Facing the ever-changing world, the aesthetic subject needs to maintain an empty and quiet psychological state. Su Shi said, "Quiet is moving in groups, but empty is full of all kinds of places" (Farewell to Teachers). Everything surging is projected and reflected in the empty mind. Only when the aesthetic subject has a distant mind and a clear mind can he create a "blank" of artistic conception.
Everything jumps, clear and clear, and enters the poet's mind one after another. Material interests are also disturbing people's hearts, which in turn affects the poet's artistic conception. Poets must be quiet and transcend utilitarianism in order to achieve the aesthetic view of braking all things in nature with quietness. Artistic creation is a super-utilitarian aesthetic activity. As Xu said in China's Artistic Spirit: "If a painter's heart is full of fame and fortune, it is probably very difficult to open up a realm in his works and express his spirit." The same is true for poets. Therefore, the poet must transcend worldly troubles, get rid of the temptation of fame and fortune, keep a certain aesthetic distance from reality, and reflect the vivid life sentiment with a quiet and muddy heart. "Everything is quiet and complacent". Only when the aesthetic subject is calm and thoughtful can he intuitively experience the essence of everything with a constant rhythm. "Su Chu is silent and implicit"; "Beyond the image, in the ring" (Twenty-four Poems) is a vivid description of the poet's quiet and intuitive nature.
Poets should respond to all things in the void, observe the essence, take aesthetic photos of thriving natural things in the most quiet moment and in the eternal moment, wander between the heart and the things, and achieve a state of integration with all natural things, thus creating a "blank" of artistic conception.
Poets are ethereal, so they can often use ethereal to convey reality. In the ethereal void, we can see that life is going back and forth and wandering, thus giving poetry an ethereal and distant artistic conception. Poets usually describe distant scenery, such as distant mountains, cold sand and distant coasts. In the vague and illusory space, we can freely carry out spiritual transition activities. Shen Zongqian's "Painting on a Mustard Boat" has a cloud: "My husband is looking forward to Iraqis, and Yuan Lindong is leisurely. Ancient poets and freaks often use this to express their sexual spirit and dance in various forms. Because they are fake and write calmly and harmoniously, many idle pens can be thought about. Lin Pingyuan Cave and Qiu Shui Jian Peijun are the ultimate pursuit of artists. Between emptiness and confusion, people and scenery seem to be far away, leaving endless interest if there is nothing.
Poets look down at their faces and hearts, often covering everything and the mind of the universe. When observing all things in nature, he sees the big from the small and embraces all things with deep and far-reaching universal feelings. Borrow the virtual to transport the real, and summarize the limited with the infinite. The poem "The river dries up in a thousand years, and the Chongyang Festival in a hundred years" puts the river and Chongyang in a vast and empty time and space, and the artistic conception is far-reaching and broad. Coupled with the use of function words, opening and closing echoes, more melodious and euphemistic, with endless implications. The same is true of the Chongyang poem "Heaven and earth are fences, and eternal life is nine poems" written by the Taoist monk in the Song Dynasty. The poet endows The Hedge and The Nine Poems with an eternal sense of time and universe, which is infinite and limited.
2, take one million, use less is always more.
The pen used in traditional Chinese painting is very simple, and it is often only used in subtle places such as cold gannets and clouds in the sky. Although only Liao Liao wrote a few strokes, what he wrote was that the painter was full of human thoughts. Similarly, China's classical poems also pay great attention to refining words, grasping the pregnant points in life and focusing on description, so as to create a "blank" in artistic conception and enhance expressive force.
In daily life, language conveys ideas, but it often blurs the meaning and cannot fully express people's complex thoughts and feelings. Similarly, in artistic creation, language can not fully convey the artist's rich aesthetic experience. Many poetry theorists have realized the limitations of language, and it is impossible for language to "cover everything". Lu Ji has the worry that "meaning is not equal to things, words are inexhaustible"; Liu Xie also fell into the dilemma of "meaning is empty and easy to doubt, but words are hard to be clever" ... It is precisely because of "words are not full of meaning" that people call for transcending language and trying to break it. The ideal of transcending language put forward by ancient poetry theorists is to refine language and express meaning beyond words, so that people can obtain infinite meaning beyond words. In the Tang Dynasty, Liu Zhiji put forward the idea of "using unlucky words to save words and articles, and things are beyond words" in Shi Tong. It is believed that poetry is valuable in saying far and near, and it is shallow and profound. In the Tang Dynasty, Jiao Ran even expressed the extreme of "implication", saying that "seeing feelings without saying anything is also the extreme of poetry" (Poetic Style). In Qing Dynasty, Liu Xizai's view was the same as Jiao Ran's. When commenting on Du Fu's poems, he wrote: "Du Fu's poems have only two words. There are people, but what they see is temperament and temperament; If not, there is no language "(Art Outline). The natural overflow of sexual feelings in refined language deeply touches and infects readers, making people forget the shortcomings of "not saying enough" and immerse themselves in the "blank" of artistic conception. It can be seen that an excellent poet can avoid the limitation of language, express his thoughts in ways other than language, and build a sincere and touching world with infinite scenery outside language. Readers are also intoxicated with it and get carried away.
There is also a contradiction between the limited capacity of poetry and the vastness of social life and the richness of thoughts and feelings. It is impossible for a poet to describe all-inclusive life; Poetry cannot fully express ever-changing feelings. Therefore, when poets reflect social life and express their thoughts and feelings, they adopt the method of "less is more" and focus on describing the most pregnant point in life. Refracting the brilliance of the sun with a drop of water; Look at the past and present from an instant; Expressing infinite spring scenery with a little red ... Poets often go to great lengths in their creation, focusing on depicting an action, a sentence, a scene, a kind of psychology ... to reflect the world and express the complex feelings of the characters.
3. Promote the meaning with "Bixing"
Bixing was originally used to assassinate politics. The courtiers directly said that the king's behavior was inconvenient, so they quoted sarcastic suggestions and persuaded them with things. For example, rain and dew are compared to your kindness, thunder to your majesty, mountains and rivers to your country ... "Bixing" is still a rhetorical device. The solemn explanation of "Bixing" is: "Bizhe refers to things, walkers rely on things" (Zhou Li's Note). That is, the poet expresses his potential and specific ideological connotation through concrete images. This rhetorical device can be seen everywhere in Chu Ci. Qu yuan often matches good birds and good grass with loyal kings, and compares bad birds and smelly things with bad people ... later poets also attach great importance to using "comparison" to make excuses for things. Tao Yuanming often compares "solitary cloud" to "poor people"; Bao Zhao compared "Zhu Xian" to "straight" and "green" to "jade pot" ... It is meaningful to give an analogy of your class.
Liu Xie further elaborated "Bi Xing" in Wen Xin Diao Long. Among them, the most prominent thing is that he "released prosperity from the beginning." "Xing" is not only regarded as a rhetorical device, but also introduced into the aesthetic field. "Than, attached also; Ye Qi traveler. What is attached to the principle, what is attached to the principle, what is attached to the principle, what is attached to the principle, what is attached to the principle, what is attached to the principle, what is attached to the principle, and what is attached to the principle (Wen Xin Diao Long Bi Xing). It can be seen that "xing" is not only a rhetorical device, but also refers to the poet's use of things to convey some unspeakable emotions.
"Xing" is hidden but not obvious. In the process of creation, poets feel things, leave feelings and thoughts on things and images, and form a "star-oriented". Poets often use "to the stars" to convey rich emotions. In China's classical poems, some things are endowed with specific emotional connotations. "Running water" symbolizes fleeting time; "Red Leaves" pinned the love of acacia; "Willow" is a metaphor for the sadness of parting ... hence the infinite artistic charm of poetry.
The poet uses "Bi Xing" to enhance the meaning. "Bi", as a rhetorical device, refers to "seeing the meaning from a distance". "Xing" is not only a rhetorical device, but also contains rich emotions. It is difficult to refer to the past, vague and implicit, with great inclusiveness and uncertainty, which constitutes the deep aesthetic connotation of poetry, enhances the ultimate aesthetic charm of poetry, and leaves readers with great aesthetic imagination space.
The poet created a "blank" of artistic conception with fuzziness and uncertainty. While expressing his unique aesthetic experience, he also points his creative perspective to future recipients. By filling and creating the blank, the subject of acceptance and the subject of creation have a spiritual dialogue, which also creates, extends and expands the blank and obtains the meaning beyond rhyme.