highest achievement, which has attracted the attention of later critics. His landscape poems not only have the characteristics of painting into poetry, expressing emotion and sound on the formal level, but also have a unique dynamic and static contrast, gentle and long rhythm, which gives people great aesthetic enjoyment. In addition, the poet's complex life experience and rich mental journey make his poems contain profound humanistic connotation and hide the poet's unique aesthetic ideal and life consciousness. Therefore, Wang Wei's poems have also become the focus of multi-dimensional perspectives. His poems are rich in meaning and irreconcilable, and the meaning melts into form and becomes a unique "meaningful form", which truly completes the poetic return of a poet's spirit under the alienation of hardship, extrusion and deformation. As a typical embodiment of scene blending, Wang Wei's poems have profound poetic implications, which can just cause diachronic communication of aesthetic psychology. The poet's perception of natural life and the aesthetic existence mode of individual life in his poems undoubtedly have lasting charm for later generations and are full of infinite life philosophy enlightenment. It can be said that Wang Wei's significance and contribution in the history of literature lies in poetry, but it is not limited to poetry. He inherited the cultural heritage of the sages in an eclectic way, learned from others' wisdom, skillfully used macro, wisely integrated Confucianism, Zhuangzi and Zen, consciously and creatively introduced painting skills and music into poetry, and transformed religious spirit into artistic sensitivity of aesthetic spirit. He naturally learned from his inner creative freedom, and he survived beyond the predicament of being an official and living in seclusion. Here, I borrow the research method of psychological aesthetics, and make a new interpretation of Wang Wei's landscape poems from four levels: formal level-surface level-deep level-hidden level, and deeply analyze the poet's artistic creation of adapting to and transforming his own living state and pursuing aesthetic ideals, so as to explore the rich aesthetic implication and cultural value of his poems, and through the re-understanding of Wang Wei's landscape poems, I can reach a new understanding of Wang Wei's life as an individual. My thesis consists of four parts: introduction, text, conclusion and references, totaling 48,000 words. The text is divided into four chapters. The first chapter mainly analyzes two problems: the aesthetic expression of "painting in poetry"; Why does Wang Wei's landscape poem "Painting in Poetry" reflect what aesthetic taste and standard? The second chapter analyzes the poet's creative theme of leaving the world and returning to nature. The third chapter classifies the poet's landscape poems based on his life and survival concept, and analyzes the influence of the poet's complex life experience on his poetry creation and his personality pursuit in his works. The fourth chapter mainly analyzes the unique life spirit in poetry, further interprets the cultural connotation of "Wang Wei phenomenon" and re-understands the practical significance of Wang Wei.