Du Fu
Draw water on the tenth day,
Draw a stone in five days.
Capable things are not forced on each other,
Wang zai is willing to stay in the original place.
Diagram of the Great Kunlun Square Pot,
Hanging on the wall of the royal hall.
East Japan baling Dongting,
The red shore water is connected with the milky way,
There is a cloud flying with the dragon.
The boatman and the fish son entered the pond.
Mountains and trees are in the wind.
Yougong is far from Gumobi,
Wan Li wants to discuss it closely.
How to get quick scissors,
Cut the Wusong River.
Appreciation of Du Fu's Poetry
While living in Chengdu, Du Fu met Wang Zai, a famous landscape painter in Sichuan, and was invited to write this poem about the first year of Shangyuan (760).
The first four sentences don't talk about painting, and strongly praise Wang Zi's serious and meticulous creative attitude. He didn't want to be pressed by time, so he did it in a hurry, and only drew 10 and 5. Only after a long period of brewing and careful planning can we paint calmly and leave real handwriting on the earth. Then the poet went on to describe the picture of Kunlun Square Pot hanging on the white wall in the Tang Dynasty. Kunlun, the legendary mountain in the west. Square pot, fairy mountain in the East China Sea. This refers to the mountains in the general sense, not the mountains in the actual sense. The westernmost Kunlun Mountain is opposite to the easternmost square pot, and the peaks soar into the sky, rolling from west to east, which is spectacular. The picture space is very broad, the composition is magnificent and the charm is vivid, giving people a magnificent feeling. The word "Zhuang zai" expresses the poet's sincere admiration when he looks at the painting.
In the middle five sentences, Du Fu changed from rhyme to eastern rhyme and bell rhyme, depicting the extraordinary water potential on the screen with a sonorous style, alternating with majestic mountains, and his pen and ink were hearty. The phrase "Baling Dongting East Japan" lists three place names in one breath. The river water in the picture starts from the west of Dongting Lake and flows to the sea east of Japan, which is magnificent.
In poetry, place names are not real references, but general references. "Bare shore water is connected with the Milky Way" and "The Yellow River is far above the white clouds" (Wang Zhihuan's "The Embankment") have the same effect, showing that the water potential is vast and distant, even the sky, water and sky are the same color, as if connected with the Milky Way. The grandeur of the water potential described here echoes the grandeur of the mountains described earlier. The mountains and rivers are integrated and complement each other. The sentence "Clouds follow the flying dragon" means "Zhuangzi Xiaoyao Tour": "There are immortals in the ancient Sheshan Mountain, who ride the flying dragon in the clouds and travel around the world." Ancient books also have the saying that "clouds follow dragons". What is described here is that the clouds on the screen are erratic and flying in groups. The poet turns virtual into reality, and uses clouds to set off the fierceness of the wind, so that the invisible wind can be vividly reflected. The brushwork is natural and lively. In the raging torrent, the fisherman was driving his boat to the shore for his life, and the trees on the mountain were weighed down by the storm that set off the huge waves in Hong Tao.
"Mountain wood is full of Hong Tao wind", which is divided into sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub-sub. With the word "Asia", the power of strong winds is fully displayed. The poet deliberately rendered the wind fierce, the waves high and the water urgent, making the whole picture full of charm.
Then the poet further evaluated Wang Zai's unparalleled painting skills:
"You Gong is far from Gumo Wall. You should talk about Wan Li at close range." Far potential refers to the flat, far-reaching and lofty composition background in painting. The poet spoke highly of Wang Zai's unprecedented techniques in composition, layout and perspective proportion, and painted Wan Li's landscape on a scale picture scroll. "Talking about Wan Li from a close distance" is also a summary of the performance characteristics of China's landscape paintings by the poet with extremely refined poetic language, which is full of aesthetic significance. The poet was deeply attracted by the artistic charm of this landscape painting: "How can Bingzhou cut Wusong River with scissors quickly?" The poet praised the vivid painting and exclaimed: I don't know where I got sharp scissors and cut the Wusong River! The last two sentences are allusions, which are related in meaning. According to legend, Ren Jin, fascinated by Gu Kaizhi's paintings, could not help admiring: "I wish I had cut half a piece of Songjiang to practice tricks without taking Bing's quick scissors." Du Fu compared himself to Suo Jing and Wang Zai's paintings to Gu Kaizhi to praise the great artistic appeal of Kunlun Square Pot, which was subtle, concise and exquisite.
This ballad poem is lively and freely written. Poetry and painting are integrated. Xun said in "Mountain Residence Graph Theory": "Reading Lao Du's poems into the Gorge is a fantastic picture of life and death in Shu. Only in this way can you paint your own poems. " It is to see the achievements of Du Fu's poems through painting.