If the Book of Songs is naive, then the five words in Han Yuefu seem to be very rough. Landscape pastoral poetry began to appear in Wei, Jin, Southern and Northern Dynasties, and in Tang Dynasty, classical poetry reached its peak. The accumulation of the previous generation is undoubtedly the most important reason for the prosperity of Tang poetry. Maturity of language skills; Exquisite lyric techniques; Standardization of phonological meter; They all prepared a sufficient and necessary premise for the glory of Tang poetry. In particular, various times before the Tang Dynasty prepared rich images for Tang poetry, which made it more subtle and full of charm. As long as we pay a little attention, it is not difficult to find the extensive use of images in Tang poetry. "Wind, clouds, rain, snow, sun, moon, stars, chardonnay, flowers, wood, water and birds" are all images that can be seen everywhere in Tang poetry. The use of images plays an extremely important role in improving the realm of Tang poetry and enhancing its artistic appeal. In other words, it is very beneficial to understand the realm of Tang poetry and grasp its space, presentation and emotion! For example, Meng Haoran's poem: "The mountain is full of sorrow when listening to apes, and the river runs for the night. The wind blows through the leaves on both banks, and the moon crosses my lonely sail. " Images such as "cross-strait wind blowing" and "moonlight on a lonely boat" contain a feeling of loneliness, loneliness and coldness. When a vast artistic space unfolds with these images, the emotions it contains naturally evaporate, spread and overflow!
When it comes to Tang poetry, we can't help but think of Li Shangyin and his untitled poems:
The stars were bright last night, but there was a cool breeze at midnight. Our banquet is on the side of Hualou Temple and the east of the county.
Without Cai Feng's wings, I feel the harmonious heartbeat of the sacred unicorn.
Send a hook for spring wine every once in a while, where we roll dice in groups under the crimson lamp.
Alas, it's time to call the roll in the morning when you hear the drums of the fifth watch; Riding to Lantai is like the wind in the wind.
This is a poem with many metaphorical images. The first sentence seems to explain the environment last night, but it is actually a metaphor. "Stars Last Night" symbolizes the incomparable beauty of last night. The stars are shining all over the sky. What a wonderful time it is to meet a beautiful woman who misses you so much! This metaphor is very vivid and ingenious. The second sentence explains the place, and the third sentence is wonderful, which shows the poet's yearning. He wants to fly away with his sweetheart and enjoy the sweetness of the world. This metaphorical image not only turns the abstract psychological desire into a wonderful tangible image, but also fits the lover's mentality very well. The fourth sentence, connecting the past with the future, uses the legend of Linxi to compare the empathy between lovers. It is the ingenious pen of the whole poem, and it also makes this beautiful couplet spread through the ages. In addition, there are many metaphorical images in Li Shangyin's untitled poems. For example, sentences such as "the grass is blessed, the sun is shining on earth" and "to see the sun, for all his glory is buried in the coming night" are also creative metaphors. It can be seen that the proper use of metaphorical images not only enhances the emotional expression of poetry, but also turns abstraction into concrete, with richer and deeper meaning.
Most people who like Tang poetry remember Zhang Ji's a night-mooring near maple bridge:
Crows fell on the moon, crowed coldly, slept on maple trees, and slept in fishing lanes by the river.
In the lonely Hanshan Temple outside Suzhou, the bell that rang in the middle of the night reached the passenger ship.
In the poem, only the word "sad sleep" is used to illustrate emotions, and the rest are used to render emotions. This poem can be said to be the representative of lyrical images. Poets use sad scenery such as "the moon falls and cries", "fishing in the river" and "midnight bell" to set off and polish their feelings of parting, which makes their poems extremely expressive, vivid and expressive, and their emotions extremely subtle and chewy. The description of scenery in Tang poetry is closely related to lyricism. Scenery reflects feelings, feelings dye scenery, and scenery naturally blends and complements each other.
In Tang poetry, there are many poems about women, but what impresses me is the use of metonymy in the image system. Remember Liu Changqing's Song of Wang Zhaojun?
I am proud of my charming colors, but I am not alone in Danqing people.
I didn't know that pastel painting could be denied, but it turned Hua Rong over.
When I got on the horse, I resigned and married the arrogant Lu, and Yu Yan kept silent about you.
The north wind and geese are in a hurry for autumn, while Wan Li watches the Yellow River flow alone.
Slim waist is no longer favored by Han Palace, and Shuang 'e's appearance worries Han Palace.
Pipa strings are bitter, and the rustling Qiang flute is harmonious.
Who pities a song and spreads it to Yuefu, which can make future generations hurt and continue the forefront?
In this short poem, there are many metonymies or pronouns about women. Replacing Wang Zhaojun with "color", "jade face", "slim waist" and "double moth" avoids calling him directly and repeating words, makes his image more concrete and vivid, and makes the abstract name Wang Zhaojun appear to readers as a flesh-and-blood beauty. That kind of sadness, that kind of loneliness, that kind of homesickness all flowed out through the paper, making people cry.
In a word, the application of image system plays an important role in setting off the scene, concise picture and vivid image of poetry. Studying Tang poetry and analyzing its images is an important means to understand the artistic conception of poetry.