Reading a book is the trace of Zhong and Wang ①, which is simple and far away, and the beauty lies in the outside of the strokes. Until, Liu ② began to collect ancient and modern brushwork, they all achieved it, and changed the book ③ to be the master of the world, and Zhong and Wang's method benefited little.
As for poetry, the same is true. Su and Li (5) are natural, Cao and Liu (7) are complacent, Tao and Xie (8) are detached, and the cover is also complete. While Li Taibai and Du Zimei, with their peerless {1 1} posture, have spanned a hundred generations {12}, and poets in ancient and modern times have abandoned {13}. However, since the Wei and Jin Dynasties, the wind was extremely dusty and there was little decline {14}. After Li and Du, the poet continued to write. Although there was a distant rhyme between them, he didn't know what it meant. Only Wei Wuying {17} and Liu Zongyuan sent it to simple ancient times and sent it to taste. At the end of the Tang Dynasty, Si Kongtu {20} was rough and chaotic, but his poems were elegant, which still has the legacy of {2 1}. The poem says: "Plum stops at acid, salt stops at Yu Xian, and the diet cannot be without salt plum, but its beauty often exceeds salt and acid." Gai listed 24 rhymes in his poems, all of which were expressed in words, regretting his ignorance at that time. Give three answers, sadness.
Huang Zisi, a Fujian native, is a writer of Li Qing and Huang You. Taste the poems recited by predecessors, and count four {22} for each punch line, that is, you know its meaning. I believe that if you express a saint's words, beauty is beyond salty and sour, and you can sigh three times. Since Yu and his son are friends and his grandson is a tourist, he can have a glimpse of his collection. However, Zisi's dedication to Gao Zhi is different for officials, which can be seen in the detailed epitaph, so I won't talk about it any more, so I will comment on his poems separately.
be filled/suffused/brimming with
① Zhong and Wang: Zhong You and Wang Xizhi. ② Yan and Liu: Yan Zhenqing and Liu Gongquan. ③ the change of extreme calligraphy: the change of extreme calligraphy. ④(xρρρρρρρρρρρρ ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ 96 Li, refers to Li Ling. ⑥ Tiancheng: It means that his poems are natural and uncut. ⑦ Cao and Liu: Cao Zhi and Serina Liu. ⑧ Tao and Xie: refer to Tao Yuanming and Xie Lingyun. (9) Transcendence: refers to the natural detachment of artistic conception and sentences. Participate in the cover: they are very representative. {1 1} Wei Ying is unparalleled: outstanding, unparalleled in the world. {12} Lingkua EMI: Transcending the Immortal. {13} complete waste: meaningless by comparison. {14} The high wind is extremely dusty, and it is also less declining: it refers to the chic and noble demeanor, and the charm beyond things has gradually declined. There is a distant rhyme between {15}: sometimes there are profound poems. {16} I just don't know what I mean: I just can't fully express my meaning. {17} people from Jingzhao in Wei and Tang Dynasties (now Xi, Shaanxi). He was once the secretariat of Jiangzhou and Suzhou, so he was called "Weijiangzhou" and "Wei Suzhou". {18} Simplicity: expressing implicit and rich feelings in simple and quaint language. Very good, very subtle. Well, it means lush vegetation, which means rich. Yu Zi: Others. {20} Si Kongtu: A native of Henan Township (now Yongji, Shanxi Province) in the middle of the river, he was a poet and poetics theorist at the end of the Tang Dynasty. {2 1} Chengping: Taiping era. {22} Number of repetitions (say) 4: Repeated many times.
Huang Xiaoxian, Zi Zisi, an adult from Pu 'an, Fujian, moved to Cheng Dali and Dr. Li Taichang for good governance and died in Tongguan, Shizhou. This article is Su Shi's preface and postscript to Huang Zisi's poems, which was roughly written from the fourth year of Xining to the seventh year of Yuanfeng (107 1- 1084). It is a famous piece in ancient literary theory, which has always been concerned by scholars of all ages.
Postscript refers to explanatory or argumentative words attached to books or poems. Arguably, such words should be an evaluation of the work, or an overview of the author's creation, which should generally be a compliment. However, Su Shi did not play cards according to the routine, but used this article as a platform to elaborate his poetic theory.
Taking calligraphy as a metaphor, Su Shi paid more attention to the calligraphy of Zhong You and Wang Xizhi in Wei and Jin Dynasties. Because their calligraphy is "small three swords far away, the beauty is beyond the pen", while Yan Zhenqing and Liu Gongquan, although "the style of calligraphy has changed dramatically and suddenly became masters of the world", are masters of ancient and modern times, but they have begun to deviate from the charm of Zhong and Wang's "beauty is beyond the pen". When commenting on poetry, it is pointed out that a good poem is a poem with profound artistic conception in plain. Su and Li are "natural", Cao and Liu are "complacent", Tao and Xie are "detached", Li and Du are talented, and Liu Zongyuan and Wei are "indifferent".
Su Shi inherited the theory of "emptiness and quietness" and "materialization" of Zhuang studies and applied it to the theory of artistic creation. The "emptiness and quietness" and "materialization" in creation require the artist to integrate the whole body and mind into his creation. For example, a pianist should play the piano with his heart, a painter should draw bamboo with his body, and draw bamboo with bamboo. Among them, from many examples, it is not difficult to find that Su Shi's aesthetic taste reflects a general tendency of pursuing "plain" beauty in the Song Dynasty.
Here, Su Shi used the concept of "distant rhyme" and advocated that artistic images should be "shaped with things" and vivid. Take Wei and Liu Zongyuan's poems and Si Kongtu's poetics as examples to elaborate. Among them, he put forward an extremely important theoretical proposition, that is, "it happens in simplicity, and taste is born in simplicity", which is his words to praise Wei and Liu Zongyuan's poetic style and express his aesthetic interest. In his view, expressing implicit and rich feelings in simple and quaint language and endowing profound charm with simple and natural style, that is, containing rich implication and rational interest in external plainness, is the highest realm of poetry creation. Especially the poems that seem to advocate nature and "beauty is beyond salty and sour".
Su Shi's theoretical proposition is actually in line with the meaning of "plum stops at acid, salt stops at Yu Xian, and the diet can't be without salt plum, but its beauty often goes beyond salty and sour", which is the "far rhyme" mentioned above. It is intended to show that poetry should be full of words and endless meanings, without form, but without form.
Until the end, Su Shi mentioned Huang Zisi, the author of Poems, but did not comment on his poems in a lot of space, but summarized his views in a few simple sentences. He was full of praise for Huang's poems, saying, "Faithful sage, the beauty is beyond salty and sour, and I sigh three times." At the same time, he reiterated his point of view, that is, the statutes of art should conform to the principle of nature, and the arts and sciences should be natural in order to have a posture, and its highest state is no rhyme at all.
Posterity review
Mao Kun's Notes of Eight Masters in Tang and Song Dynasties? Notes on Su Wenzhong's official documents (Volume 27): "The poems of the public are not related to the poet's topic, and their comments on poems are far from interesting. "