Keywords: aesthetic implication of landscape poems in classical gardens
The classical garden architecture in China relies on the stacking of materials, and the stacking of materials with proper and reasonable layout is the premise of architectural treasures. Similarly, poetry also depends on the combination of words, and skillfully combined words will also become a wonderful spiritual treasure. Landscape architecture seems to have little to do with landscape poetry, but once it is put into artistic context, it is inextricably linked. This paper chooses Wang Wei, a master of ancient landscape poetry in China, to spy out the aesthetic significance of China's classical architectural spirit-gardens from his landscape poems.
First of all, light and shadow flow
The beauty of light and shadow flow is not only in poetry, but also in garden architecture. Without this, poetry is tasteless and gardens are lifeless. Therefore, both poetry and gardening always attach great importance to the melody composed of light and shadow.
In Chai Lu, "Back to the deep forest, reflecting me from the moss", in Zhuliguan, "Alone on the dense bamboo, except my comrade, the bright moon", in Bird Watching Creek, "The night is quiet and the spring is empty, and the moon is full of birds" all show a kind of beauty of alternating yin and yang, while "the clouds are separated from the window clothes, and the mountain springs are in the mirror" ("Borrowing Wang Qi Wine", "Playing the empty songs at random," "The branches meet the trees, and the shadows enter the quiet" ("Willow Waves") reflects the willows on the shore, and the ripples are clear, the virtual and the real set each other off, and the artistic conception is wide open. The poet planted willows along the embankment, covered the ground with green shade, hung curtains at all levels, weeping willows brushed the water and fluttered with the wind, which made people feel relaxed and happy.
Landscape builders use water, mirrors, windows and intricate holes in rockeries to make the shadows bright, and make light and shadow flow through strange stones, trees, barriers, flower walls, coupon holes, verandahs and winding paths, so that the natural landscape can be displayed in square inches, rain or shine, and the whole building structure presents an artistic beauty. Wuxi "Jichang Garden" is located at the eastern foot of Huishan Mountain, and its landscape layout is centered on the mountain pond, which is skillfully borrowed and mixed with nature. The rockery is shaped like a vein according to the eastern foot of Huishan Mountain, and also forms a winding stream, while the Yupan Pavilion Gallery, Qixing Bridge and Qingyu Gallery are built by water and blend with the rockery. The trees in the garden are towering, bamboo shadows are swaying, desolate and elegant, showing endless aesthetic significance in the flow of light and shadow.
Second, the spatial layout
Poetry talks about layout, and architecture also talks about layout. In Wang Wei's To Fortress, the first sentence of "solitary smoke in the desert is straight, and the long river sets the yen" uses horizontal and vertical solitary smoke, and the second sentence uses the Yellow River as a sunset. Solitary smoke borrows desert scenery, and sunset borrows long river scenery to highlight artistic conception. Simple and changeable lines constitute distinct image features and have strong visual aesthetic effect, as Ji Cheng said in Yuan Ye. If you borrow from a long distance, borrow from your neighbor, borrow from others, borrow from others, and borrow from time to time. However, I am amused by things and feelings, and I look forward to it. It seems that I was interested in writing first and described it several times. "The layout of the picture, the combination of distance and height is also the key to the formation of aesthetic feeling, such as" thousands of miles across the sky, several peaks emerge from the clouds "("Cui Puyang's brother Ji Chongshan Rong Qian "). Looking from a distance, thousands of miles across the Qinling Mountains, towering peaks stand tall and straight between the clouds, and the horizontal and vertical are separated; " Cloud, when I look back, is behind me; Fog, when I entered them, disappeared "("Zhong Nanshan ") shows the wonderful realm of sudden change, where thousands of trees reach the sky and thousands of peaks cuckoos crow; Moreover, after a night in Shan Yu, the tree was white and heavy. "(A Letter to Commissioner Li of Zizhou) Take the tree as a close-range view and the spring as a long-term view, and the spring hangs from the treetops, showing a unique distant level and arousing endless reverie.
The roofs of pavilions in classical gardens are eclectic, but they all show gentle rhythm, diverse levels and overall harmony, highlighting statutes in eclecticism and revealing interest in statutes. The Guanyunlou in Suzhou Lingering Garden borrows the scenery of the Tiger Hill, Liang Yiting in Humble Administrator's Garden borrows the scenery of the partition wall, Xi 'an Datang Furong Garden borrows the scenery of the Wild Goose Pagoda in the west and the scenery of Nanshan in the south, all of which are borrowed effects. "Hu Linting" in "welcome guests lightly, and come up to the lake; When Xuan was drinking wine, Furong was on all sides. " Then see the big from the small, and set off the pavilions on the shore with the lotus flowers blooming all around. The smallest house in Suzhou, Fragment Garden, has an area of only 1.40 square meters, which is only equivalent to the area of Yuanxiangtang in Humble Administrator's Garden. It is centered on the pool, surrounded by rocks and walls, and there is only a rockery in the corner. There are caves in the mountains to increase the surrounding space and layers. Chi Pan, rockery or tree planting, walking along the pool, with different steps, is small in the garden.
Third, artistic conception creation
"Artistic conception" is an aesthetic concept with the most China characteristics, which began to form in the Tang Dynasty and was widely used as an aesthetic category in the Ming and Qing Dynasties, among which Wang Guowei's research is the most representative. He once criticized Jiang Kui in "Words on Earth", saying that "the style of ancient and modern poets is as high as white stone, and they don't care about their exertion in the world, so they feel that there is no meaning, and their meaning is not as good as that of first-class writers." It can be seen that the important criterion of Wang Guowei's "artistic conception" is "endless words and endless meanings"
Su Shi's Shu Mo has clouds and paintings in his poems. Looking at his paintings, there are poems in the paintings, which points out the great aesthetic artistic conception in Wang Wei's poems. "Let's take a look at" Chai Lu "and write about the ethereal realm in an empty mountain. People have heard of it, but no one has ever seen it. The garden is far away from the mountain scenery, and people are hidden in the mountains. It is important to show a "quiet" word. The bamboo pavilion shows quietness by moving, and seclusion describes the secluded scenery on the moss, which means that the purport is similar to that of Chai Lu, and "independence" and "seclusion" are avoided. People sit in the deep bamboo forest without being disturbed, and the owner and the garden bamboo are integrated to experience the pure and bright environment in the dark forest scene and the bright moon. The creation of classical gardens in China originated from nature, which is higher than nature. Artificiality and nature are skillfully combined, and infinite organization is used in a limited space, leaving a huge psychological aesthetic space in the ups and downs of truth and concealment. The artistic conception of the poem is strikingly consistent with the artistic conception of the garden, so Li Dongyang praised: "Light and strong, near and far, the knower can be forced, and the layman is difficult to talk about." (Huai Luhua). Whether it is poetry or classical gardens, this huge aesthetic space will always give birth to infinity in the finite, thus infinitely magnifying it. Zheng Banqiao has a good exposition on this: "Ten thatched huts, a patio, several bamboo poles and several stalagmites, the land is not much, and the cost is not much. Although the house is small, there are voices in the wind and rain, scenery in the sun and moon, love in the wine in the poem and companionship in leisure. "The artistic conception is infinite and memorable.
Four. conclusion
Taking the beauty of landscape poems represented by Wang Wei as the breakthrough point, the author tries to deeply interpret the aesthetic implication of China classical garden architecture, so as to build a bridge between spiritualization and materialization, broaden the aesthetic path of literary works and open up new aesthetic standards of architectural culture.
References:
[1] Selected Notes, Selected Poems of Wang Wei [M], Beijing: People's Literature Publishing House, 2002, 10 Edition.
[2] Ye Lang, Outline of Chinese Aesthetic History [M], Shanghai: Shanghai People's Publishing House,19851/version, p. 443.
[3] Qi Jiahua, Architecture and Literature from the Perspective of Aesthetics, Journal of University of Architecture and Technology (Social Science Edition) [J], 2006(4).
About the author: Wang Lin (1988-), female, from Yuncheng, Shanxi Province, holds a master's degree in literature and art from College of Arts, Liaoning Normal University.