The works of Huajianji have obvious similarities: first, the genre is in the form of "minor" originated from the people; Second, the content mostly describes the love between men and women, from which sorrow comes, from which joy begets hatred and parting from sorrow; Third, the creative style tends to be feminine, with the characteristics of small, light, narrow and hidden.
The words included in Huajianji are only Xiao Ling and Zhong Diao, and there are no long and slow words. This is not because the elector favored the poem and abandoned the slow words, but because from the late Tang Dynasty to the Five Dynasties and even the early years of the Northern Song Dynasty, the slow words had not developed.
Wen and Wei Zhuang are the leaders of Huajian School. Wen is regarded as the "originator" of Huajian School, and also known as the "master" of Huajian School. Wen is good at elegance and implicature, and Wei wins with simplicity and liveliness.
As the Bodhisattva Man under the style of writing:
There are many pillows in the crystal curtains, and the warm fragrance makes people dream. Miss acacia, the room is lukewarm, the incense burner is fragrant, and even the embroidered mandarin ducks are fragrant. Such an environment is unimaginable.
In the first half of a sentence, I wrote two kinds of moods of residents and travelers in different environments: the environment of residents is so warm and comfortable, and the environment of travelers is so desolate and desolate, which contrasts the two, thus highlighting the resentment of acacia, with dense images and obscure twists and turns.
Another example is Wei Zhuang's Bodhisattva Man:
Now I think of Jiangnan music. At that time, young people all had thin spring shirts. I rode my horse in Damascus and leaned against the bridge. The women on the ground were conquered by my heroism. The boudoir barrier twists and turns, setting off the deep, which is where I am intoxicated. Now if I can be like that again, I won't want to come back until I'm old.
The whole word has only one thing and one meaning, which is easy to understand and can be achieved overnight.
The formation of Huajian Ci School has its profound social, political and literary reasons. In the late Tang Dynasty, the situation was turbulent. In the Five Dynasties, the western Shu was peaceful, and the monarch and his subjects were drunk and dreamy, feasting and debauchery. As Ouyang Jiong said in "Introduction to Flowers": "Every family is fragrant, and the spring breeze is more beautiful; Everywhere in the Red Mansion, jathyapple locks himself. " Huajian Ci is the product of this decadent world style.
The mentality of poets in the late Tang and Five Dynasties has changed from saving the world to thinking about eroticism, but their talents have not been innovated after the prosperity and development of poetry in the middle Tang Dynasty, so they changed their aesthetic interest from social life to singing, dancing and feasting, and wrote their sensory feelings and inner experiences with profound and graceful styles and colorful colors.
Some poems of Li He, Li Shangyin, Wen and Han Wo in the late Tang Dynasty provided reference for the creation of Huajian Ci in terms of theme and expression. In the late Tang Dynasty and the Five Dynasties, Ci became a song written by literati and sung by geisha musicians during banquets between monarch and minister.
Ouyang Jiong recorded in "Collection of Inflorescences":
Yeyan childe, embroidered beautiful women, handed flowers of leaves, smoked brocade; Hold the slender jade finger and pat the sandalwood. Not without clear words, but with a charming gesture.
It can be seen that the theme and style of Huajian Ci are "beautiful and fragrant".
There are also a few words in Huajianji that express the frontier life and exotic customs, such as Ding Xifan by Niu Xiji, which shows the desolate, inviting bitterness and desolate and tragic style beyond the Great Wall. Li Xun's Nanxiangzi and Sun Guangxian's Romantic Boy show the customs of the fishing villages in the south of China, which are also unpretentious. For example, Li Xun's Nan Xiang Yu Shi San:
Fish markets are sparse, ferries are sparse, and clouds and trees in Vietnam look down. Travelers stay at low tide, bid farewell to Chunpu, and listen to orangutans cry and rain.
The first three sentences of this word are written from space, and the last three sentences are written from time, or lyrical on the spot, or writing scenery with emotion. Affection and scenery, scenery and scenery fall on the word "sorrow" everywhere. It is a masterpiece of scene blending.
In addition to Wen and Wei Zhuang, Ouyang Jiong is also a master of Huajian Ci School, and he is the author of Preface to Huajian Ci School. Ouyang Jiong's "Preface to Huajian Collection" shows the style of Huajian Ci: "Carving jade while carving jade is clever in imitation of chemical industry; Cut flowers and leaves, seize the beauty of spring and compete for freshness. So singing "Yun Yao" makes the golden letter clear; Xia Xia was fascinated by Mu Wang. "
Ouyang Jiong's poems are not handed down from generation to generation, but there are many wonderful pens. For example, his "Qing Ping Le", although not brilliant in artistic conception, is no different from the general poems describing spring worries, but its words are very distinctive. The first word is:
Spring comes to build by laying bricks or stones, and spring rain is as thin as silk. Spring is full of apricot stalks, and spring swallows dance with the wind. Spring banners, spring plumes, spring lanterns. Naturally, the spring is dazzling, and the spring dream is traceless.
Poems and sentences repeat the same word "spring", which existed five generations ago, such as the word "lotus" repeated in the folk song "Xizhou Qu" written by Yuefu in the Southern Dynasties, but Ouyang Jiong used the word 10 in eight sentences, which is not awkward at all.
Ouyang Jiong's spring grass, fine spring rain and falling spring apricots grow from the cracks in the stone steps, which makes people feel that winter goes and spring comes, and the four seasons change. However, when spring comes, she is alone. How can the boudoir not "regret letting her husband find the marquis?"
"Spring Flag" is the flag of Koharu planted in the temple during the spring outing. Although my husband is not here now, Chunqi is still idle there, and there is no intention to clean it up. It can be seen that the contradiction and melancholy mood of the boudoir woman are waiting.
The last two sentences say that she had a good dream that her beloved went home, but when she woke up, she only missed her. Such an ending, savoring it carefully, can't help but make people admire.
Huajian Ci has created many artistic achievements and has great artistic charm. It depicts rich scenery, numerous images, gorgeous composition and meticulous description, which has high aesthetic value and can arouse readers' sense of beauty in vision, hearing and smell.
Huajian Ci has formed a "different" system in terms of vocabulary, structure, expression and artistic conception. Huajian Ci produced a number of exquisite works of art. ..
These works record the thoughts and feelings of people in that era in content, and have real historical understanding value. In art, they have superb skills in depicting scenery and simulating characters' emotions, and truly and touching depict the inner world of characters.
The expression process of most Huajian Ci works is itself a narrative process, and emotional expression is realized through a story and a scene. The heroine's activities in ci are often confined to a narrow space. Therefore, the narrative process is carried out in a specific picture. It is precisely because of this that Huajian Ci has formed a narrative lyric style that is quite different from that of Tang poetry.
Huajian Ci is unique in image. The image presentation of Huajian Ci mostly has the nature of general image. They are often not real imitations of special concrete objects, and have no strict correspondence with the contents of the objects, but have the characteristics of unrealistic general description.
Generally speaking, Huajian Ci's images are not wide, which can be roughly divided into five categories: modality of characters, animals, plants, weather and scenery images, and the images of social and political life are extremely rare.
The images in Huajian Ci's works are mostly graceful and restrained women, which are mainly manifested in the description of scenery, utensils, objects and people's shapes and sounds.
The image combination with feminine color in Huajian Ci is characterized by a large number of words rich in love and life symbols or meanings in traditional poetry, such as spring flowers, autumn moon, catkin, apricot flowers, clouds, eyebrows, tears, slim waist, curtains, curtains, mountain pillows, brocade, soul dreams, don't hate, melancholy and so on.
The lyric expression of Huajian Ci mainly focuses on the beauty of the side, creating a strange aesthetic taste, thus laying the true color of "Ci is a colorful subject".
Huajian Ci is an inevitable historical stage in the development of Ci, which lays the basic characteristics of Ci. Although it is in an immature stage of development, it has basically laid a foundation as a lyric feature, lyric content, lyric way and lyric technique of Ci. It had an important influence on the development of later ci.