In A Dream of Red Mansions, the words adopted by Mr. Cao once put forward a very clear admiration for Wang Wei's poetic realm, and the whole Dream of Red Mansions is almost full of the artistic beauty of Wang Wei's poems.
The comprehensive artistic attainments of Wang Wei, a poet in the prosperous Tang Dynasty, had a great influence on later poetics and artistic theory. The text of A Dream of Red Mansions fully embodies Wang Wei's powerful and far-reaching influence on later generations. The inheritance and development of the art of "Hunyun, Linglong Poetic Feeling, Blending with High Scenery" is an important factor to promote the formation of the poetic art of A Dream of Red Mansions.
Cao Xueqin through a dream of red mansions forty-eighth back to the plot of Lingxue poetry, Ming
Accurately quote Wang Wei's poems. Dai Yu asked Xiangling to read the complete works of Wang Mo, not the works of Li Bai and Du Fu, and asked Xiangling to "read carefully and thoroughly", which put forward higher requirements than Du Li's poems, reflecting Cao Xueqin's special attention to Wang Wei's poems. Mr. Yu Pingbo thinks that "Daiyu and Xiangling talk about poetry, which can be regarded as a poem mourning Hongxuan." Xiangling's exquisite appreciation of Wang Wei's poems is actually Cao Xueqin's appreciation of Wang Wei's poems. Xiangling's exquisite appreciation of Wang Wei's poems has always been quoted by later generations when talking about Wang Wei's picturesque poems and his skill in refining words.
A lot of poems, songs and poems in A Dream of Red Mansions are mostly the use and reference of Wang Wei's poems, images and thoughts, which shows the author's familiarity and appreciation of Wang Wei's poems. In A Dream of Red Mansions, most of the characters who describe the scenery draw lessons from Wang Wei's pastoral poems and poems to create a quiet, beautiful and picturesque realm. For example, Jia Baoyu's "Zhi Yi Qing Fen", "The smoke is winding, the clothes are cold and wet" (the eighteenth time), which is taken from Wang Wei's "Halfway up the mountain", "There is no rain on the mountain road, and the clothes are wet and empty". In Zanhui Fiona Fang, "the stone is clean and turbulent, and the hedge is fragrant. The words "graceful red leaves at the top of the tree, picturesque sparse forest" (the eleventh time) have quite the meaning of "white stone in the west of Beijing, sparse red leaves in cold days" in "Mountain". Jia Baoyu's poem "Lotus Shadow breaks the blue oar" in the thirty-eighth chapter of Lotus Root Champion Couplet is suitable for both movement and movement, which obviously comes from the special writing of "The orphan girl returns to the bamboo to sing, and the lotus leaves are harvested before the fishing boat" in Wang Wei's "Living in the Autumn Night". Li Wan's poem "Cold Mountain has lost its light", the fiftieth poem "Lu Xueting's Landscape Couplet" borrows the poem "Now the mountains are cold and blue" from Wang Wei's poem "A Message from Wangchuan's Other Business". The pair of wonders in the 76th Mid-Autumn Night Grand View Garden, "Thousands of birds in the forest, apes in the valley", were also influenced by Wang Wei's words to Commissioner Li in Zizhou, "Thousands of trees reach the sky, and thousands of azaleas crow". Inspired by the artistic conception of harmony, after a night in Shan Yu, there are hundreds of silky waterfalls from each peak.
The poems in A Dream of Red Mansions not only copy Wang Wei's poems in terms of specific words and artistic conception, but also imitate them in terms of interest and charm, often forcing Xiao out. In the 18th poem of Daguan Garden, Daiyu's poem "Apricot Curtain in Sight" for Baoyu is particularly skillful. A poem says, "Apricot curtains attract guests to drink, and you can see a villa. Lingbi Goose Water, Sang Yu Yanziliang. A bed of spring leeks is ripe, and ten miles of rice is fragrant. There is no hunger in the prosperous times, so why bother farming? " The language is fresh and lively, the realm is peaceful and pleasant, and it is full of rich life breath, which is very similar to the structure and emotional appeal of Wang Wei's representative works, such as Wei Shui Peasant, Pastoral Poetry and Autumn Night in the Mountains.
The poeticization of A Dream of Red Mansions is also reflected in the application of the quality, skills and realm of poetry in the novel. From Cao Xueqin's admiration and careful appreciation of Wang Wei's poems, we can see that Cao Xueqin's poetic aesthetic orientation is indeed inclined to the "verve" aesthetic interest embodied in Wang Wei's poems. This aesthetic interest permeates the artistic thinking and techniques of A Dream of Red Mansions, pursuing ethereal charm and vivid freehand brushwork, and producing clear, natural and inexhaustible artistic effects.
Wang Wei's "Bie Ye in Wangchuan" integrates the artistic conception of poetry and painting into the layout and landscaping of gardens, which embodies the introspection and exquisite aesthetic taste advocated by later gardens, as well as a feeling of tranquility and indifference. With the publication of the Atlas of Wangchuan and Wangchuan, the natural scenery and poetic life of Wangchuan's other industries have become classics for future generations to follow. The Grand View Garden in A Dream of Red Mansions and Wang Wei's Wangchuan have similar aesthetic pursuits in design, planning, naming and conception, showing the ideal realm of poetry in the minds of literati. Although the Grand View Garden in A Dream of Red Mansions is the daily residence of a group of noble young men and women, it obviously blends the author's interest and yearning for "a leisurely life in the misty clouds". The setting and naming of couplets, plaques and scenic spots in the Grand View Garden can be found in Wang Wei's Wang Chuan Bieye and Wang Wei's poems. For example, the elegant and graceful names of the Grand View Garden, such as Wenrun Wu Xiang, Wu Hengyuan, Xiaoxiang Pavilion, Ou Xiangxie and Zi Ling Island, are easily associated with the Xinyi Pavilion, Julie Pavilion, Wenxing Pavilion, Jinzhuling Pavilion, Mulan Chai and Cornus officinalis in Wangchuan. In Daoxiang Village of Daguanyuan, "low walls are built with yellow mud and grass stalks are laid on the walls" and "new branches of trees of various colors are woven into two hedges with their twists and turns", which is also in line with Wang Wei's spirit of pursuing simplicity and returning to nature. In particular, the beautiful artistic conception of Xiaoxiang Pavilion (Seventeen Chapters) is very similar to Julie Pavilion written by Wang Wei. Wang Wei's bamboo house: "I am leaning alone in the dense bamboo, playing the pipa and humming." The voice is so low that no one can hear it except my partner Mingyue. " Created a quiet and peaceful realm away from the hubbub. Among them, there is clearly a poet's self-image, elegant, leisurely, detached from worldly customs, playing the piano and enjoying himself. When Jia Zheng visited Xiaoxiang Pavilion in the seventeenth time of A Dream of Red Mansions, he thought, "This place is nice. I can study under this window on a moonlit night, and this life is worthwhile. " Baoyu's couplet to Xiaoxiang Pavilion is "The tea in Baoding is still green, but the chess in the window is still cold" (17). Baoyu asked Daiyu where she lived, and Daiyu said with a smile, "I think Xiaoxiang Pavilion is good in my heart. I love those bamboo poles, which are quieter than other places. " (23) Everything focuses on the significance of this environment, which is elegant and quiet, and the occupants of this environment are not "aloof" Daiyu.
Wang Wei is good at "judging images and seeking shapes" and "vividly depicting" various characters in his poems. For example, "Follow Mr. Lu to the Cuixing Pavilion" and "Shade trees cover neighbors, and moss grows thicker and cleaner. The head of the family is sitting in Panasonic, staring at his people in the world. " First, draw the quiet and clean environment where the characters live, then grasp the action of "sitting on the desk" and the expression of "staring at people with white eyes", and then vividly create a lonely and proud hermit image living in the forest. This kind of poetry is also borrowed from "Chrysanthemum" written by Shi Xiangyun thirty-eight times to "sit by the fence and kneel in the Leng Xiang". It is even more arrogant. It seems that only I have a bosom friend. It depicts a quiet and luxurious environment and an informal "pride" modality. A Dream of Red Mansions focuses on "verve" in portraying characters, and highlights their manners and temperament with symbolic material state. Mr Yu Pingbo thinks the brushwork of A Dream of Red Mansions is a masterpiece. In the forty-ninth poem "There are Snow and Red Plums in the Glass World", Yao Xie of A Qing Dynasty wrote: "The wonderful jade is in Fang Jie, so don't spare the spring scenery. That's what plum blossoms in the snow mean. " The description of Bai Xuehongmei is similar to the banana in the snow in Wang Wei's "The Picture of Yuan An Lying in the Snow" in expressing her expression of things and symbolizing the spiritual realm of the characters. Wang Wei compared Banana to Yuan 'an, which shows the Zen principle that ordinary people can become Buddhas without fear of asceticism. Cao Xueqin used the red plum blooming in the ice and snow as a metaphor for Miaoyu's deep pursuit of life in her aloof and noble personality, which revealed the spiritual world of the characters well.