First of all, water gave birth to and generated the poetry of the Tang and Song Dynasties. A large number of titles and lyrics of Tang and Song poems are immersed in the dynamic waves. Such as "Huanxi Sha", "Lang Tao Sha", "He Zhuan", "Yu Ge Zi", "Shui Diao Ge Tou", "Jiang Cheng Zi", "Linjiang Immortal", "Ding Feng Bo", "Wang Jiangnan", " "The Proud Fisherman", "Rain Lin Bell", "Water Dragon Song"...it's hard to list them all. There is no doubt that water inspired the poetry of the Tang and Song Dynasties and provided creative space for the poetry of the Tang and Song Dynasties.
Secondly, water plays a wide and diverse role in creating the artistic conception of Tang and Song poetry. The following is an explanation of several major water images in Tang and Song poetry.
1. The time image of water. Water is flowing, and the flow of water unfolds in time, so water is still temporal. Wen Tingyun said: "Thousands of sails are nothing, but the slanting light and the water are long and long" ("Wang Jiangnan"). In Wen Tingyun's eyes, the long and long water has become the long time. Not only Wen Tingyun, but also Li Qingzhao also said in "Qingpingle·Every Year in the Snow":
In the snow every year, plum blossoms are often placed to make people drunk. There are no good intentions in all the plum blossoms, but the clothes are full of tears. This year, everywhere in the world, Xiaoxiao’s temples are blooming. Depending on the wind coming in the evening, plum blossoms should be difficult to see.
Li Qingzhao’s joy in his early years, his resentment in his middle age, and his decline in his later years can all be roughly seen in his poems. "Every year in the snow" became the testimony of Li Qingzhao's life. Flowing water is about time, and all living things live in the flow of time. Flowing water is about life, so water is connected with the consciousness of time through the consciousness of life.
2. The spatial image of water. The beautiful environment formed by water in literary works is incomparable to the environment created by man. People in the Tang Dynasty had the beautiful scenery of "the sun rises and the flowers on the river are as red as fire, and when spring comes, the water on the river is as green as blue" (Bai Juyi) and "the spring water is as green as the sky, and the painted boats listen to the rain and sleep" (Weizhuang). The people of the Song Dynasty even had "ten miles of lotus flowers" (Liu Yong) ), there is the melancholy of "Yue Mi Jin Ferry" (Qin Guan), the tranquility of "Yue Qiao Garden" (He Zhu), and the hope of "what day will the lake be misty and misty" (Xin Qiji), the water As a spatial image on the earth, it transforms the environment into a charming Jiangnan water town, and also transforms the physical space in geography into the psychological space in art. The beauty of space created by the Song Dynasty is truly astonishing to future generations, and it must be Zhang Xiaoxiang's [Nian Nujiao] "Crossing the Dongting":
The green grass in the Dongting, near the Mid-Autumn Festival, has no wind at all. There are thirty thousand hectares of Yujian and Qiongtian fields, one leaf of which is on my boat. The moon is shining brightly, the river is shining brightly, and the outside and inside are absolutely clear. It's hard to tell you the beauty of this leisurely understanding.
Yingnian Mountain has been on the outside for many years, and the solitary light shines on it, and the liver and gallbladder are all covered with ice and snow. The short temples are sparse, the sleeves are cold, and the space is steady. Stroll the Xijiang River, pour the Beidou carefully, and treat everything as a guest. It's better to knock on the string and whistle alone than today!
In the description of Dongting Lake, Zhang Xiaoxiang's feeling for water is already very outstanding. And we also clearly understand that water is material, water is spatial, and water is cultural. Moreover, here, stretching out from the misty waves of the water, what is it that the poet "understands leisurely, the beauty of it is difficult to tell you"? It is the eternal cosmic consciousness connected to water.
3. The melancholy image of water. In Tang and Song poetry, water is still emotional. In nature, the water of a river flows eastward in a mighty and endless way, and flowing water is heterogeneous and isomorphic with things such as infinity and boundlessness. Therefore, flowing water is often associated with emotions of sadness or joy. Li Bai of the Tang Dynasty had a poem about "cutting off the water with a knife, the water will flow again, raising a cup to relieve sorrow and sorrow will become more sorrowful", and Li Yu from the Five Dynasties also had a poem about "asking you how much sorrow you have, just like a river of spring water flowing eastward". By the Song Dynasty, there were many words and phrases about sorrow. Li Qingzhao's "Can't carry many sorrows" is a household name. Ouyang Xiu's "The sorrow of separation gradually becomes infinite, and the distance is endless like spring water" makes people read it. Qin Guan's "Chenjiang fortunately circles Chenshan, for whom?" "Flow down Xiaoxiang" makes people read the deep resentment; Li Qingzhao's "The parasol trees are drizzling more and more, and at dusk, bit by bit" makes people cry and complain. In the poetry of the Tang and Song Dynasties, water, as an image of leisurely sorrow, has achieved concrete, delicate and individual artistic expression unprecedentedly and unprecedentedly.