When the false becomes true, the true is also false;
There is nothing but nothing.
——Cao Xueqin's "Taixu Illusionary Couplet"
Notes ① This couplet can be found in the first chapter of "A Dream of Red Mansions". ②Cao Xueqin: (approximately 1724 or 1715-approximately 1764): named Zhan, courtesy name Mengruan, Qinpu, pseudonym Xueqin, Qinxi Jushi, a Qing writer, and a native of Zhengbai Banner of the Han Army. He is good at poetry and painting, has extensive knowledge of literature and art and profound cultivation. His "A Dream of Red Mansions" had a profound impact on later generations of literary creation and research. ③ Taixu illusion: Taixu means emptiness and emptiness. Taixu Illusion is a realm in the heaven created by Cao Xueqin.
Appreciation This couplet appears twice in "A Dream of Red Mansions": the first time it was seen by Zhen Shiyin in a dream, and the fifth time it was seen by Jia Baoyu in the illusion of You Taixu. It can be seen that the author's arrangement of this couplet has deep meaning. This couplet seems simple, but the truth is quite profound. Judging from the characters' experiences and fates: Zhen Shiyin once enjoyed all the glory in his life, but finally his family circumstances changed and he escaped into Buddhism. This was the final destination of Zhen Shiyin's life. The author saw this same couplet through Jia Baoyu. In a sense, it is a microcosm of his life path. Judging from the creative techniques of the work: the personnel, events and plots described are both true and false, which makes readers taste and guess in detail. Wang Xilian's "Commentary on a Dream of Red Mansions" says: "Readers should be aware that true is false, false is true; true has falsehood, and falsehood has true; true is not true, false is not false. If you understand the meaning of these numbers, Zhen Baoyu and Jia Baoyu are the same. If it’s two, then it will be clear.” This couplet can be said to summarize certain rules in the creation technique of “Dream of Red Mansions”.
As the couplet says, if you regard falsehood as true, then true becomes false; if you regard what is not as something as something, something becomes something that is not. As Lu Xun said in "Jiwaiji Shiqian·"Jiangdong Huazhu" Small Introduction": "The meaning of fortune alone varies depending on the readers' vision: Confucianists see "Yi", Taoists see lewdness, and talented scholars see "Yi". See the entanglement, the revolutionaries see the queues, the gossips see the secrets of the palace..." This couplet explains the philosophy of "false", "true", "presence" and "nothing", and seems to be a reminder to readers when reading "Dream of Red Mansions", Be careful not to go too far; at the same time, it should provide profound enlightenment for people to understand and think about complex life.
The jade is in the box for a good price;
The hairpin is in the box waiting to fly.
——Cao Xueqin wrote the Jia Yucun chanting couplet
Notes ① The jade is asked for a good price in the crotch: the sentence comes from "The Analects of Confucius·Zihan": "Yugong said: 'There is a beautiful jade So, do you want to sell them for a good price? "It's okay to sell them." "匵" means "椟", which is a kind of skill box. ②The hairpin is waiting to fly in the box: The sentence comes from a fairy tale. According to "Taiping Yulan" quoted from "Dongming Ji", Emperor Wu of the Han Dynasty said that "from the first year of Yuanding in Zhaoling Pavilion, a goddess left a jade hairpin with the emperor, and the emperor gave it to Zhao Jieyu. When Emperor Zhaodi Yuanfengzhong, the palace People still see this hairpin, and they want to smash it. When they look at it in the morning, they can only see the white swallow rising to the sky. The people in the Forbidden City changed the name of the jade hairpin to the jade swallow hairpin, saying that it is auspicious. A box for decorative utensils.
Appreciation of this couplet is selected from the first chapter of "A Dream of Red Mansions". The book says: "After Yucun recited, he thought about his life ambitions again, and the suffering was not at the right time, so he scratched his head and sighed to the sky. Fu Gao recited a couplet saying: "The jade is in the crotch for a good price, and the hairpin is waiting for it to fly in the box." Shi Yin came over and heard it, and said with a smile: "Brother Yucun is really ambitious." Poems can express ambitions! , couplets can also express aspirations. Judging from what Jia Yucun thought, what Zhen Shiyin said, and the actual content of the couplet, it is a vivid couplet. The content of the couplet is actually a foreshadowing of the development and changes of Jia Yucun's thoughts and his actions in the following text.
The first couplet uses the jade in the crotch to compare itself, and the second couplet uses the hairpin in the box to compare itself. The jade hairpin, waiting for the opportunity to come and waiting for a price, clearly expresses Jia Yucun's eagerness to achieve success. In terms of writing techniques, the use of metaphors and allusions in this couplet has reached the level of perfection, lifelikeness, and vividness. It clearly displays Jia Yucun's inner world that is eager to climb up in front of readers, giving people a profound and unforgettable impression. Reading the couplet carefully, it feels like seeing the person and hearing the voice. Isn't this a vivid portrayal of the souls of those who are eager for fame and fame and wait for a price!
The couplet also has its own deep hidden meaning. Zhi Yanzhai got a glimpse of Cao Xueqin's creative intention, and commented in the following line: "In the past, Eryu was used for joint biography, and now Erbao is used for joint biography. This is the correct view in the book." The so-called "Eryu joint biography" refers to Shenying. The story of the waiter and Fairy Jiangzhu; the so-called "Two Treasures Together" tells the fate of Yun Baoyu and Baochai. What is the ending? As a result, researchers have different opinions. Some people say that "the jade is in the nest" implies that the jade is imprisoned in the prison temple, while "the hairpin is in the box" means that the hairpin is waiting for an opportunity to fly away. And because Jia Yucun's last name was Shi Fei, some people inferred that Nai Baochai finally married Jia Yucun. Regarding the analysis of the implicit meaning of this couplet, it can be said that "the benevolent has a different opinion, and the wise have a different opinion."
I forgot to shrink my hand when I had enough time behind me;
There is no way to turn back.
——Composed by Cao Xueqin "Zhitong Temple" door couplet
Notes ① Having more than enough after death: after death means after death. Surplus after death means that the collected property will remain after death. ②Forget to shrink your hand: an image depiction of a greedy person. ③There is no way out and I want to look back: Looking back means repenting of what I have done before and reforming. Buddhism means complete enlightenment. There is a saying in the Buddhist scriptures that "the sea of ??suffering is boundless and we can finally reach the shore".
The first chapter of "Debt in the Next Life" by Anonymous: "People in this world are greedy and fond of bribes. The sea is boundless. When you turn back, you will find a shore. Why not make good friends early." Seeing no way to turn back refers to those who are greedy for profit. After hitting a wall, they want to turn back. Only when I was desperate did I think of turning back.
Appreciation of this couplet is characterized by simple language but deep meaning. The so-called shallow language means that the two sentences in the couplet are easy to understand and clear as pictures. It is written that because I already have a lot of money after my death, I still don’t give up, and I don’t think of looking back until my head is broken and bleeding. The meaning can be understood by anyone. The so-called profound meaning in the couplet is not just about talking about the truth. Its deep meaning lies in: first, the words "forgetting to shrink my hand" and "wanting to look back" in the couplet are far-reaching and thought-provoking. It is a summary of the life-long painful lessons of those who are deeply experienced and well versed in the ways of the world. In the second chapter of "A Dream of Red Mansions", the author expresses this profound meaning by describing the environment of Zhitong Temple and Jia Yucun's thoughts, saying: "Although these two sentences are simple in text, their meaning is profound. I have also traveled there I’ve been to some famous mountains and temples, but I’ve never seen such a talking head. One of them must have done somersaults...” This is such an unforgettable depiction of greedy people! Secondly, this couplet represents what Jia Yucun saw and thought, and by linking it with Jia Yucun's ups and downs in the officialdom, it is not a serious warning to him in his future career! Third, the couplet decorates the desolate scene where the old monk lives in a ruined temple. It is actually a hint of the future decline of the Ningrong Palace and a foreshadowing of the twilight years of Jia Baoyu, the main character in "A Dream of Red Mansions". From this point of view, this couplet in the work not only fits the content of the work, but also has a universal significance that is different from the work. Fourth, the couplets are written with simple words but profound meaning, reflecting the author’s deep understanding of society and familiarity with real life. Without the author’s life experience and deep understanding of the world, this situation, this scene and the couplets that fit this situation are written It contains the author's deep thinking about life. When we see the irreversible decline of the two houses of Rong Ning from the peak of prosperity to the final decline, when we hear and witness the sad fate of those greedy people in real life and history who do not shrink back when they have more money behind them, but who have no way to turn back, Who wouldn’t be shocked and impressed by the philosophy contained in this couplet?
Knowledge of world affairs is knowledge;
Learning about human feelings is writing.
——Written by Cao Xueqin, Ningfu Shangfang couplet
Notes ①Dongming: thorough understanding. ②all: all, all. ③Knowledge: This originally refers to learning and asking questions, and later refers to all kinds of knowledge. ④ Human feelings: the human heart, the world's feelings, and the world's sophistication. ⑤Lianda: Proficient and proficient.
Appreciation This couplet sets off such an environment and depicts Jia Baoyu's mental state at that time - Chapter 5 of "A Dream of Red Mansions" writes: "At the moment, the Qin family attracted a group of people to come to the Supreme Being. In the room, Baoyu looked up and saw a painting posted on it. The character in the painting was Gu Hao, and the story was "Burning Quinoa". No matter who painted it, there was another couplet written in his heart. It is: "Knowledge of world affairs is knowledge, and knowledge of human nature is knowledge." After reading these two sentences, even though the room is exquisite and beautifully furnished, he refuses to stay here anymore and hurriedly said: "Get out quickly!"
Here are paintings and couplets. The content of the paintings is based on the story contained in "Sanfu Huangtu·Gebu" written by an unknown person in the Six Dynasties: "At the end of his reign, Liu Xiang, the editor of Tianlu Pavilion, specialized in Tan. Thinking. At night, an old man wearing yellow clothes and holding a quinoa stick came into the pavilion. He was sitting alone in the dark and reciting a book. The old man was blowing the stick and holding the smoke (burning), so he was taught the text "Five Elements Hong Fan"... ...and leave at dawn. May I ask my name? I am the essence of Taiyi." "The Picture of Burning Quinoa" is a picture of the gods urging people to study hard. And this couplet says that understanding the world is knowledge, and having a set of skills to deal with the world is writing. The paintings and couplets complement each other and are actually models and mottos for encouraging people to learn "official career economy". The philosophy contained in them is quite interesting after reading it. The Jia family placed their hopes on Jia Baoyu to honor his ancestors. They used various means to force him to study in the hope that he would prosper in his official career. However, he was "too poor to handle common affairs, stubborn and afraid of reading, and his behavior was eccentric and eccentric." Don't care about the world's slander!" So Jia Baoyu dismissed the "Burning Quinoa" and the motto "Official Career Economics" that encouraged people to study hard, and repeatedly shouted "Get out! Get out!" This is a very prominent outline. The characteristics of Jia Baoyu's environment and Jia Baoyu's attitude towards the typical environment more vividly highlight Jia Baoyu's thoughts and sentiments and fully demonstrate the character of this feudal rebel.
This couplet has neat contrasts, exquisite diction, concise and comprehensive words, and profound meaning. If the method of cultivating one's life in the world is extracted from the specific plot of the novel "A Dream of Red Mansions", tasted separately, and the human world is elevated to a communicative knowledge for study, there will be much to be done. This couplet can not but be said to be an image summary of the philosophy of life that people have condensed over thousands of years. From this, we can see the brilliance of Cao Xueqin.
Tender cold locks dreams because of the cold spring;
The aroma that envelops people is the fragrance of wine.
——Cao Xueqin’s Couplet from Song Dynasty Scholar Qin Taixu’s Bedroom in Qin’s Bedroom
Notes ① Nenhan: slight cold. ②Lock the dream: fall asleep deeply in spring, meaning to be locked in dreamland. ③ Spring cold: It means youth is lonely and desolate. ④Cage people: Cover people. ⑤The couplet written by Qin Taixu, a scholar of the Song Dynasty in the bedroom of the Qin family: Qin Taixu is Qin Guan (1049-1100), also known as Shaoyou and Taixu, named Huaihai Jushi, and was born in Gaoyou, Yangzhou (now Gaoyou, Jiangsu). Yuanfeng Jinshi, Dingding Haizhubu, Caizhou Professor. At the beginning of Yuanyou, he was recommended by Su Shi as a doctor of Taixue and editor of the Academy of Chinese History.
At the beginning of the Bible, his position was demoted due to his leaning towards the old party. Huizong was established, released, and died on the way. His poems are elegant and graceful, and he is an authentic member of the Wanyue Ci School. Together with Huang Tingjian, Chao Wujiu and Zhang Lei, he was one of the "Four Scholars of the Su School". There is "Huaihai Collection". There is no such couplet in his "Huaihai Collection". It is difficult to determine whether this couplet was once written by Qin Guan. It is tentatively assumed to be Cao Xueqin's draft.
Appreciation This is an inscribed couplet called "Begonia Sleeping in Spring" painted by Tang Bohu. Begonia sleeps in spring: a metaphor for Yang Guifei's drunken state. "Miscellaneous Records of the Emperor of the Ming Dynasty" says: "I went to the Agarwood Pavilion to summon my concubine. When the concubine was still drunk, Gao Lishi came to help her with a few attendants. The emperor smiled and said, 'Is it possible that the concubine is drunk? Haitang has not slept enough. '" Whether this pavilion actually existed is difficult to test. The title couplet on the painting must closely match the meaning of the painting. The first couplet means that the spring cold is mild, and spring sleep is deep and locked in sleep; the second couplet means that people are attracted by the aroma of wine. The organic combination of painting and couplet art here is the fine tradition of my country's couplet art and painting art. The combination of couplets and paintings often has the effect of setting off the clouds and supporting the moon and adding the finishing touch. The couplet with this title complements the painting and interior furnishings. Chapter 5 of "Dream of Red Mansions" reads: "As we talked, everyone came to Qin's room. As soon as they arrived at the door, a thin sweet fragrance hit people. Baoyu felt that his eyes and bones were soft, and he kept saying 'Okay' Fragrant! When I entered the room and looked down the wall, I saw "Begonia Sleeping in Spring" painted by Tang Bohu. On both sides was a couplet written by Qin Taixu, a scholar of the Song Dynasty. The couplet said: "The tender cold locks dreams because of the cold spring; the fragrance The person in the cage is the scent of wine. On the table is the precious mirror that Wu Zetian set up in the mirror room. On one side is a golden plate with flying swallows dancing on it. In the plate is a papaya that An Lushan threw and injured Tai Zhenru. On it was the couch where Princess Shouchang and His Highness Hanzhang were sleeping, and a hanging bead tent made by Princess Tongchang. Baoyu said with a smile: "It's great here!" You can live in it.' He said that he unfolded the gauze quilt that Xizi Huan had carried and moved the mandarin duck pillow that the matchmaker had hugged. Here is a description of the display of Qin Keqing's bedroom: there are furnishings for the emperor, the queen mother, the concubine, the princess and so on. The famous painter Tang Bohu's "Begonia Sleeping in Spring", the utensils involved are mostly "aromatic stories", coupled with this couplet, it even more shows the luxury and elegance of Qin's bedroom. This couplet is not only neat and consistent, but more importantly: used in Qin's bedroom, it plays a role in highlighting the scene in the bedroom, creating an indispensable artistic sentiment and atmosphere, highlighting and exaggerating the description. specific people and circumstances.
The shadow of hibiscus breaks through the orchid oar;
The fragrance of water chestnut and lotus root is deeply written on the bamboo bridge.
——Cao Xueqin’s Grand View Garden Lotus Root Couplet
Notes 1. Hibiscus: refers to water hibiscus, that is, lotus. ② Lan oar: oar made of magnolia, used here to refer to small boats. ③ Pavilion: A wooden building set on a high platform with a roof, pillars and no walls. It is used for sightseeing, banquets, entertainment, or singing and dancing.
Appreciating the Couplet of Lotus Root and Champs Elysees is also one of the more outstanding landscape masterpieces in the Grand View Garden. Let's look at the description of the scenery first, and then analyze the connection. Chapter 38 of "Dream of Red Mansions" writes: "It turns out that the Lotus Root Pavilion is covered in the pool, with windows on all sides, and winding corridors on the left and right. It is also connected to the shore across the water, and there is a zigzag bamboo bridge behind it to connect it secretly." Hanging on the pillar is a pair of black lacquer inlaid with clams, which goes: "The shadow of hibiscus breaks through the orchid oar, and the fragrance of water chestnut and lotus root is deeply written on the bamboo bridge."
The first couplet is a wonderful sentence. The word "broken" is particularly expressive. It breaks the shadow of the lotus reflected in the water, and then the scene of the boat returning is vividly expressed and has quite a charm. If we describe it according to the convention, it would be "when the orchid oar returned, the shadow broke", and the sentence would be bland and unremarkable. Compared with writing from the moving boat to the moving shadow, the artistic conception and taste are really different. The second couplet is unique in the wording, especially the three characters "香", "深" and "书" which show unique skill. Most people just talk about the fragrance of lotus, but here it is said that "the lotus root produces fragrance", which broadens the mind; "deep" indicates the scenery. It is lonely, has depth and a sense of distance; "writing" means "painting", which means that there is a bamboo bridge here, and the sentences are humorous and full of poetry and painting. The meaning of the whole sentence is that the bamboo bridge is built on the deep and fragrant water of lotus root, just like a painting. The whole couplet is full of moving scenes and still scenes, picturesque and poetic, there is stillness in the movement, there is movement in the stillness, the combination of movement and stillness is unique in its own way, and every word and sentence contains infinite beautiful taste, which makes people happy after reading it.
The smoke of Baoding tea is still green;
After playing chess in the quiet window, my fingers are still cool.
——Written by Cao Xueqin, a couplet of Xiaoxiang Pavilion inscribed by Jia Baoyu
Notes ① Baoding: This refers to the cooking utensils used for making tea. ②Tuxian: Let’s have tea. ③Smoke: refers to the water vapor that comes out when making tea. ④Chess is over: the chess game is over.
Appreciation: This couplet depicts the Xiaoxiang Pavilion. Compared with "Qinfang Pavilion", this place has a different cave. Chapter 17 of "Dream of Red Mansions" writes: "Suddenly I looked up and saw a pink wall in front of me, with several couplets and buildings inside, covered by thousands of green bamboo poles." For such a "good place", the author closely focused on the meaning of green bamboo. The characteristic is that bamboo is written with full expression without the word "bamboo". The first couplet says that Baoding is no longer brewing tea, and green steam is still floating in the room; the second couplet says that the chess game outside the quiet window has stopped, and my fingers still feel cool. The green steam is obviously caused by the shade of green bamboo; the coolness is also caused by the thick shade. It can be said that both perspective image and tactile perception are combined. The words "tea leisure" and "chess stop" in the couplet are used wonderfully. When reciting this couplet, from the scene to the emotion, from the objects to the people, the leisurely and relaxed mood of the young men and ladies living in aristocratic families seems to be reflected in the couplet. eye.
The willows around the dike borrow three poles of green;
The flowers on the other bank are fragrant.
——Written by Cao Xueqin, imitating Jia Baoyu’s Qinfang Pavilion couplet
Notes ① Three poles: refers to the depth of water. ②Yimai: refers to the shape of the stream.
When appreciating my country's garden architecture, we have always paid attention to the scenery, emotions, and the blending of scenes. The pavilions, terraces and pavilions with inscribed couplets on their foreheads and foreheads in the garden also add to the beauty of the scenery. Therefore, when "A Dream of Red Mansions" writes about the completion of the Grand View Garden, it particularly emphasizes that: "The huge scenery, several pavilions, and no titles are also boring and boring. No matter there are flowers, willows, mountains and rivers, they will never be colorful." Scenery couplets in "A Dream of Red Mansions" , mostly concentrated within Chapter 17-18. Before drafting this couplet, there was such a scene description in Chapters 17-18 of "Dream of Red Mansions": From the winding path leading into the cave, "I saw only green trees, strange flowers, and a clear stream. The depth twists and turns under the stone gaps. A few steps further, it gradually becomes flat and wide, with flying buildings on both sides and carved embroidered sills, all hidden among the trees in the mountain. The stream flows with snow, the stone steps penetrate the clouds, the white stone railings surround the ground, and there are three stone bridges, and there are pavilions on the bridge. "The Qinfang Pavilion couplet summarizes the main part of this wonderful scene.
The first couplet is about the clear blue water, which seems to have borrowed the green of the willows on the bank; the lower couplet is about the fragrance of the water, as if the water in this vein has shared the fragrance of the flowers on the other bank. This couplet is written about "water", but the beauty is that there is no word "water" in it. It uses "around the embankment" and "across the bank" to reflect the stream; "three poles" and "one vein" are used to reflect the "depth of water". "Stream shape" is written by combining water color, water quality, and surrounding environment to form a very poetic picture of willows reflecting the blue of the stream and flowers falling and the water flowing red. No wonder the literati who admired the scenery praised it. Readers can also appreciate the poetic and picturesque atmosphere of "Qinfang Pavilion" after reading this.
The sun and moon shine brightly on the throne;
The haze glows in front of the hall.
——Cao Xueqin’s Rongxi Hall Couplet
Notes ④ Zhuji: Pearl. In ancient times, aristocratic women often used pearls as patterns on their clothes. The metaphorical poetry here is wonderful. Tang Du Mu's "Xinzhuan Nancao went out to defend Wuxing": "A cup of wide curtain banquet, five characters are made of pearls." ② Zhao Riyue: Zhao, remarkable. The sun and the moon shine together. ③ 黼黻: 黼, black and white are alternated, making an axe shape, the blade is white and the body is black; 黻, black and green are alternated, making a sub-shape. 黼黻 is the pattern embroidered on ancient dresses, which also means literary talent. ④Rongxi Hall: Kangxi was rich in literary talents and also loved to dance, write, and ink. Many of his close ministers were awarded "Chen Ci" imperial writings, plaques, and couplets. According to relevant historical records, the Cao family once obtained Kangxi's handwriting hall with two inscriptions, one saying "Jingshen" and the other "Xuanrui". . The third chapter of "A Dream of Red Mansions" is written as "Rongxi Hall", which takes this fact as the background. Let’s look at Daiyu’s narration of the three words “Rongxi Hall” when she saw it, which illustrates this background: “Entering the hall, looking up, I first saw a large red gold, nine dragons and green plaque on the green ground, with the words "fight" written on it. The three largest characters are "Rongxi Hall", followed by a line of small characters: "On a certain year, month and day, a letter was given to Rongguo Gong Jia Yuan," and there is also "Treasure of Ten Thousand Chenhans" on the large red sandalwood carving table. There is a three-foot-high green bronze tripod, hanging with a large ink dragon painting from the imperial court. On one side is a gold seal, and on the other side is a glass box. There are sixteen nanmu chairs in two rows on the ground, and there is another couplet, which is an ebony couplet. The plaque is inlaid with chiseled silver writing, which reads: "On the throne, the sun and moon shine brightly, and in front of the hall, the mist shines." Below, a line of small characters reads: "My fellow disciple Xun Xi, the king of Dong'an County, paid homage to Mu Shi in his handwriting." '." Cao Xueqin's introduction to "Rongxi Hall" and its couplets reproduced the historical background of the Cao family at that time.
Appreciation This is a central hall couplet, which is commonly known as hall couplet. Hall couplets mostly play a decorative role, so they are also called "decorative couplets". They are mostly used to decorate and beautify indoor environments such as living rooms, study rooms, bedrooms, and desks. In form, the couplets in the hall play the role of decorating the house and beautifying the environment; in terms of content, they reflect the different styles, qualities, feelings, aspirations and hobbies of the owners. In this "Rongxi Hall" couplet in the middle hall, the first couplet is called the seat. The pearls and jade worn in the palace are as bright as the sun and the moon; the official uniforms worn by the people in the lower couplet are as colorful as clouds and clouds, which shows that the luxury and nobility of the Jia family has indeed reached its peak. This couplet is the most vivid description of this "bells ringing and cauldrons eating" home. It is an artistic masterpiece that closely follows the prominent and glorious social status of Rongfu in "A Dream of Red Arms". The whole couplet has neat antitheses, elegant conception, and beautiful diction, which vividly depicts the taste and world view pursued by dignitaries. It is a good product that serves the creative purpose of "Dream of Red Mansions".
Yanxia's idle character;
Quan Shiye's career.
——Cao Xueqin’s Tanchunfang inline
Notes (1) Haze: refers to mountains, rivers and forests. (2) Bone character: Here it is interpreted as temperament, ambition, and style. (3) Haze and leisurely character, spring and stone wild life: It means that the nature is romantic and idle like haze, and the life of the wild people in the mountains is often accompanied by spring and stone. This phrase has its origins. According to the "New Book of Tang·Tian Youyan Biography": Tian Youyan "went to Jishan and lived next to Xuyou Cave. He called himself "Youdong Neighbor" and could not be summoned out frequently." Emperor Gao Zong came to his door and asked, "Sir, are you better?" He replied, "I call it a person with a gypsum layer in the spring and a chronic disease in the haze." Rock matter. (4) Couplets in Tanchun's Room: The book calls them Yan Lugong's calligraphy, and Yan Lugong is Yan Zhenqing, the great calligrapher of the Tang Dynasty. This couplet has not yet been seen in Yan's ink, so it was tentatively drafted by Cao Xueqin. However, many experts on red studies hold a negative attitude as to whether there were couplets in the Tang Dynasty.
Some experts believe: ""A Dream of Red Mansions" mentioned that there was a couplet written by Yan Zhenqing hanging in Tanchun's house, "The style of leisurely bones in the mist, the life of spring and stone fields", so red scholars came to research it, saying that Yan's era (709-789) was still There is no such custom of hanging couplets, so it can be seen that the "authentic" work of Yan Shu is actually a fake tripod, etc. "What is the main evidence that red scholars have used to deny the absence of couplets in the Tang Dynasty? Their main basis is: "According to "Shu 杼杌" written by Zhang Tangying of the Song Dynasty, Meng Chang, the lord of Shu after the Five Dynasties, wrote a peach symbol on the door of his dormitory a few days before returning to the Song Dynasty: "New Year's greetings, good luck. The festival number Changchun was the beginning of couplets in later generations. It was not until the late Ming Dynasty that the style of writing couplets began to flourish, especially in the Qing Dynasty. "Couplets flourished in the Ming and Qing Dynasties, and were extremely rare in the Northern Song Dynasty." It is already out of date and therefore not sufficient evidence. After conducting various research on the origin of couplets, many coupletists believe that the existence of couplet sentence patterns and syntax did not begin in the Yin and Zhou Dynasties; the emergence of the first couplet did not begin in the Later Shu Dynasty; and the rise and use of couplets did not begin in the Yin and Zhou Dynasties. In the Song and Yuan Dynasties. Here we briefly select a few couplets from the Tang Dynasty as evidence: For example, the couplet inscribed by Emperor Taizong of the Tang Dynasty and collected in the Jin Temple is: "The article is about eternal events, and the country is a military uniform." Another example: Fujian's "Funing Prefecture Chronicles" (Qianlong Edition) contains, Tang Dynasty Lin Song, a scholar in the Jin Dynasty, once studied scriptures in Li'aojie Thatched Cottage, a coastal fishing village in Fuding. "Fuding County Chronicles" (Jiaqing edition) records: When Lin Song was not yet in the throne, he hung a couplet in the thatched cottage to express his aspirations and sentiments. The couplet said: "A real man does not eat his saliva, but cleans his heart by the waves of the sea. How can a gentleman rely on the fence and dare to "Jiangtai Pavilion occupies the top of the mountain." According to "Xiapu County Chronicles" in Fujian, Chen Peng of the Tang Dynasty, whose name was Bai Shuixian, lived in Houqi. He once wrote two couplets about his residence, saying: "'The bamboo fences are sparse on the Pupu; the thatched houses are leaky. House. ''The stone is straight and knotted high and low; the bamboo door is exquisite and open to the left and right. Fuding and Xiapu are remote places on the sea, and their culture is relatively backward. They have the custom of hanging couplets in the hall, which shows the widespread use of couplets in the Tang Dynasty. Shi Zhongcai and Shi Zhongyuan also said in the article "Japanese Friends and Chinese Couplets" that Chinese couplets were introduced to Japan in the Tang Dynasty. "With the journey of the eminent monk Jianzhen to the east, many temples in Japan later had couplets posted on them." This shows the denial. It is wrong to have the custom of hanging couplets in the Tang Dynasty.
Appreciation: This couplet is hung in Jia Tanchun's boudoir, and hangs to the left and right of Mi Xiangyang's "Mist and Rain Picture". It can also be regarded as a decorative couplet, which plays an important role in embellishment of Tanchun. The life in the boudoir and its role in reflecting Tanchun's self-proclaimed elegance and broad-minded thoughts and interests are worthy of being regarded as a masterpiece. The meaning of the upper and lower couplets is: the quiet and contented style is like smoke and clouds rolling freely; living among mountains and rivers has the joy of the fields. Tanchun has the aloof attitude of a scholar-bureaucrat. This couplet not only adapts to the needs of Tanchun's boudoir environment, but also reflects the so-called "elegance and nobility" of scholar-bureaucrats that Tanchun possesses. It also plays a role in echoing the previous text. In the 37th chapter of "A Dream of Red Mansions", there is a Tan Chun talk about how Baoyu was "given by Zhen Qing's ink", and there is also a saying that "the two of them lived among the springs and rocks, and admired the branches of Xue Lin". Baoyu also called it "elegant", while Tanchun called himself "Jiao Xia Ke"... The purpose and meaning of this couplet, as well as the text, are closely related to the previous article. This completely gets rid of the mediocre and boring shortcomings of joint works based on the occasion, and gives people an aftertaste of association, which is quite chewy and shows the author's meticulous writing and unique ingenuity.