First, the images in the poems all embody the aesthetic principle of "painting in poetry", but the meanings in the paintings are different.
"painting in poetry" refers to taking poetry as the main body, absorbing some elements of painting and blending into the poetic realm, thus creating a unique artistic realm. There is an aesthetic view in China's art that "poetry is invisible painting, while painting is tangible poetry". Both Tao Yuanming and Wang Wei consciously used the aesthetic principle of "isomorphism of poetry and painting" in their poems, but they each had their own characteristics. "Returning to the Garden" shows a single picture with distinct layers, while "an autumn evening in the mountains" is a scroll-like picture, and the painting of the two poems also implies the poet's different moods.
Returning to the Garden House depicts a pleasant picture of a village house in spring. The background is the blue sky and the distant mountains of indigo naturalis. The faint village and the smoke from the kitchen give the picture a hazy hue. The sound of chickens crowing and dogs barking far and near makes the picture reveal a warm human feeling. The main body of the painting is a simple grass house surrounded by greenery, with peaches and plums in front of it and greenery behind it. The whole painting reveals a simple charm. The thatched cottage implies seclusion, which is the post of life, the blue sky and wild fields are the space for grazing the soul, and the vitality of the picture also symbolizes the poet's escape from the stormy winter and return to the other side of spring. Walking into the painting, the poet felt a long-lost relief in silence and peace. Color is also the life of painting. The poet chooses simple and elegant colors such as blue, green and gray as the main colors, with pink and snow white in between. The shade of color is appropriate, giving people a warm emotional meaning.
"an autumn evening in the mountains" is like a scroll composed of several shots, which is unfolded to readers in turn. The first picture: Rain Ji's empty mountain map. After the autumn rain, the mountains are washed and the vegetation is clean and clear. After the fruit is returned to the warehouse, the mountain forest in autumn is lonely, and the "empty mountain" implies the emptiness of the heart, which is indifferent after washing the lead flower. The second picture: the clear spring reflecting the moon. The moon is like a mirror, the pine tree is like a cover, the spring water is splashing, and the painting is quiet and quiet. The moon, pine and spring all show a kind of tranquility far away from the world, which is the externalization of the poet's mood. The third picture: the picture of the mountain dwelling at dusk. It shows a dynamic life picture with bamboo forest and lotus pond as the background. The quietness of bamboo and the purity of lotus are the portrayal of the purity of heart. An autumn evening in the mountains is an idyllic picture of autumn. Spring gives people hope and vitality, while autumn gives people loneliness and indifference. The picture is dominated by two cool colors, blue and white. Even the twilight picture with a little vitality is shrouded in a layer of cold moonlight. This simple color is a reflection of the poet's mentality of gradually entering the Zen realm after reading all the prosperity in his later years.
2. Poetry is full of interest, but it carries different ideological implications.
"Poetry expresses aspiration", which is the general creative principle of classical poetry. Poetry is often the carrier of the poet's thoughts. Pastoral is the hometown of Tao Yuanming's spiritual attachment, and landscape is the carrier for Wang Wei to explore the origin of life?
Tao Yuanming's "Poetry is based on its meaning" strives to create a peaceful artistic conception to pin his willful and natural interests. He was in the turbulent Eastern Jin Dynasty. His declining family and frustrated official career tore up his dream of "helping the poor with dogs", and the darkness of officialdom made him completely desperate for reality. The poet "doesn't care about poverty, doesn't care about wealth", and chooses pastoral as his spiritual habitat. Here, he enjoyed the greatest freedom and pleasure of his soul. First, the village is leisurely and comfortable. How comfortable it is to get rid of the heavy workload and sit alone in the shady courtyard and enjoy the "virtual room leisure"! Second, the joy of returning to the field. "After a long time in the cage, I can get back to nature", which expresses the poet's self-satisfaction after getting rid of the bondage. Yuan Haowen commented: "Is this Weng a poem? He writes directly on his chest." The pastoral described by the poet is actually the expression of the true meaning in his heart, the spiritual home for the poet to return after many vicissitudes, and the conversion of his soul.
Wang Wei lived in the prosperous Tang Dynasty, when his national strength was unprecedentedly strong, and his knowledge of landscapes and pastoral areas tended to be more mature. He understood himself through the interpretation of nature and found himself in the vast space and time, thus achieving the "harmony between man and nature". "moonlight in its groves of pine, stones of crystal in its brooks." The pines and nymphs are bathed in a clear glow, which is a typical "no-self". At this moment, people and things are completely blended, and people are integrated into all things in nature. By talking to the natural mind, the poet explored the origin of life and deciphered the original code of life.
Pastoral is the spiritual conversion of Tao Yuanming and Wang Wei. Although they are in different times and have different life experiences, they have crossed time and space, crossed pure mountains and rivers together, created a poetic artistic realm, and injected a fresh blood into China's classical poetry.
Attached to the original text:
Returning to the Garden (III)-Tao Yuanming
Planting beans in the south of the mountain, the grass is full of bean seedlings.
in the morning, you should make good use of waste and filth, and bring home the lotus with you.
the road is narrow and the vegetation is long, and my clothes are exposed in the evening.
clothes are not enough to cherish, but you can keep your wish.
an autumn evening in the mountains-Wang Wei
after rain the empty mountain, stands autumnal in the evening.
moonlight in its groves of pine, stones of crystal in its brooks.
bamboos whisper of washer-girls bound home, lotus-leaves yield before a fisher-boat.
and what does it matter that springtime has gone, while you are here, O Prince of Friends?.