One of Yin Keng's artistic achievements is his contribution to temperament, and one of the few studies on Yin Keng at present mainly focuses on this aspect. Second, Yin Keng does have personal achievements and characteristics, and Chen's system is also Chen Suiliang's style in aesthetic taste. It is not surprising that Yinkeng failed to integrate feelings into the scenery, but the work of understanding the rhyme of the body and scenery has been perfect. Thirdly, Yinkeng may not only have an influence on modern poetry, but also be an early model of modern poetry rules.
The relationship between his poetry and the development of Qi and Liang Dynasties should be that Yin Keng showed the possibility of enhancing the artistic creation of poetry by using complex rhythms, and the rational use of poetic syllables can make poetry have harmonious and smooth phonological beauty. In the period of Liang and Chen, from the restriction of temperament on the form of poetry expression, it changed into the poet's active pursuit of the beauty of poetry music by using the rhythm and rhythm of sound, from passive avoidance of tone sickness to active obedience to rhythm. Yin Keng played an important role.
Yin Keng was an important representative poet in the Qi, Liang and Chen Dynasties. He was "rich in historical biographies, especially in five-character poems, and was respected at that time". His poems are close to the substantive metrical poems in tone, rhyme, antithesis and the number of sentences, which has a certain influence on the development of the later substantive metrical poems. Du Fu once wrote in the poem "Relieve boredom" that he described himself as a bitter poem: "Why bother to learn to recite"; In the poem "Seeking Seclusion with Li", he said: "There is a good word, which is often like a pit". Du Fu, who is famous for his rigorous meter, praised Yin Keng so much, which shows that Yin Keng's poems are rigorous in rhyme. Therefore, one of Yin Keng's greatest artistic achievements is the rhyme of his poems.
Yinkeng is as famous as He Xun. Since Du Fu, the world has called it "Yin He". Because his poetic style is similar, Chao said, "After He Xun, there is a pit of yin, and the yin is adjacent to it, and Ya is a family. See its graceful and agile, slightly fragrant and fragrant, and want to attack people "("General Theory of Poetry and Mirror ").
It is not difficult to understand that Yinkeng concentrates on the carving of melody and rhetoric, but it is really commendable to avoid being immersed in rich words and colorful songs. To be fair, although Xu Ling had a great influence in the Liang Dynasty, Yu Xuti was popular for a while, and he edited the New Yutai Fu, which made him dominate the literary world, but he was slightly inferior to Yin Keng. Because of fame, I studied the palace body carefully until the colorful wind penetrated into the bone marrow, and the painting style was hard to shake, which was regrettable. Qing Li also said: "Chen took Yin Keng as the first, and his ability to write sentences was a school, but Xu Ling and Jiang were always inferior." (Yu Hua)
Although Shen Yue and others put forward the theory of four tones and eight diseases in Song Dynasty, until Liang Chenshi, there was no concept of modern poetry, and the use of phonology in poetry became an inevitable trend, but the specific meter was still brewing. The standardization of modern poetry is by no means natural, but the product of man-made regulations. There were many possibilities. Yin Keng could not have predicted the requirements of modern poetry, and his works were so close to the laws of the Tang Dynasty. Hu Zai-yi in Shaoxing, Southern Song Dynasty, suspected that "the meter was written between Sui and Tang Dynasties" ("Taixi Echoes") can only show that the emergence of modern poetry and its relationship are not generally intimate. Yin Keng not only had an influence on modern poetry, but also was an early model of modern poetry rules. The History of China Literature, edited by Mr. Yuan, said that "many of his works can be regarded as the source of the five laws of the Tang Dynasty", and Wang Fuzhi also said that "there are five quatrains and two couplets, and they are also the descendants of Yin Keng and He Xun's ancient poems." ("Jiang Zhai Shi Hua") and Shen Deqian also said that "Yin Hang, He Xun, Yu Xin, Xu Ling, five-word method, each with its own style" ("Speaking Poetry and Spitting Words"). He Xun's rhymes are full, and Yin Keng uses flat tones, which is obviously more related to rhythmic poetry. Without Yin Keng's creation, modern poetry may be another style.
Bao Zhao, Xiao Xie and Tao Yuanming can get rid of the disadvantages of the times and have their own unique charm and temperament. Dayu has the pioneering power of landscape poetry, breaking empty metaphysical words with concreteness, living in aristocratic display, and everyone is vying to praise everything; Rain meets the south wind and the north air, gathering talents from all over the world in one person. There are no pits in the three, that is, they are born in poverty and their experiences are not complicated. His poetry creation mainly lies in gradual learning, and he has not seen the influence of life experience on his creative style. Because of their family background, they still have a great sense of identity with gentry politics, hoping to revive the glory of their ancestors, strive for elegance and beauty in melody and rhetoric, bring their artistic creativity to the extreme on the premise of conforming to the aesthetic taste of the times, and begin to pursue the freshness of their images.
Yin Keng proved that eternal style does not necessarily lead to "prosperity and despair". In the Qing Dynasty, Chen Zuoming made a detailed summary here: "Yin Zijian's poems are bright in tone and have no habit of being neat and obscure in the beam, but when he writes sentences, he draws his thoughts, works are extremely new, and ordinary scenery will sway, so that he is extremely poor and unwilling to confess." This kind of emotion can be conveyed with a bright pen, which can wash away the ugliness of Yutai and open the wind of Shen Song. And I think it is more beautiful than Yutai, and more charming than Shen and Song. The Six Dynasties did not fail in the late Tang Dynasty, all because of the orders of this elegant gentleman. Taibai heads up to drill, Shaoling pushes Xu, and the opening of hazel road is not small ... Besides, the Six Dynasties are the turn of ancient and modern times.
The style is consistent, the spirit is cool, and it makes sense. If you don't devote yourself to this, you can't make laws from ancient poems.
Because the burial rate is close, there is a lack of warm sound. Therefore, the poems of Liang and Chen must be read. Reading Liang and Chen's poems,
Especially when you know its authenticity, then the child will call it first. What's more, regardless of the pre-ancient law or the post-law, the reason for its birth is the same.
There are also wonderful places, and the black face is unknown! Today, elegance is as strong as a child, highlighting its strength as a child, and poetry can stop. "
(Selected Ancient Poems of Caijitang) This evaluation is high, far ahead of others.
Generally speaking, Yin Keng has made great achievements and far-reaching influence in the nuances of diction and sentence making. His position as a representative of poets in the Northern and Southern Dynasties is unshakable. However, the importance of Yin Keng's position in the history of literature is more based on his special position in a special period-less influenced by the palace style and adhering to the tradition of Yongming's landscape poems, rather than the overall achievements of poetry.