First, the front and side are combined.
Scenery description can start from the front, directly describe the characteristics of the scenery, making people clear at a glance; We can also start with the side scenery related to it, not the front scenery, so as to reveal the characteristics of things and provide readers with rich imagination space. The combination of the two methods can make the features of the scene more distinct and prominent.
For example, Bai Juyi's "Yang Liuzhi Ci", "A thousand branches of a spring breeze are softer than gold and softer than silk. Who owns the wild garden in the west corner of Yongfeng all day? " The first sentence and the second sentence describe the beautiful form of willow in spring by means of positive description.
Wang Changling's "Joining the Army" "The desert is dusty, and the red flag is half rolled out of Yuanmen. The former army fought the Taohe River at night, but they were captured alive. " The second sentence describes the situation from the side, and describes the tragic war by writing that the wind is strong and the red flag is rolled up for urgent marching.
Another example is Liu Yuxi's "Stone City", "The old country is surrounded by mountains, and the tide hits the empty city and it is lonely. This poem named "Stone City" is obviously about "Stone City", but it begins with the scenery around the stone city-mountains, tides and the moon-and describes the decline and desolation of the "old country" of the stone city.
Second, the combination of static and dynamic.
In ancient Chinese poetry, in order to create artistic conception, poets pay special attention to dynamic description, and the combination of dynamic and static is a common way to describe scenery. In the use of this technique, poets are often ingenious, "every word is the best" and "the realm is the best" For example, the selection of "push" and "knock" in Jia Dao's Living in Seclusion with Li Ning, and the adjective "green" used as a causative verb in Wang Anshi's Sailing in Guazhou are all examples of dynamic description, and many articles have been made on the use of verbs. However, as a combination of dynamic and static scenery, it often depicts dynamic and static with a kind of artistic conception, and often focuses on static, and forms a harmonious unity of artistic conception and image in a way that dynamic sets off static. Therefore, the combination of static and dynamic scenery writing techniques is often inseparable from foil.
For example, Wang Wei's "Mountain in Autumn Night" stands empty after the rain. The bright moon shed clear light from the cracks and cleared the fountain on the rocks. The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe. My friend's prince, what does it matter if spring is over and you are still here? Wang Wei, a poet, deserves to be called an expert in describing landscapes. The combination of dynamic and static is one of his main techniques in describing landscapes. In the scenery described by the poet, there is movement in stillness, stillness in stillness, and the combination of movement and stillness constitutes a moving artistic conception. The second couplet "Moonlight in the Pine Woods" is a static scene, but what you see says that the moonlight shines all over the earth through the pine branches; And "crystal stone in the stream" is a moving picture, a smell, a combination of motion and static, which constitutes a beautiful and lovely landscape painting. The third link is that the poet uses the sound of bamboo to set off the tranquility of the mountain, which is what he heard, and uses the lotus movement to set off the tranquility of the water, which is what he saw. What he saw and what he heard are intertwined, and "noisy" and "quiet" are in contrast, which is quite artistic.
Third, the combination of melody and sound.
The description of scenery in ancient poetry often involves sound and color, which is the poet's use of senses to describe the scenery from multiple angles, making readers feel as if they were there, and receiving high artistic effects.
For example, in Du Fu's quatrains, "Two orioles sing green willows, and a row of egrets go up to the sky. The window contains the autumn snow in Xiling, at the entrance of the boating in Wan Li, Wu Dong. " The first part is a set of opposing sentences. There are many willows around the thatched cottage, and there are a pair of orioles singing on the new green willow branches, which is a cheerful scene and colorful, forming a fresh and beautiful artistic conception. "Cui" is new green, "Liu Cui" is early spring phenology, and willow branches have just sprouted. "Two orioles sing green willows", and birds are paired, showing a kind of vitality and a festive meaning. Egrets in the blue sky are flying freely. This long-legged bird flies gracefully and naturally. In Wan Li, the sky is clear, and the egrets are brightly colored against the "blue sky". The four bright colors of "yellow", "emerald", "white" and "cyan" are used successively in the two sentences to weave a beautiful picture; The first sentence is also described by voice, which conveys extremely cheerful feelings.
Fourth, the combination of reality and reality.
"Virtual" and "real" are two big concepts, specifically, intangible and tangible, abstract and concrete, imagination, memory and reality. For example, "sorrow" is illusory because it is intangible and abstract, while "a river flowing in spring, a leaf boating, spring grass, and the lingering moon in Yang Liuan" are real, and ancient poems often express some feelings with the help of concrete and sensible things.
Or use imagination or memory to write the real situation and taste. When students appreciate this poem, they should pay attention to what is true and what is empty. And whether the poet intends to express truth or emptiness. Only by understanding these points can we accurately grasp their relationship. The real scene is the realistic and objective scenery described by the poet, while the virtual scene is the scenery created by the poet through association or imagination. The combination of reality and reality can better express an overflowing emotion.
For example, Gao Shi's "Listening to Xiao in the Bunker" and "Snow-clean Hutian Grazing Horses, Qiangdi Guarding the Building under the Moon". Excuse me, where did the plum blossom fall? The wind blew all over Tianshan Mountain overnight. One or two sentences in the poem actually describe the scenery. The content described is that the ice and snow have melted and the season of grazing horses has arrived. In the evening, the soldiers came back with horses, and the sky shed the brilliance of the bright moon. In such a vast and clear night scene, I don't know which garrison building played the Qiang flute, which is the familiar tune of plum blossom falling! In three or four sentences, "Plum Blossom Blossom" was torn down, as if the wind was not blowing the flute, but the flower pieces of plum blossom, which were scattered all over the floor, and overnight, the color and fragrance filled the whole Tianshan Mountains. This poem expresses the soldiers' deep homesickness by listening to music and thinking of plum blossoms in their hometown (there are no plum blossoms in Alakazam) and the autumn of plum blossoms.
Five, the combination of point and surface
Everything is interrelated, not isolated, and the scenery described is the same. They are always inextricably linked with the surrounding scenery. Therefore, when poets write landscapes, they don't write the subject in isolation, but also the related images around the subject, combining point and surface to make the subject image fuller and more distinctive.
For example, Liu Zongyuan's Jiang Xue, Hundreds of Mountains Without Birds and Thousand Paths Without Footprints. A boat, a bamboo cloak, an old man fishing in the cold river-snow "is used in the combination of point and surface." "Dai Li Weng" is relatively small in the picture, but it is the center of the whole poem in a conspicuous position, and "A boat with a leaf and a bamboo coat" belongs to the description of points; The first two sentences "There are no birds in a hundred mountains, and there are no footprints in a thousand paths" belong to the superficial discussion. The poem describes the bitterness and loneliness of the characters from "birds fly away" to "people disappear", and puts the quantifier "thousand" and "ten thousand" before "mountains" and "paths", which highlights the characters' perseverance and extraordinary character. It can be called point-surface combination. Point out one thing, including comprehensiveness.
Sixth, the combination of distance and distance.
Looking at the same scene, the observer's position is different and the angle is different. Looking down, looking up, looking far away and looking closely, the visual image will be varied and varied. Describing from different angles will make readers have a more comprehensive understanding of the scenery described and get a more perfect feeling.
For example, Mutu's "Mountain Walk" "Far Cold Mountain Stone Trail, people are in Bai Yunsheng. Stop and sit in the maple forest late, and the frost leaves are red in February. " The first two sentences describe the prospect of Akiyama. The first sentence describes the majestic scenery of the autumn mountain and shows the poet's courage to climb it. The second sentence describes a specific scene in the autumn mountain, and several families can be seen faintly under the white clouds fluttering sky. The last two sentences depict a close-up of Akiyama. The phrase "Frost leaves are red in February flowers" is full of vitality, bright, fresh and vivid, giving people a sense of beauty that Qiu Guang is better than spring.
Seven, line drawing techniques
Line drawing, originally one of the traditional techniques in China's painting, is roughly similar to sketch or sketch in western painting. Its characteristic is to outline the picture with simple ink lines, freehand brushwork, no contrast and no color. This painting method is introduced into poetry creation, that is, without adjectives and modifiers, it is carefully carved and rendered layer by layer, not to mention melody or foil, but by grasping the object of description, using accurate and powerful brushstrokes, simple and concise language and plain words, it neatly outlines the shape, light and shade (sound) of things and shows the author's feelings about things.
For example, the article "Going on a Good Morning Trip" "Starting a levy in the morning, guests will mourn their hometown. When a chicken crows at the Maodian Moon, people walk on the Banqiao Frost. Mistletoe leaves fall on the mountain road, and orange flowers are on the wall of the post. Because of thinking about Ling Du's dream, the geese return to the pool. " The second couplet of the two poems is a combination of six nouns (that is, six scenes) without any modifiers. It can be seen that it is hard to go early. When the cock crows and his eyes are still alive, it is obviously difficult to leave early, braving the frost on the road.
1. Direct lyricism refers to the author's undisguised direct narration of his strong inner feelings in the article, so that the strong emotional torrent can be poured out directly.
Why aren't you ecstatic? New tears overwhelm old ones, and heartbroken people remember heartbroken people. (Wang Shifu "Yao folk songs in December? The poem expresses the sadness of young women's lovesickness after leaving from four angles: fear of dusk, not forgetting me, new tears and heartbroken people. )
2. Lyricism by borrowing scenery is an indirect lyric, which expresses the author's feelings through the description of real scenery.
Smoke cage cold water moon cage sand, night parking near Qinhuai restaurant. The businesswoman doesn't know how to die, but she still sings "back garden flowers" across the river.
(Du Mu's Bo Qinhuai) (The first two sentences describe the scenery, and the last two sentences are lyrical. The scenery is not a clear moonlit night in Wan Li and a cloudless blue sky in Wan Li, but a foggy moon shrouded in cold water and white sand. The scenery is so bleak and the atmosphere is so cold, which adds atmosphere and color to the author's anxiety in the last two sentences. The two scenes blend into one, seamless. )
3. Expressing one's will with things is an indirect lyric, that is, expressing one's wishes and wishes through the description and narration of things.
Drop a wisp of water to clear the dew, and let out the sparse tung. Cicada is far away from cicada because cicada is on a tall tree, not relying on autumn wind. (Yu Shinan's "Chanting Zen")
The image of cicada described in the poem is: cicada hangs its tentacles, sucks clean dew on the branches, and cicada chirps from sparse buttonwood trees. Living in a high place, crying naturally travels far, not relying on the power of the wind. In poetry, what the author really wants to express is his feelings about life: all noble people are always strict with themselves and constantly improve their self-cultivation, so their good reputation can spread far and far without relying on others to brag. It can be seen that writing cicadas is the foundation, and expressing your feelings and ambitions is the real purpose. )
4. The blending of scenery melts the author's subjective feelings in the description of scenery, so that poetry can achieve "the unity of things and me", and it is impossible to tell which is "scenery" and which is "emotion".
Building a house is under the condition of people, and there are no horses and chariots. When he asks you what you can do, his heart is far from biased. Picking chrysanthemums under the east fence: leisurely seeing Nanshan. The mountains are getting better and better, and the birds are back. That makes sense. I forgot what I wanted to say. (Tao Yuanming's drinking)
The four underlined sentences, on the surface, depict the scenery, but in fact they imply the poet's emotional realm of being detached from the world, loving nature and staying away from officialdom. Here, both "scenery" and "emotion" are written, and the two are inseparable, that is "emotion". )
5. The combination of static and dynamic refers to the description of dynamic or relatively static people, events and scenes.
When the moon is dark and windy, the fishing lamp is high, and the firefly is lonely. Slight wind and waves, scattered like river stars. (Check Shen Xing's Night Book Seen on the Ship)
The whole poem depicts the scenery the poet saw on the boat at night in a simple way. The first two sentences are static and the last two sentences are dynamic. )
6. Comparing static and dynamic is one of the methods of comparison, that is, describing, rendering and comparing static and dynamic, that is, expressing dynamic in dynamic description.
People are idle, osmanthus flowers fall, and the night is quiet and empty. When the moon comes out, the birds are startled, and the sound enters the spring stream. (Wang Wei's Bird Watching Creek)
The scenery written in the poem, such as falling flowers, rising moon and singing birds, are all moving scenes, and at the same time, through these moving scenes, the silence of the spring stream is more prominent. "Tonamiyama is more secluded", the quieter it is. Here bread contains dialectics. )
7。 Writing sadness in a music scene is one of the methods of contrast, ostensibly describing a happy scene, but actually expressing a sad mood.
The article Peacock Flying Southeast describes the scene of marrying Liu Lanzhi. "The speed of speech is fast, and four or five hundred people flow like clouds, and the clouds are densely covered, and they board the county gate." The more lively the scene, the stronger its sadness.
8. In the process of discussion or lyricism, the poem based on scenery came to an abrupt end, and it turned to writing scenery, ending with scenery instead of emotion, which made the poem "ruthless at this time is better than emotion", which is still lacking.
The new sound of pipa dance is always the old love. I can't hear the dazzling edge, and the high autumn moon shines on the Great Wall.
(Wang Changling's Seven Armies)
The first three sentences of this poem are all lyrical about music. When it comes to "worrying about the border", the word "endless" is used. So how can the ending sentence achieve this "endless" feeling with a limited number of seven words? At this time, the poet gently opened the pen and tied a knot with the scenery. As if after buying wine and drinking music in the army, there suddenly appeared a vast desolate scene of shooting the Great Wall for a month; The ancient and majestic Great Wall is full of ups and downs, the autumn moon shines brightly, and the scene is magnificent and sad, which deepens the poet's thoughts and feelings and leaves readers with unlimited imagination. )
9. Layout is the expression of "Fu" in The Book of Songs. "People who tell the truth tell the truth" means telling stories from many angles.
"Five steps on the first floor, ten steps and one cabinet; Corridor waist back, eaves high; Each holds the terrain and intrigues. " (Du Mu's Epang Palace Fu)
10. Render one of China's traditional painting techniques, and then use it to refer to the emphasis adopted in literary and artistic creation to highlight people and environment.
Writing skills such as repetition and so on.
The plane tree leaves in Jinjingbian are yellow, and the night pearl curtain is not rolled out to see the frost. The jade pillow in the fumigation cage has no color, and you can listen to the Nangong for a long time. (Wang Changling's Autumn Poems) (The first sentence describes autumn scenery's rendering of the atmosphere in the palace on a cold night. )
1 1. The positive contrast in comparison is originally one of the traditional painting techniques in China. Also known as "clouds shine on the moon". Post-borrowing refers to a writing technique, that is, to highlight a certain emotion or image of a character through the description of a specific environment and atmosphere. Specifically, it means not saying the original intention, but only saying things related to it, so as to achieve the purpose of setting off the original intention. This technology is often combined with rendering technology, which is easy to be confused.
New arrivals are thin, not sick wine, not sad autumn. (Li Qingzhao's "Recalling Xiao Blowing on the Phoenix Stage")
(I want to make it clear about the suffering of acacia, but I don't say it directly. I use "not sick wine, not sad autumn" to set off)
12. Huadian (transformation) reprocesses and recreates the previous written works and the language created orally by the masses, giving them new content and artistic conception. It can be divided into three types: word articulation, content sublimation and artistic conception development.
The sky is blue, the ground is yellow, the west wind is tight, and the wild geese fly south in the north. Whoever gets drunk at dawn always leaves people with tears. (Wang Shifu's "The West Chamber")
13. Using allusions is also called using things. It refers to a rhetorical way of quoting words from historical stories or ancient books to understand one's own views. The use of allusions is both explicit and implicit.
Xin Qiji's book Looking Back at Gu Beiting and Changle in Jingkou uses allusions from five historical stories: Sun Quan, Emperor Wu of Song, Liu Yilong, Huo Qubing and Lian Po.
14. The combination of reality and fiction, true writing, refers to the direct and positive narrative and description of people or things. Fictional writing refers to narrative and description with marginal notes or contrast. The combination of reality and fiction, that is, the two techniques are used simultaneously in narrative and description. There are crows in Bai Shu and osmanthus in Coody Leng in the atrium. (Wang Jian's "Looking at the Moon at Fifteen Nights")
The poet began to write "the earth" and "the crow" instead of the moon, but let us clearly feel the existence of the moon, because "the earth is white" and "the crow that perches" are the results of the bright moon. As the ground is in Bai Rushuang, crows can be seen. It can be seen that although the poet didn't write "When is the bright moon", we feel "When is the bright moon" everywhere, so he actually wrote it. )
15。 When we praise or criticize something, in order to convince others in advance or prevent others from refuting it, we often criticize what we want to praise from a certain shortcoming and praise what we want to criticize from a certain advantage. This rhetorical device is called inhibition. There are two kinds of suppression: 1. If you want to suppress it first; If you want to suppress the law, you should be promoted first.
You should cherish the moss on your shoes' teeth and buckle Chai Fei for a long time. But this spring spring, after all, can't be caged. Look, there is a pink apricot sticking out of the wall. (Ye Shaoweng's "The Garden is Worthless") (The poet who wrote the first two sentences of the poem took the opportunity to visit the garden and was rejected; In the last two sentences, the poet got something else. When he sees all the love, there is a gap between his feelings, with regret in front and happiness behind. What is adopted here is the method of promoting first and restraining first. )
16. Reduplicated words use the same polyphonic words in succession for the need of expression. This rhetorical device is called reduplication. Looking around, lonely and sad. (Li Qingzhao's "Slow Voices")
The fourteen overlapping words at the beginning set a sentimental tone for the whole poem and rendered the lonely life scene and deep sadness of the poet in his later years. )
17. In the context of intertextuality, two relatively independent words complement and penetrate each other in meaning, and * * * expresses a complete meaning. This figure of speech is called intertextuality. There are two common forms of intertextuality: seeing in sentences and seeing in sentences. Translation is easy to make mistakes, so pay special attention to it.
There was a bright moon in Qin Dynasty, and it was closed in Han Dynasty (Wang Changling's "The Great Wall")
Bright Moon and Guancheng in Qin and Han Dynasties. The moon was bright in Qin dynasty and the city was closed in Han dynasty. )
18. Image combination (montage-style picture combination) Montage is the expression form and method of film art, which mainly refers to life fragments and scenes connected by lens groups. The scene changes from time to time with the development of the plot, giving people a clear sense of image. Dead vines and old trees faint crows, small bridges and flowing water, old roads and thin horses, sunset, heartbroken people on the horizon. (Ma Zhiyuan's Qiu Si) (This word has different landscape images composed of nine juxtaposed nouns, such as "withered vine", "old tree", "faint crow", "small bridge", "flowing water", "folk custom", "ancient road", "west wind" and "thin horse". They are skillfully organized in a picture, rendering a bleak and desolate atmosphere in late autumn, thus implicitly highlighting the sadness of travelers. )
19. Line drawing and meticulous line drawing were originally a kind of brushwork to outline objects with pure ink lines and no color in China ink painting. Later, it was borrowed from literary writing, which refers to a description method of drawing vivid and vivid images with concise pen and ink without rendering. Meticulous brushwork, originally a brushwork of painting, later refers to the meticulous and colorful depiction.
After washing, I boarded the river pavilion alone and leaned against the bar to stare at the river. After all, this is not Qian Fan. Full of water, Bai Pingzhou is heartbroken. ("Wen Tingjun
This word uses a line drawing technique to describe a woman's mood of looking forward to her lover's return from morning till night. )