Sawdust hibiscus, red calyx in the mountains.
No one in the stream, all open and fall.
In the silent mountain stream, magnolia blooms and falls, surviving and dying. Nothing foreign, and no one knows. It's a world far away from the hubbub, and it's also a unique artistic conception of the poet Wang Wei's integration of subject and object, which is simply a symbol of Buddhism's view of emptiness. Therefore, Hu Yinglin, a literary critic in the Ming Dynasty, said that this poem is a work of "entering Zen". "When you read it, you forget your life experience, and your thoughts are silent." It is a combination of poetry and Zen, which has great implication and artistic appeal. It cannot be said that this artistic achievement is due to his study of Buddhism and the influence of Buddhist thinking mode.
Wang Wei was called "Shi Fo" by later generations. He believed in Buddhism in his early years. His mother, Cui Shi, has been practicing meditation for over 30 years. Wang Wei and his younger brother, Wang Jin, "both worship Buddhism and live on vegetables, so it is better to eat meat and blood" (Biography of Wang Wei in Old Tang Dynasty). When Wang Wei was 365,438+0 years old, his wife died, no longer married, lived alone in one room, and the screen was exhausted.
Among the schools of Buddhism in the Tang Dynasty, Wang Wei believed in Zen, mainly Nanzong Zen. Nanzong Zen is the product of the combination of Buddhism and China's Confucianism and Taoism. Its philosophy of destiny and life provides the latest and most complete way for China literati and intellectuals. However, some practical methods of Nanzong Zen are similar to China's poetry creation. Yan Yu, a literary critic in the Song Dynasty, said, "Generally speaking, Zen is just wonderful." Poetry and Tao are also wonderful "(Cang Hua). Miao Wu is not only a feeling of Zen, but also a feeling of art. Both poetry and Zen need keen inner experience, both emphasize enlightenment and image, and both pursue meaning. When Nanzong Zen talks about "epiphany", it is often conveyed by image expression, with special emphasis on the role of intuition, suggestion, induction and association in understanding. Nature has a deep understanding of this way of grasping the world. He integrated his understanding of Buddhism into his outlook on life and turned religious feelings into poetic thoughts, creating a poetic artistic conception of "emptiness", "quietness" and "leisure". Zen advocates the beautiful style of mountains and rivers, which is also instructive and enlightening for Wang Wei to consciously get close to mountains and rivers and explore their aesthetic value.
Wang Wei described his inner experience in the poem Zhuliguan:
I leaned alone in the dense bamboo, playing the piano and humming a song.
It's too light for anyone to hear, except my partner, Mingyue.
The poet sat alone in the depths of the bamboo forest, playing the piano and whistling. No one knows his existence, only the bright moon accompanies him. Nature knows his inner loneliness best, and the bright moon brings him a silent happiness. Things and I are one, things and I forget each other, and Zen and poetry are in perfect harmony. The same is true of Chai Lu:
There seems to be no one on the empty mountain, but I think I heard a voice.
The sun shines on me from the green moss.
There is no one in the empty mountain, only the intermittent voice floating from the depths of the forest, and a ray of sunset is transmitted on the moss in the depths of the forest, which is so trance and sad. This is the kind of empty realm that Wang Wei pursues, lonely, but also meaningful.
In the Qing Dynasty, Wang Yuyang said that Wang Wei's poems were "meditation every word", "implicit words, flowers with Buddha, Ye Jia's smile, and so on" (continued by Silkworm Tail). In other words, Wang Wei's landscape poems are full of Zen interest, Zen music and Zen taste, and convey Zen meaning. Naturally, they fully show the poet's interest in Zen.
Wang Wei doesn't necessarily go to remote places for meditation, but he also sees the vast world and the lively farm life:
Sunny Yuan Ye is endless, and there is no air pollution. The national gate is very close to the ferry, and the village trees are connected to the Xikou. White water is outside the field, and Bifeng is behind the mountain. There are no idle people in the farming month, and the home is in the south.
-"New Sunshine Wild Hope"
A spring rain washed away the dirt and the scene was completely new. Busy farming, people and scenery are bathed in fresh air. The phrase "white water" forms a layered picture of close-up and distant view. The water is bright, the mountains are green, and the contrast between light and color is harmonious. On the surface, you can't see the Zen meaning of this poem. In fact, the spring rain is like holy water poured out of a pure Buddhist bottle, washing everything.
Wang Wei is a versatile cultural giant who is good at poetry, music, painting and calligraphy. Su Dongpo, a great writer in the Song Dynasty, said: "Wang Wei's poems are full of paintings; Looking at the painting, there are poems in the painting. " ("Lantian Clouds Painting Rain") Hit the nail on the head and hit the nail on the head. Wang Wei was an accomplished landscape painter in Tang Dynasty. He painted with Xiao Shupu's ink brushwork and created his own ink landscape, which was called the pioneer of landscape painting Nanzong by later generations. His paintings emphasize freehand brushwork and pursuit. "It is difficult to find forms and devices." (Shen Kuo quoted Zhang Yanyuan in Mengxi) Therefore, Wang Wei is also known as the originator of China literati's freehand brushwork. If painting can be similar in spirit, it will have the charm and interest of poetry, that is, there is poetry in painting. If we use this painting idea to stare at the natural landscape, it will be a sigh, and there must be a poetic charm.
Wang Wei's profound artistic accomplishment in painting, music and calligraphy enables him to feel and capture beautiful scenery, magical acoustics and ever-changing nature more accurately and meticulously than ordinary poets in his poetry creation, and appeal to the pen. He is also better at using words and colors, and pays attention to the harmony of poetry tones. There are artistic conception of painting in poetry, smooth music in poetry and changes in calligraphy in poetry. This has invisibly formed him.
Wang Wei is good at describing magnificent scenery in general. This kind of poetry has magnificent spirit, broad artistic conception, simple strokes, thick lines and changeable angles. Please look at Zhongnanshan:
Its huge height is close to the city of heaven, from mountains to sea and clouds. When I looked back, Ai Qing, a central mountain peak that divides the wilderness and weather into many valleys, needed a place to spend the night. I called the woodcutter on the river.
Taiyi Peak is the main peak of Zhongnanshan Mountain (generally called Qinling Mountain). Poetry starts from the main peak, commanding, and writes the majestic momentum of Zhongnanshan. The first few sentences are about the height and grandeur of Mount Zhongnan, and the last two sentences are even more impressive, just like the contrast between people and mountains in landscape paintings. The phrase "white clouds" is especially superb. Anyone who has mountain climbing experience has read this poem.
Three branches in the south reach Chu, and nine branches flow to Jingmen. This river crosses heaven and earth, where the color of the mountain seems to float, and the beautiful days in Xiangyang ripple in the distant sky, which makes my old mountain enchanted! .
This is a poem describing the scenery of Xiangyang. First, it describes Chu's situation, and finally it describes the lingering feelings. Sketched with thick lines, there is a magnificent realm. It's all line drawings. It doesn't even write whether the mountain is blue or purple, but whether the mountain is rich or weak, just like an ink landscape painting. The poet grasps the overall impression, which is an image that is unified with poetry rather than the naked eye (which is logical with western poetry). It shows the artistic effect of scattered perspective of Chinese painting (which is different from the logic of western painting). There are many poems similar to Wang Wei's, such as "Thousands of valleys touch the sky from a tree, cuckoos crow on a thousand peaks", "The rivers and lakes are white at sunset, and the sky is blue when the tide comes", "The desert is lonely and the long river sets the yen" and so on.
Wang Wei is also good at capturing the touching moments of sound, color, painting and emotion, unifying them in the artistic conception that can best convey emotions and expressing them in appropriate language. Look at his landscape poem Birds in the Stream:
People are idle and sweet-scented osmanthus falls, and the night is quiet and empty.
When the moon rises and the mountain birds are startled, when the spring flows.
In the silent spring night forest, osmanthus flowers of the four seasons fall silently. Suddenly, the bright moon rises, the empty mountain is full of color, the mountain birds are awakened, singing in the mountain stream, which is particularly crisp, setting off the quiet beauty of the spring mountain on a moonlit night. Some versions of "human leisure" are "people", and its meaning is understandable, so "osmanthus" can be interpreted as a piece of moonlight. Poets write static and dynamic, writing static and dynamic combination. Bring readers into a more beautiful and profound artistic conception. The poet captured the most expressive and imaginative moment of "a bird awakened by the moon". This is a small scene on a moonlit night with a sense of music. Compared with Wu Xinyi's empty meditation, this poem is warm, lively and full of humanistic atmosphere.
Wang Weiyou has a poem describing the late autumn scenery, named "In the Mountains":
White stone comes out of Jingxi, and red leaves are sparse in cold days.
There is no rain on the mountain road and the air is green and wet.
Jingxi originated in the northwest of Lantian County, Shaanxi Province. The red leaves are maple leaves. Walking in the mountains early in the morning and enjoying the mountain scenery all the way, I suddenly felt my clothes wet. I thought it was raining, but on closer inspection, it didn't rain. There is only a lonely haze in the mountains, and my clothes are probably wet! The poet condensed this feeling process of tourists into two poems, which are very interesting to write. This poem has colors: white stone, red leaves and emerald blue. There is a sound system: the stream hits the stone bed. And the feelings of tourists. Although this poem is short, it is rich in connotation. Zhang Xu, a calligrapher and poet in the Tang Dynasty, also wrote a four-line poem "Stay in the Mountain":
The state of mountain light makes spring glow, not for lightness.
Even if it doesn't rain on a sunny or cloudy day, the clothes will stick to Yun Shenchu.
The "wet clothes" in Wang Wei's poems is a vivid description, which shows another scene of the fog lock in the mountains. However, the "wet clothes" in Wang Wei's poems is an illusion and illusion, giving people a kind of poetic beauty. The two poems have similar effects, each with its own beauty.
Wang Wei's five-character rhythmic poem "Autumn Night in the Mountain" is a masterpiece combining poetry and painting.
The empty mountain after the rain stands in the pine forest in the dusk moonlight, the crystal stone in the stream, the whisper in the bamboo forest, the laundry girl comes home, the lotus leaf blooms in front of the fishing boat, my friend's prince, spring has passed, but you are here. What does it matter? .