Creating a scene means creating an artistic conception, and the design of the scene is closely related to the scene. Li Yu's "Guanjian of Ci Ci" states: "The material for writing lyrics is nothing more than scene." The scenery is vivid because of the emotion, and the emotion is melodious because of the scenery. Fang Dongshu's "Zhao Mei Zhan Yan": "Poetry is a tool for imitating scenes. The emotions are deep and long-lasting inside, and the scene shines outside and is true and real." Liu Xizai's "Ci Gui": "Ci may be the foreground and subsequent emotions, Either the foreground and the background, or the scenes are all present and blended together, and each has its own beauty." Zhang Deying, a man of the Qing Dynasty, said when talking about the "scene blending" technique in the first volume of "Ci Zheng": "Ci Zhizhi. Jue says "scenes intertwine", Song poems such as Li Shiying's "One inch of lovesickness has thousands of thoughts, there is no place to arrange it in the world", which is also a love language; Mei Xiaochen's "The pear blossoms have fallen and spring has come again, the setting sun is all over the ground, the green color and the old smoke", Scenery is also a language; Jiang Yaozhang's "The moonlight shined on me several times in the old days, and the flute was played by the plum blossoms", the scenery is attached to the emotion; Kou Pingshu's "leaning against the building is speechless, and the sky is dim and the grass is dim", the scenery is attached to the lyrics. It is the Tao, and its main purpose is not beyond this. "Scenery techniques are nothing more than "the Tao of blending", and their expressions are diverse and each has its own uniqueness.
Landscape design is generally divided into four types: scene reflection, scene design based on scene, scene following scene, and scene integrated.
The mutual reflection of scenes is the double painting of scenes to create an environment. "Double painting of scenes" was first mentioned by Shen Xianglong in "Essays on Ci". For example, Qin Guan "falls red with thousands of dots, and is as sad as the sea". The painting depicts a scene with "thousands of red dots falling", and the latter is lyrical with "sorrow is like the sea". The scenes are divided into two parts and set off each other. The interplay of scenes is widely used in classical poetry and is approved by everyone in classical poetry.
It can be called a model of double painting and scene reflecting each other. Mr. Tang Guizhang, a contemporary master of Ci, has a detailed analysis in "A Brief Interpretation of Tang and Song Ci": "In the upper part, it is written that the sky is connected to water, the water is connected to the sky, and the mountains are connected to the grass; the sky is covered with blue clouds, the water is covered with cold smoke, and the mountains are covered with the setting sun. From the top From far to near, it is a pure ethereal state, which is difficult to reach even in painting. The next piece touches the scene, and the four sentences "Dark Country Soul" are written about the long stay outside and the deep love for the bright moon. The two sentences "wine enters" coincide with each other, and "the building is high" indicates that the scene above is the one seen upstairs. "The wine enters the intestines and turns to tears." The lyrics are completed with the technique of "scenes come first and feelings follow, and they reflect each other." Create the "perfect sound" of the environment.
The double painting of scenes not only shows a mutually reinforcing relationship, but can also restrain and reflect each other. In the context of creation, the conflicting situations can even strengthen the mutual reflection relationship. When emotions and scenes are opposite, it will create a tension in the harmony of the scene that contrasts internally and externally due to the conflict between things and myself, enhancing the expressive power of the work. For example, in Zhou Bangyan's "Man Ting Fang·Summer Lishui Wuxiang Mountain", the upper que is about the scenery of early summer in the south of the Yangtze River, while the lower que is about expressing the sorrow of wandering travelers. The contrast between the warm color of the scenery and the cold color of emotion is extremely high. Chen Tingzhuo's "Bai Yuzhai Ci Hua" commented: "A beautiful poem, if there is no confusion between the front and the back, it is the beauty of pause and frustration. For example, in the first half of "Man Ting Fang" it says: 'The wind old orioles and young, rain fat plums, noon The Yinjia trees are clear and round. The land is low and the mountains are close, and the people are enjoying themselves in silence. Outside the small bridge, there are yellow reeds and bitter bamboos, and I am planning to have fun. , The clouds suddenly come down. Every year, like a social swallow, drifting across the vast sea, they come to repair the rafters. Don't think about the outside world. The tired guests from the south of the Yangtze River cannot bear to listen to the busy music and the banquet. The mat pillow allows me to sleep when I'm drunk. 'Although the birds and kites are happy, the swallows are suffering, and the boats in Jiujiang are not in trouble. . But although it is said in a sad way, it is not intense, and the so-called "wonder of frustration" is a layout strategy for the subject to pursue the tension of the situation in the creation of the environment.
The scenery is designed according to the situation, that is, the scenery is designed according to the situation, which is a "scenery within the situation" design based on the scenery. The subject's emotion penetrates into the process of events, and the subject's emotion condenses into a qualitative scene, and is inspired by the scene, completing the activity of creating a scene with the scene. Liu Xizai's "Summary of Art and Poetry": "Flowers and birds are lingering, clouds and thunder are vigorous, string springs are quiet, and the snow and moon are clear: poems cannot come out of these four realms." Wu Qiao's "Poetry Talk around the Fire": "The scenery is not spontaneous, but only the emotion. "Hui Feng Ci Hua" written by Zhou Yi says: "There is nothing more heartless than mountains and rivers that separate people from ancient times to modern times. Why should mountains and rivers separate them?" Wang Taiji of the Ming Dynasty wrote "Lang Tao". "Sha": "Duoying is in the green space, looking back at the double-luan mirror, the same spring mountain." From ruthless to sentimental, the words are resentful and gentle. The sentimental things are actually caused by the poet's empathy. In the activity of creating scenery with scenery, the scenery created by poetry is no longer an objective and free scenery. "Everything is for my use (Shen Xianglong's "Essays on Ci"). The scenery created has actually been interpreted as a subjective scenery. Subjective scenery can be subdivided into two categories: "visual scenery and virtual scenery". Correspondingly, in the creation of scenes based on emotions and turning reality into virtuality, the scene design can also be divided into two categories: "borrowing scenery to express emotions and emotions to transform scenery", especially the former, which has been favored by poets and lyricists of all ages.
The borrowed scenery is the scenery that the eyes can see. Although it is subject to the subjective control of the subject's blending of emotions with the scenery, it has a certain degree of objectivity and has the effect of borrowing the scenery to convey emotions. "Ci Shuo" said: "Ci also blends emotions with the scenery"; He Sang's "Wrinkle Water Xuan Ci Quan": "Anyone who writes about a confusing situation must only describe the scenery. For example, 'The sun is slanting in the small window, and the banana is slanting, and the bed is half slanted. "The moon is sparse after the bell", don't express sorrow but see it; "every now and then you see the broken lamp, and the smoke is falling into the golden ear", the scenery contains infinite emotion. ""There is emotion in the scenery" is an aesthetic principle in the landscape design of classical poetry. , the scenery in the poem is not a purely natural scenery, but a scenery that integrates the emotions of the subject. Yuan Mei's "Suiyuan Poetry Talk": "When writing poetry, it is easy to write about scenery, but difficult to describe emotions, so why? Scenery comes from the outside, you can touch it with your eyes, and you can get it by paying attention; emotions come from the heart, and there cannot be a lingering feeling of sadness without a fragrant and melancholy feeling. Gorgeous.
"Kuang Zhouyi's "Huifeng Cihua": "There is emotion in the scenery where the lyrics are written, which is difficult to express in words. Yuan Yishan's "Magnolia Slowness" says: "The yellow star has flown away in a few years, the spring is overcast, and the plain grass is green." ’ The plains are pure green, quiet and fragrant, but there are unspeakable emotions that make people feel depressed. A good reader will know its beauty after taking a brief look into the scenery. "Shen Xianglong's "Essays on Ci": "Every feeling of life and the worries of the king and the country are implicitly contained in them. They are placed far away and cannot be attached to one thing." "The aesthetic requirement of "borrowing objects to express one's temperament" is put forward, that is, chanting objects should reveal emotions and will, and create beautiful artistic conception through embodying emotions and aspirations.
The design techniques of borrowing scenery and expressing emotions are divided into two categories: Dynamic narrative romance and static sketch romance.
Dynamic narrative romance is a processual narration of human affairs and a suggestive design for the creative subject to make directional associations. For example, "The Book of Songs? Jian Jia": "Jian Jia Cang Cang." , white dew turns into frost. The so-called beauty is on the water side. If you follow it back, the road will be long and blocked. Traveling back from it, Wan is in the middle of the water. ..." The main body adopts a processual and dynamic narration of human affairs, repeatedly depicting the lyrical protagonist's unforgettable search for the beloved. Jia Dao's "The Seeking Hermit Is Not Encountered": "Panasonic asked the boy, and the teacher went to collect medicine. Only in this mountain, I don’t know where the clouds are. Xu Zeng of the Qing Dynasty commented in "Er'an Shuo Tang Poems": "If you look for a hermit and you don't meet him, then you just don't meet him, but you bring a boy to make trouble, how wonderful!" If someone is looking for a hermit, why would he meet a boy? If this boy is the disciple of the hermit, then he can meet the hermit. When asked, "Master Yan went to collect medicine", then he could not meet him... He said "only in this mountain", "in this mountain" he could see it close, and "only in" and could not go anywhere else, then he could meet him again. The island was overjoyed, but the boy said: "That's right, but the clouds are deep in the mountain, and the soldiers don't know where they are, so where can they go to find it?" ’ This is a hermit who will never be encountered. This poem may be encountered once and then never, and may be encountered but never encountered, so many layers of folds are made! "The subject's procedural narration of human affairs is full of twists and turns, euphemistic and unpredictable, and the design of the environment is full of twists and turns.
Static sketches of romance, this kind of design excludes the procedural expression of scenes and events, There are two types of direct use of language sketches to express the subject's emotions. One is to present a quiet scene first, and then use emotional words to mention it. This type of design is common in poems of the Han, Wei and Six Dynasties, such as Ruan Ji's "Yong Huai": "I can't sleep at night." , sit up and play the mingqin. The thin curtain reflects the bright moon, and the breeze blows on my lap. In the outfield of Guhong No., flying birds sing in the northern forest. Wandering, where will I see? Worrying makes me sad. "The first three couplets are a combination of real scenes and images, highlighting the lonely and sad situation with the late night atmosphere. The romance in the last couplet hints at "the worried heart, it is always hard to sleep at night," which explains the cause and echoes from beginning to end. Another static sketch romance From beginning to end, the lyrics are conveyed through scenery, and this technique is especially practiced by poets of the Tang and Song Dynasties. For example, Li Yu's "Looking to the South of the Yangtze River? Xianmengyuan": "Xianmengyuan, the southern country is in the clear autumn." Thousands of miles of cold mountains and rivers are far away, and a lonely boat is parked in the depths of Luhua. The flute is in Yueming Tower. "From the beginning of the scene of "Xianmengyuan" to the end of the scene of "The flute is in the Yueming Tower", it expresses the vast sadness of being unable to be reunited, which is common among wanderers in the world and those who miss their wives. The whole article uses scenes to express the emotions from beginning to end. It is a seamless whole, and its round and beautiful landscape design is fully reflected in the lyrics of subsequent poets Feng Yansi's "Qing Ping Le? Rain and Clear Smoke at Night", Yan Shu's "Walking on the Shasha? The Path is Red and Thin", and Qin Guan's "Huanxi Desert? The Desert is Light and Cold." The technique of writing lyrics such as "Going Up to the Small Building" and Jiang Kui's "Small Red Lips? Yan Yan Wuxin" are all the same, which is really a high-level scene design.
For example, in Du Fu's poem "Spring Hope", Wu's poems are written in the same way. Qiao's "Poetic Talk around the Fireplace" commented: "'The flowers splash with tears when feeling the time, and the hearts are frightened by hating other birds.' The flowers and birds splash with tears when they are happy, and the scene changes with the mood." "Liu Yuxi's poem "Looking at the Dongting" says: "Looking at the Dongting landscape from a distance, there is a green snail in the silver plate." The Dongting landscape in the distance is embedded with the poet's emotions and feelings, and becomes a subjective miniature landscape, which not only does not damage the created scenery. , on the contrary, the poem has a profound sentiment triggered by vision and a round and beautiful flow of telepathy. Li Bai's "Wanglu Mountain Waterfall": "The water flows down three thousand feet, and it is suspected that the Milky Way falls from the sky. "It is also a typical design of "emotion-based scenery", but the landscape expansion technique is used to create the environment.
Emotions arise with the scenery, that is, the scenery generates emotions. It is a "emotion in the scenery" design based on emotion. The main body Emotions are stimulated by processual events or connected with fixed scenes, thereby activating associations and completing the activity of creating a scene with emotions. The scenery described in classical poetry is not a purely objective scenery, but actually exists in the subject's subjective field of view and has the ability to evoke emotions. Functional scenery. The emotions expressed in classical poetry are not purely subjective, but also integrate into the objective environment and have the function of activating the association of the main scene. The design is divided into two categories: situational potential. *Existence, scene display *existence.
(1) Situation *existence , Scenery and emotion are in a state of latent existence. Wang Wei's "Sending Yuan Er Envoy to Anxi": "I advise you to drink more wine, and there will be no old friends when you leave Yangguan in the west." "Zhao Yi of the Qing Dynasty commented in "European Poetry Talk": "It is so popular that it is the first to win the hearts of the people. "This kind of "sympathy" phenomenon in the world is actually due to the high emotion of the subject, which extremely purifies universal human nature. The subject's association potential is exerted at a high intensity, so that once people are touched, similar associations will be triggered in their hearts, stimulating passion. The memories and experiences that *have brought me into the realm of consent. Wang Jia's "Ancient Meanings": "The husband is guarding Xiaoguan and the concubine is in Wu. The west wind blows and the concubine is worried about her husband." A line of letters brings a thousand lines of tears, and it is so cold that your clothes are gone. "Thinking about your husband and worrying about your husband are "extremely painful", and there is nothing more to add to it. Huang Shucan's "Notes on Tang Poems" commented: "When the love is true, it is not artificially carved, and it is almost like the sound of nature."
Chen Ziang's "Taiwan Song of Dengyouzhou": "The ancients have never been seen before, and the newcomers have never been seen after. Thinking of the long journey of heaven and earth, I shed tears alone." Its artistic conception design uses a high degree of concentration of infinite universe feelings to create a state of mind, which activates emotions and associates with infinite Expansion, "thinking for thousands of years, seeing thousands of miles", inspiring the "corresponding scene" of the universe and its potential existence. Huang Zhouxing of the Qing Dynasty compiled and commented on "Tang Shi Kuai": "There is eternity in my heart, and there is no one in front of me. There are many poets in ancient and modern times, but there has never been anyone like this. These twenty-two words are really tearful." The present cosmic emotional environment has reached the highest level of perfection by relying on the high-level scene potential existence design.
(2) The scene appears and coexists, that is, it is based on emotion and allows the scene and emotion to appear and coexist. There are two design techniques, one is to use emotions to stimulate processual events and deepen emotions, and the other is to use emotions to connect qualitative scenes and deepen emotions.
① Use emotion to stimulate processual events and then deepen the emotional scene to show the existing environment. It is a design that arouses emotion, scenery and emotion. The change of events is presented as process, similar to a pocket narrative poem. The plot is used to inspire and deepen emotions. Li Bai's "Resentment on the Jade Steps": "White dew grows on the jade steps, which penetrates the stockings for a long time at night. But under the curtain of water, I gaze at the autumn moon." The scene design is presented in two plots: the lyrical subject stands on the jade steps, and the dew soaks the stockings. He withdraws the curtain and enters the room; he stays awake for a long time, lowers the curtain and looks at the moon to comfort himself. The change of scene shows the change of events. "Poetry of the Tang and Song Dynasties" commented: "The jade steps are exposed, and you have been waiting for a long time; under the crystal curtain, you can look at the breath, complain but not complain, just play with the moon to express your feelings. This is deeper than resentment, you can complain (Jiang Gao). "Jade Level Resentment" "Although there is no complaint, every word is complaint (Yi Yun)", the subject uses reality to turn into emptiness, letting plot segments---process events to generate emotions, and events appear between events. There is an organic change, which leads to the intensification and deepening of resentment. Li Qingzhao's "Slow Voice": "Looking for it, it's deserted and miserable. It's the hardest to catch your breath when it's warm but still cold. How can three cups and two glasses of light wine defeat him when the wind comes late? A wild goose is passing by. , I am sad, but it is an old acquaintance. The yellow flowers are piled up on the ground, and they are haggard and damaged. Who is worthy of picking them now? How can I be alone by the window? The phoenix trees are drizzling, and at dusk, how can they be here? The word "sorrow" is so good!" The whole poem is divided into two parts, the upper and lower parts, each of which is a complete plot segment. The upper part describes how to get up in the morning and wander around an empty house, feeling uneasy, drinking light wine to relieve boredom, enduring the morning breeze, looking up at the Lone Goose Sutra In the sky, my heart and soul feel like I have lost something. I describe the sadness of being alone in the empty court all day long, waiting for the darkness by the window, sighing at the thin yellow flowers, listening to the rain hitting the sycamore trees, and feeling the loneliness of dusk. The first plot uses the emotions of "when the warmth turns to cold, it is most difficult to breathe," and "being sad" to stimulate the flow of process events such as light wine, dawn wind, old wild geese flying across the sky, etc. to deepen the expression of "setting scenes with emotion" characteristics. In the second plot, the sad words "How can one word "sorrow" be expressed with emotion, expressing the feeling of being embarrassed and how to treat people, and stimulating the flow of process events such as the long day with a lonely shadow, the drizzle at dusk, etc., and also clearly shows the "situation relationship" Characteristics of "setting scenes with emotion". The poem begins with "Searching and searching, deserted, miserable and sad", which focuses on the form of "sorrow" and highlights the "emotion" tone that uses emotion to create an environment that covers the overall situation. Liu Yongji's "A Brief Analysis of Ci Poems from the Tang, Five Dynasties and Two Song Dynasties" commented: "The word "sorrow" can no longer be used, so there are fourteen folds of characters, and the fourteen folds of characters cannot be used, so there is a complete poem." The fourteen folds of characters have a strong impact on "sorrow". The clear expression is the key to the artistic conception of the whole poem, but the source of its power is the development of the upper and lower plots and the change of process events, so as to complete the beautiful interpretation of the emotional scene and the emotional scene. . This word is an excellent masterpiece that shows the existence of situations, and the emotions that stimulate process events and then deepen the emotions to create a situation.
② The environmental design that connects qualitative scenes with emotions and deepens emotions is similar to the "spotting" technique in classical poetry. Liu Xizai's "Ci Summary": "The words are a little bit mixed. Liu's "Yulin Ling": "Sentiment has hurt parting since ancient times, and it is even more shameful and neglected Qingqiu Festival! Where can I wake up tonight? Willow banks, the dawn wind and the waning moon." The second sentence of "Duoqing" is out of touch with emotion, and the second sentence of "Tonight" is based on the meaning of the previous two sentences. "The so-called dyeing and creation of the scene means that the subject presupposes a direct lyric line throughout, and establishes several important lyric lines on the lyric line. Select a variety of condensed scenes that can establish a corresponding relationship with them to render the "emotional points" that need to be highlighted and strengthened on the direct lyric line. There is no inherent necessary connection between these condensed scenes. They are just driven by the subject's preset "emotion" and are rigidly connected to form a whole scene. The condensed scene attached to the lyrical line plays the role of dyeing the lyrical point. Li Shangyin's "Jin Se": "Jin Se has fifty strings for no reason, each string and one column reflects the past. Zhuang Sheng is obsessed with butterflies in his dawn dream, and looks forward to the emperor's spring heart with cuckoos. The moon in the sea has tears, and the blue field is warm and the jade produces smoke. This love can be realized. Looking back, I was at a loss. "There have always been different interpretations, and the differences focused on the chin couplet and the neck couplet, so Yuan Haowen sighed in a quatrain on poetry: "The emperor's spring heart is supported by the cuckoo, and the beauty is beautiful and the poet always loves it. Xikun is good, but I only regret that no one wrote Zheng Jian. "In fact, "Jin Se" is a work mourning the youth. Running through the whole work is a direct lyric line lamenting the unreasonable fate and helpless life, the jaw couplet (the second couplet). The couplet with the neck (the third couplet) is a condensed qualitative scene belonging to time and space. It establishes a chain of emotional and emotional relationships outside of the deep metaphor, so that "Jin Se" embodies the connection of condensed qualitative scenes with emotion, thereby realizing the transfer of emotions from scene to scene. It is an environment design that is inspired by scenery. Xue Xue of the Qing Dynasty wrote in "Yi Lao Shi Hua" that all the beauty of the whole system starts from "unprovoked", which is quite insightful - "One string and one column of Jinse has already made people look forward to the old age. I don't know why there are so many strings." column.
It makes people feel endlessly disappointed, just like complaining that Jinse has such string pillars for no reason, so there is no reason to have this hope, that is, if you reach Zhuangsheng, the traces are lost in dawn dreams; the soul is Du Yu, still holding the heart of spring; the pearl in the sea is nothing more than It's tears; the jade energy in Lantian is like smoke. Touching this feeling, looking back gradually, everything at that time was lost. I feel sad for Jinse, and I sigh for no reason and feel deeply moved. With such an understanding, the spirit of poetry and the purpose of poetry emerge vividly on the page. "This kind of design based on emotion to create a scene is often used in modern poetry, especially among poets. Shen Qian's "Straight Talk": "He Fang replied to "The Sapphire Case": "How many leisure and sorrows are there?" Yichuan tobacco, the city is full of wind and rain, and plums are yellow and rainy. ’ Not only is he good at expressing sorrow, he is also good at describing trivial matters. "Tobacco", "wind catkins" and "plum rain" in the poem are a combination of unrelated scenes, which seem to give people a sense of fragmentation, but are internally connected by "leisure", which is closely related to the direct expression of "how much idleness". On the contrary, the poems have twists and turns and create a deep environment. This kind of design often gives people a sense of triviality in the external image of the poems, which is not immune to criticism. If you understand the method of dyeing, you will be relieved.
? Based on emotion, using emotion to connect qualitative scenes to create a landscape is the most valuable landscape design in classical poetry, and it is widely used in modern poetry creation.
Scenery
p>As far as classical poetry is concerned, the landscape design that integrates scenes is actually the highest type of design pursuit. This kind of landscape design is a blur of scenes, a combination of virtuality and reality, and it is unclear what is emotion and what is scenery. Situational relationships present the wonders of nature and earth. Emotions emerge spontaneously without words. Scenery manifests itself without words. It shows the distinctive feature of "forgetting both things and myself". And if you get the spirit, you will have wise words and participate in the wonders of chemical engineering. "In the creation of classical poetry, the scenes used by the subject to create a scene are actually the product of spiritual re-creation, reflecting the inherent nature of poetry. Only careful observation can reveal the ingenuity.
Scenery The design of the environment created by Huncheng is divided into two types, one is that all living things are included in the subject, and the other is the subject is integrated into all living things, that is, the "land with me" and the "land without me". "Human Words": "There is a state of self, and there is a state of not-me. "The flowers are silent with tears in my eyes, and the wild reds fly across the swing." "It's so cold in the spring when the lonely house is closed, and the setting sun is setting in the sound of cuckoos." This is my state. "Picking chrysanthemums under the eastern fence, leisurely seeing the Nanshan Mountain", "Cold waves rising, white birds leisurely descending", this is the state of selflessness. There is my realm. When I observe things, the old things are colored by me. In the state of selflessness, one observes things in terms of things, so one does not know who is me and what is a thing. The ancients wrote many poems about the state of self. However, it is impossible to write about the state of selflessness. Heroes here can establish their own ears. "
(1) All living things are prepared in the main body's environmental design. The mission is lofty, and all phenomena are for my use. To chant the past is to chant the memory. All phenomena are for my use." has touched the "I am" The foundation of "realm". This kind of landscape design is highly praised by classical romantic poets, whose representative work is Qu Yuan's long lyrical poem "Li Sao". The subject "surveys emotions in the dreamlike world of free fantasy", uses magical illusions and leaping associations to drive all things such as mountains, water, sun, moon, wind, clouds, thunder, phoenix, beauty, etc. for his use, revealing the The value of life exists in the eternal "pursuit from above and below". The pursuit of the value of life has only a process and no end. Li Bai's "Sun Travel" "I will cover a large part, Haoran and Mingju are of the same subject", and its environment design is similar to that of "Li Sao". This kind of comprehensive landscape design has also been outstandingly displayed by subsequent poets. Zhang Xiaoxiang's "Niannujiao? Dongting Spring Grass": "The green grass in Dongting is almost Mid-Autumn Festival, and there is no wind at all. There are 30,000 hectares of Yujian Qiongtian, and I have a leaf on my boat. The moon is shining brightly, and the bright river is full of shadows. Both the outside and inside are clear. . It's hard to tell you what's so wonderful about it. It's so lonely that the light shines on you, your liver and gallbladder are covered with ice and snow, and you're looking at the vastness of the West River, pouring out the Beidou. "Guests. Howling alone, I don't know what night it is." This word expresses the author's noble and loyal mind and heroic spirit through the moonlight scene in Dongting. The lyrics fully express the spirit of the subject dominating the universe, and clearly demonstrate the characteristics of "all things are provided for me" in all aspects. It is a rare masterpiece in the world of poetry and is highly praised by theorists of poetry.
(2) The main body is integrated into the environment design of all living things. That is, the design of the unity of things and myself to the point of forgetting both things and myself (a state of no-self). This kind of design uses objects to observe objects, and the main body relies on the symbolic function to "embodie" the "scenery" that evokes unique emotions and achieves the effect of symbolism (universal meaning). ***It is divided into two types of selfless realm designs: recognition type and realization type.
To realize the design of a state of selflessness, the subject does not present the natural scenery truthfully, but deliberately arranges the scenery to create the environment, guides the directional association to echo the "universal meaning" to be implied, and achieves the realization of the experience. Recognize the cognition of intelligence. For example, Wang Wei's "Send off Li's Relics at Lingaotai": "Send off at Lingaotai, how far away is the Sichuan Plain? At dusk, the birds return, and the travelers keep going." The title of the poem is positioned as "sending off a friend", which seems to be a work of farewell, but in fact it is known. Deep meaning. "The subject "stands on the high platform" to bid farewell, looking at the vastness of the river and the endless horizon. Under the background of the emotion of separation, it reveals the touching metaphor of the existence of all living things in the vast universe, and uses the "birds return" and "the pedestrians go" at sunset. The scene changes, immersed in the alternation of life, and inspired by the understanding of the cyclical laws of the universe: "Two orioles sing in the green willows, and a row of egrets ascends to the blue sky." The window contains the snow of Qianqiu in the Xiling Mountains, and the door is docked with ships thousands of miles away from Dongwu. "The whole poem is composed of two sets of couplets, which combine scenes to create a state of selflessness. Although the four scenes are not related externally, they echo each other with their own unique and interesting content. They are closely connected internally and the scenery creates a sense of selflessness. The situation is indeed intentional.
"Orioles chirping in green willows" and "Egrets ascending the blue sky", one still and one moving, constitute the harmony of the eternal existence of all living beings; "Xiling Qianqiu Snow" and "Eastern Wu Wanli Ship", one eternity and one vast distance, constitute the gathering of all things. of coordination. Through the inner emotional response of the imagined scene, the subject successfully constructed a harmonious picture of the ecological balance of all living things in the universe, thereby gaining an understanding of the inner balance law of the universe.
To realize the design of a selfless state, the subject faithfully presents the natural scenery, all scenes gather freely, and the emotions directly echo the "universal meaning" you want to imply, achieving the goal of understanding. The understanding of "true meaning". Meng Haoran's "Sujian Dejiang": "I moved my boat to Yanzhu, and at dusk the guests were worried about the new arrival. The wild sky was low and the trees were low, and the clear moon on the river was close to the people." Between the two lines before and after this poem, a seemingly separate scene and atmosphere is presented. Concentrate on resolving the "guest worries" style of progressive interpretation. "The subject uses the scene of "the sky is low" and the "moon is near" to feel the "closeness" between the sky and the moon, which is a metaphor for the gentle feelings from the hometown of life and the home of the soul that comfort the wanderers' souls and guide their understanding of the hometown of life and the soul. The Mysterious Realization of Home. Cui Hao's "Yellow Crane Tower": "In the past, people used the Yellow Crane to go there, and the Yellow Crane Tower was vacant here. The yellow crane is gone and never returns, and the white clouds remain empty for thousands of years. There are Hanyang trees in Qingchuan and luxuriant grass in Parrot State. Where is the hometown gate at sunset? The misty waves on the river make people sad. "The first four sentences are all a combination of scenes and events; the last four sentences express nostalgia, saying that this place is full of trees and luxuriant trees, it is the state, and it is unique to see the hometown, but I don't know where it is." The same goes for the five, six, and seven third sentences. The combination of scenes and the concluding sentence "The misty waves on the river make people sad" use the scenery to express emotions, which is the finishing touch. As an allusion, "Riding the Yellow Crane" has become an allusion to accessing the divine realm. The "Yellow Crane" has also been given an archetypal symbol - an elf who can communicate with the gods. The subject's reflection on climbing the building actually expresses his understanding of the universe. The "white clouds for thousands of years" have drifted away for a long time, and the yellow crane never flew back. The clear river and Hanyang trees are clearly visible in front of me, and the parrot state is luxuriant on the shore of fragrant grass. However, there is little information about the road leading to the divine and fairyland, and it is difficult to find it. The subject is placed in the vast twilight and vast mist, sighing towards the dark universe. The Yellow Crane Tower, with its undulating design, creates a selfless realm of understanding and creation full of cosmic inspiration. The design is unique, and the work "Jinling Climbing the Phoenix Terrace" written after Taibai: "The Phoenix travels on the Phoenix Terrace, and the phoenix leaves the platform and the empty river flows by itself. The flowers and plants of the Wu Palace are buried in the secluded paths, and the Jin Dynasty clothes become ancient hills. The three mountains are half-fallen to the blue sky. The two rivers are divided into Egret Island. The floating clouds can always block the sun, but the absence of Chang'an makes people sad. "The techniques of creating the landscape are comparable to each other and the style can be used as a reference."