On the river, there are thousands of sad mountains, floating in the sky like clouds and smoke.
The mountains are far away and the clouds are far away, but the smoke and clouds are scattered in the sky and the mountains are still there.
But I saw two cliffs, green and dark valleys, with hundreds of springs flying in them.
The rocks in the lingering forest are hidden again, and I go down to the mouth of the valley to rush to the river.
Chuanping Mountain is cut off by forests at its foothills, and a small bridge and wild shop is nestled in front of the mountain.
Pedestrians walked a little outside the tree, and there was a fishing boat swallowing the sky in the river.
Where did you get this book from? It is embellished with every detail of its beauty.
I don’t know where in the world such a situation exists, so I just want to buy two hectares of land.
Don’t you see, Fankou, Wuchang is a secluded place. Mr. Dongpo stayed there for five years!
The spring breeze shakes the river and the sky is deserted, and the dusk clouds roll in the rain and the mountains are beautiful.
Red maples and crows accompany the water, and long pines and falling snow startle the day sleepers.
If peach blossoms and flowing water exist in the human world, why are all the gods in Wuling?
The mountains and rivers have emptied my dust, even though there is a way to go, there is no destiny.
This painting of "Returning to the Lord" contains three sighs. An old friend in the mountains should invite me to return.
---Su Shi
The title of this poem is self-note: "Painted by Wang Jinqing." Wang Shen (1037-1093), courtesy name Jinqing, was born in Taiyuan, lived in Kaifeng, Northern Song Dynasty After the founding hero Wang Quanbin (see "History of the Song Dynasty·Biography of Wang Quanbin·Appendix"). His wife, the daughter of Yingzong, is the eldest princess of Shu and an official prince consort. Although he was a relative of the noble family, he loved literature and art far away from the world, and became friends with poets and painters such as Su Shi, Huang Tingjian, and Mi Fu. The Baohuatang was built in the east of the private house and had a rich collection. Su Shi wrote it as a recorder. He is good at poetry and calligraphy, and is especially famous for his landscape paintings. He is good at describing the clouds and mountains on the river, the deep valleys and cold forests, and the distant scenery. He uses Li Cheng's chaffing method and also has golden and green colors. He is also good at calligraphy and bamboo, and is also good at studying literature. According to Su Shicha's annotation: This poem is also circulated in Su Shi's ink, followed by the thirteen words "Looking at the book on December 15th, the third year of Yuanyou".
Volume 12 of Fang Dongshu's "Zhao Mei Zhan Yan" says: "The first paragraph is written as a narrative, and the writing is wonderful and the writing style is high, energetic, and the spirit is king (prosperous)." The so-called "writing as narrative" means that this paragraph is essentially a narration of the content of "The Picture of Mountains on the Smoke River", but there is no abstract narrative, but an image description. In fact, if you don't read the title of the poem or the next paragraph of the poem, you won't think that it is an introduction to "The Mountains of the Smoke River", but only that it is a description of natural scenery.
The first four sentences focus on the high and distant places and describe the general appearance of the mountains of the Yanjiang River. "Jiang Shang", click on the location of "Qian Die Mountain". "Sorrowful heart" blends emotions into the scenery. "Floating and accumulating green" is the inversion of "accumulating green and floating", and its subject is "Qian Die Mountain". "Ji Cui" refers to the rich green color. "Qiandie Mountain" has accumulated infinite green color, floating in the distant sky, like smoke or clouds. After the smoke dissipated, the mountain shape remained. A few lines of poems transform a quiet scene into a dynamic scene, describing the thousands of distant peaks and floating green colors as if they are present now.
The next four sentences, from far to near, from high to low, first appear two blue cliffs, and then hundreds of springs fly out from the valley of the two cliffs; these hundreds of flying springs linger in the forest and rocks, and sometimes disappear. At this time, we finally "went down to the mouth of the valley" and merged into a huge river, rushing forward. Here, the poet uses flying springs to unify the scenery, thus using the artistic technique of using light to see darkness and concealment to see light. Between the two cliffs, there are countless deep valleys, but they cannot be seen because of the "darkness" and cannot be written about. It is only written that hundreds of springs are flying in, and it is not difficult to imagine where the hundreds of springs come from. This is how to see darkness with light. The sparse trees and strange rocks can be seen and written about; but if you want to copy them one by one, you will have to waste more pen and ink and distract the focus. So I only wrote about the "hidden" of Baiquan, and it is not difficult to imagine the reason why it is "hidden": This is to see from the hidden Show.
In the last four sentences, the poet directs the reader's attention from the confluence of hundreds of springs to the close-up view. "Sichuan is flat, the mountain is open, and the forest is broken", showing three scenes; at "the forest is broken", "small bridges", "wild stores", "arbors" and "pedestrians" are clearly visible. And "One Leaf of the Fishing Boat" pushes the sight to the open Yanjiang River. The three words "Tianjiang Tian" cover the panoramic view of "Yanjiang Mountains", which is truly thousands of miles in size.
The following four sentences of "Shijun" form a paragraph of their own. Ji Yun commented: "The wonderful rhythm is purely transformed into a state of mind." Fang Dongshu said: "Four sentences are right." The sentence "Where did you get this book?" returns to the main topic, not only changing the real scene into a painted scene, but also It is pointed out that this painting belongs to Wang Dingguo's collection; and the ingenuity of this painting is self-evident, which provides a strong basis for the praise of "embellishment with no trace of beauty". The sentence "I don't know where in the world there is such a scene" reminds me of the real scene from the painting scene. I hope to find such a beautiful country in the "human world", buy a field and retire, thus changing the layout of the whole article from description of scenery to lyricism and discussion.
"Don't you see me" The following is the last paragraph. It starts with "Don't you see me", leading the readers to the world in the poet's memories. This memory is not so pleasant for the poet. In March of the second year of Yuanfeng (1079), Su Shi dismissed Xuzhou as the governor and changed it to Huzhou. In April, he took office in Huzhou. He Zhengchen quoted words from "Huzhou Xie Biao" and accused Su Shi of "arrogant arrogance"; Shu Yu, Li Ding and others also made numerous accusations against his poetry and prose. On July 28, Su Shi was arrested in Huzhou and thrown into Yushitai Prison. This was the "Wutai Poetry Case" (Yushitai is also called "Wutai"). The case was concluded in December, and he was demoted to deputy envoy of Tuanlian in Huangzhou. He was resettled in the state and was not allowed to sign official documents. Su Shi arrived at the demoted office from February of the third year of Yuanfeng to April of the seventh year of Yuanfeng and was appointed deputy envoy of Ruzhou Tuanlian. *** spent more than four bitter years in Huangzhou.
Now, he was touched by watching "The Picture of Mountains on the Smoke River", which evoked memories of the past. The "secluded place in Fankou, Wuchang" mentioned by "I don't see you" points to the depth of the place where he was relegated; "Mr. Dongpo stayed for five years" refers to the long period of relegation. In the following four sentences, Wu Beijiang believes that it is not entirely wrong to write "scenes of the four seasons" separately, because they do describe scenery; but to be more precise, they are not simply describing scenery, but using scenery to narrate and express emotions based on the scenery. These four sentences follow the previous two sentences, summarizing the poet's experience and feelings in that "secluded place" and "staying for five years": In spring, I leisurely watch "the spring breeze shakes the river and the sky is deserted"; in summer, I look at the "twilight clouds" alone "Juan Yushan is in full bloom"; in the lonely autumn night, "red maples and crows accompany the water"; in winter, "the long pines and falling snow startle me into a drunken sleep". One year, two years, three years, four years... every year! The relegated career and the relegated mood are all vividly expressed through the depiction of the four seasons.
The two sentences "Peach Blossoms and Flowing Waters" use the allusion of "Peach Blossom Spring" to renovate their meaning. The "Peach Blossom Spring" written by Tao Yuanming is the ideal society pursued by people who suffered from tyranny, in which "silkworms harvest filaments in spring, and the king's tax is paid when ripe in autumn". Later generations also called it a fairyland. Su Shi said: The Peach Blossom Spring is "in the world", and the people there are not necessarily "immortals". These two sentences are the answer to the previous "I don't know where in the world such a state exists." There is a twist in the sentence "The country is empty of my dust". "The country is empty" closely follows "Peach Blossoms and Flowing Waters in the World"; "I am dust" is connected to the following six lines of "You don't see me", which refers to Huangzhou's "five years" of relegation life and includes the current situation. It was only because of "I am dust" that I thought of buying a field and retiring. The painting in the first paragraph, "I wonder where in the world this kind of scenery exists" in the second paragraph, "Peach blossoms and flowing water in the world" in the third paragraph, and "the country is empty" all refer to a place where you can retreat. The following sentences "Although there is a way out" are an extension of this line. The "Xun" of "Xun Wu Destiny" is exactly where "Xun" retreats. Because I wanted to "find" but "had no luck", I "returned this painting to you with three sighs". Although there is "no fate", he still wants to "find" it, so he ends the poem with "An old friend in the mountains should invite me to come back."
This poem is titled "The Picture of Mountains on the Yanjiang River Collected by Wang Dingguo". Of course, it was first shown to Wang Dingguo, who collected the painting, and Wang Jinqing, who painted it. The "jun" in the poem also first refers to Wang Dingguo and Wang Jinqing. Wang Dingguo's name was Gong. Because he was implicated in Su Shi's "Wutai Poetry Case", he was demoted at the same time as Su Shi. Wang Jinqing was also involved in the "Wutai Poetry Case" because some of Su Shi's poems that "satirized the imperial court and slandered China and foreign countries" were "engraved and printed" by Wang Jinqing. As a result, he was demoted to Junzhou. After returning to the court, the three of them got together and "while sighing, they wrote poems to express their sympathy and express their sadness" (Preface to the poem "He Wang Jinqing" by Su Shi). This poem is a work of "sorrow for things".