First, what kind of works are artistic conception-the basic characteristics of artistic conception. What kind of works are artistic conception, there are different opinions. This is related to the understanding of artistic conception. If we think that "artistic conception refers to the artistic realm formed by the combination of the author's subjective feelings and the objective physical environment", or that artistic conception is "a symbol system created by the author to express the emotion of the lyric subject in his works and composed of the image structure of scene blending", then as long as he has the characteristics of scene blending, there is artistic conception. If the artistic conception is defined as "going beyond concrete and limited images, events and scenes and entering infinite time and space, so as to gain a philosophical feeling and understanding of the whole life, history and universe", then only works that can reveal the meaning of the whole life through concrete things and events are works with artistic conception. Therefore, we must first define the artistic conception.
On the definition of artistic conception. Artistic conception is the artistic realm formed by the combination of the objective picture depicted in literary and artistic works and the expressed thoughts and feelings. It has the aesthetic characteristics of virtual reality, harmonious artistic conception, seclusion and remoteness, which can make readers have imagination and association. If they are in their environment, they will be infected ideologically and emotionally. " ? This formulation, when it comes to artistic conception, is characterized by "the combination of reality and reality, the harmony between meaning and environment, and the depth and distance". Among them, "seclusion" refers to the essential characteristics of artistic conception. This should be more realistic. When we appreciate poetry, calligraphy and painting, we can see that the most commonly used evaluation of the artistic conception of works is: far-reaching, far-reaching, clear, quiet, deep, open, bold and detached. These words are close to "seclusion". Literally, seclusion means that under the surface of a work, it contains deeper and farther meaning, while through deduction, it means that it contains "implication", which is consistent with the views of most literary critics in ancient China. When they talk about the issues related to artistic conception, they mostly emphasize the implication, such as the meaning outside the text, the meaning outside the image, the sound outside the painting, the image outside the country, the silent romance, the endless meaning and so on. Therefore, this paper holds that implication is the essence of artistic conception. How does implication come into being? Aiming at the fuzziness of understanding "realm" in "harmony of artistic conception", it is formed in "coexistence of reality and harmony of artistic conception". In this paper, a more popular formulation-"scene fusion" is used. From the way the works are expressed. "The combination of reality and fiction" is based on the structure of artistic conception. In this way, the characteristics of artistic conception are: the essence of artistic conception lies in its implication, which can make readers imagine and associate; Scenery blending is the performance feature of artistic conception, and the coexistence of reality and reality is the structural feature of artistic conception. Because "implication" comes from "scene blending" and "coexistence of reality and fiction", it is also reflected in "scene blending" and "coexistence of reality and fiction", so it is the greatest fashion to learn and inherit the quintessence of China's poems here.
Therefore, the following mainly analyzes "scene blending" and "virtual reality and reality".
(A) Scenes blend
The blending of scenery also includes both form and spirit, which is the characteristic of artistic works in expression and the basis of artistic conception. "Scenery" and "emotion" in scene blending should be understood in a broad sense.
"Scene" is the "image" in the works, including the scenes, things, people and things described and shaped in the works. "Emotion" is the meaning relative to "image", which not only refers to the feelings expressed by the author, but also includes the thoughts to be expressed by the author.
Emotion and scenery, meaning and image are two basic contents of literary and artistic works. As far as poetry is concerned, any poem, from the content point of view, is nothing more than the combination of the feelings and thoughts expressed by the author and the scenery described and shaped, while from the form of combination, it is to integrate feelings into the scenery. So this is the characteristic of artistic conception in content and form. The scene of a work with mixed scenes is not an ordinary scene, but an expressive scene. It can also be said that there are feelings and scenes, and the implication is intentional. So it is the basis of forming artistic conception. China's classical poetry attaches great importance to the fusion of emotion and scenery. Isolated scenery, isolated feelings, it is difficult to form artistic conception.
Wang Changling once said: "Poetry is always expressive, but it is not clear and tasteless; Always talking about the scenery is also tasteless; Things must be both good and good. " Wang Guowei also said in "On Literature": "Literature has two characteristics: scenery and emotion". He also said in the preface of the second draft of "The Words of the World": "Literary matters are enough for self-consideration, and those who are enough to touch others are only concerned about meaning and context." If you get up there, your meaning and environment are muddy. Secondly, whether to win by environment or intention. Without one, optics is not enough. "A poem can be more beautiful, but it can't lack feelings. Yan Yu said in Cang Hua: "If there is no intention in the sentence, there is no smoke in the mountains and no flowers in spring, is it impressive?" "Similarly, emotions can win, but emotions must be based on scenery, otherwise it is difficult to form artistic conception. Xie Dai once said: "Scenery is the medium of poetry, and emotion is the embryo of poetry. They are combined into poetry. "Love is only the embryo of poetry. To cultivate it into poetry, we must find a suitable medium, that is, scenery. Poetry is conceived by emotion embryo and expressed by scenery media, and the artistic conception of poetry is produced by the blending of emotion embryo and scenery media. Poetry is to express emotion, emotion is the purpose, and scenery is the means. Family needs to be expressed visually. Because affection is an invisible spiritual existence. If it is separated from the specific scene and expressed directly in abstract words, its works will become empty sermons, lose image and aesthetic feeling, and thus it is not art, and of course it is not art. For example, in order to express the "affection" of "love", if you say "I love you very much", there is no poetry at all. If we say "I love you so much that I can't eat or sleep", it will be more vivid. If we go further and say, "I want to know you, I will live a long life." "There are no graves in the mountains, no rivers to exhaust, thunder in winter, rain and snow in summer, and heaven and earth are one, so you dare to be king!" That's a poem, and it's a poem with good artistic conception. Therefore, if you want to write a poem with artistic conception, you must first make your own poems have feelings and scenes, and have intentions and images. Do the scene blend, both form and spirit.
(2) Actual situation and actual situation.
The combination of reality and fiction is the structural feature of artistic conception. It emphasizes how to leave imagination space for readers in the layout. Implication, imagination space, was born in the clever combination of reality and reality.
There are different opinions about what is real and what is virtual. Among them, there are consistent and inconsistent. If there is no clear definition, there will be confusion in discussion. For example, some people divide the "emptiness" in poetry into three categories: the world of immortals and ghosts and dreams; The domain of the deceased; Imagine the future. This is clearly defined as: reality is true, fiction is false; The present is true, the past and the future are empty. Others analyzed Li Bai's "A Gift for Wang Lun" (Li Bai was about to leave by boat when he suddenly heard a song on the shore. When the Peach Blossom Lake is deeper than thousands of feet, it is not as good as Wang Lun), he thinks that "replacing people with songs" means "expressing reality with empty space". This is obviously that the person to be expressed in the work but not written directly is "real", while the song written directly is "empty". Although there is some truth in this definition, it is incompatible with "what is obvious is true, what is hidden is false", "what is spoken is true, what is silent is false" and "what is directly felt is true and what is indirectly possible is false". The definition of "the scene is empty" applies to "scene sentences" that hide feelings in the scene, but not to those "love sentences" We can't say that "situational sentence" is true and "emotional sentence" is empty. In that case, Chen Ziang's "Youzhou Tower" is just empty and unreal. Because this poem is full of "love words". Literally, there is no "scenery". ("before me, where is the past era? Behind me, where are the future generations? . I miss heaven and earth, boundless, boundless, lonely and tearful ") It is precisely because there is no literal scenery that some people think that this poem has no artistic conception. However, if the "obvious" is true and the "hidden" is empty, then Chen Ziang's You Zhou Tower has both obvious and hidden. What is obvious is emotion, but what is hidden is the scene. Emotion is directly perceived, but "scene" is consciously realized. This kind of poetry with obvious feelings and obscure scenes, how to distinguish between truth and reality? According to "the obvious is true and the hidden is false" and "the scenery is true and the emotion is false", the result is obviously the opposite. Therefore, to determine what is virtual and what is real in poetry, we must first have a unified definition of virtual and real. What is the more consistent formulation in the statement about truth and falsehood? Friends, let's talk about it next class.