First, the combination of static and dynamic:
1, Introduction:
In ancient Chinese poetry, in order to create Taoist ethereal artistic conception, poets pay special attention to dynamic description, and the combination of dynamic and static is a common way to write scenery. In the use of this technique, it is unique, with "every word is the best" and "the realm is the best". As a combination of static and dynamic scenery, it is often a kind of artistic conception to describe the dynamic and static, and it is often static, with the dynamic lining static (the "dynamic" here includes dynamic and sound, such as "the laundry girl returns to the bamboo to sing, and the lotus leaves are harvested before the fishing boat", "noisy" is the sound, and "dynamic" is the dynamic), forming a harmonious unity of artistic conception and image. Therefore, the combination of dynamic and static scenery writing techniques can not be completely separated from the foil
Writing articles about scenery, writing dynamic or static in isolation is often not impressive. If we can combine dynamic description with static description, we can create vivid literary scenes by writing static and reacting static to dynamic.
2. Typical examples
There is such an example in Wang Wei's famous Autumn Night in a Mountain: "There is moonlight in the pine forest and crystal stone in the stream." The spotless pine trees on the mountain, the bright moonlight and the mottled shadows left by the moonlight through the gaps in the leaves all give people a quiet feeling-this is to highlight the tranquility in the mountain through static description. The second sentence is about the mountain spring. After the rain, the spring water is full, the flow potential increases, and it gurgles over the stone-this is a dynamic description, which reflects the tranquility in the mountain with movement.
Birds Singing in the Stream-Wang Wei "When people are idle, osmanthus flowers fall, and the night is quiet and the mountains are empty." When the moon rises, birds will be frightened. When the moon rises, it will make a sound in the spring stream. "This poem is mainly about a quiet night in spring. Flowers fall, the moon rises and birds sing, all moving. The author uses the dynamic method to contrast the quietness and receives the artistic effect of "Tonamiyama is more secluded".
3. Classification of manipulations
① Turning motion into stillness and writing motion with stillness means writing moving things into static things, imagining and describing the shapes and expressions of static and dynamic things. For example, Li Bai's "Looking at Lushan Waterfall" and "Looking at the Waterfall Hanging in a Thousand Rivers" is the first image of looking at the Waterfall from a distance. The running water is regarded as a static cloth, and the waterfall hangs on the mountain like a huge white practice, and the word "hanging" is vivid and vivid.
(2) Turning static into dynamic and writing static with dynamic means writing static things into moving things, imagining and describing the shapes and expressions of static things when they are moving. For example, the word "send" in Wang Anshi's "Mr. Yin's Book on the Wall of the Lake" made Jingshan angry.
(3) The combination of static and dynamic is to describe static and dynamic things at the same time, so that static and dynamic scenes complement each other, complement each other and are interesting to each other. For example, Du Fu's "The city is full of meaning", "The heron on the sand head is silent, and the fish at the stern is whistling", which is a clever combination of visual silence and auditory movement.
④ It is a contrast technique to contrast the static by describing and rendering the dynamic and highlighting the static. For example, the scenery painted in Jia Dao's poem Li Ning's Seclusion is very quiet, and the famous sentences "Monks knocking at the moon door" and "knocking" are full of movement, movement, movement as the background and sound as the background. On a quiet moonlit night, a "thump" came, which made the environment quieter and portrayed poetry more accurately. In Wang Ji's "Into the Xi", "The cicada forest wants to be quiet, and Tonamiyama is quieter", which is a model of calm by sound.
⑤ It is a contrast technique to contrast the dynamic by describing and rendering the static. As Tang's poem "Qin Ge" says: "Once it is played, there is no other sound: there are spells on the banquet, and the stars are getting thinner." This is how you feel about the beauty of music when you write and listen to the piano. It is written from the perspective of hearing, moving with silence. The next sentence says that when listening to the piano, the stars are quietly hidden, indicating that the listener has long been intoxicated with the music of Miri, Malaysia, and the feeling of time has been forgotten without a trace.
⑥ Moving by moving means moving things by moving things (including moving things when they are stationary). For example, Su Shi's "Wangjiang Up the Mountain": "The boat looks like a horse, and a hundred regiments pass by. The front mountain is suddenly different, and the back ridge is like running. Looking up, the path is oblique and there are pedestrians on the street. " Speak with your hands up in the boat and sail south alone like a bird. "Arguably, people stand in the boat, the boat is moving, the mountain is static, but the author turned it upside down, gave the mountain movement, let the mountain fly in front of him and watched the mountain rush behind him. The whole poem presents a brisk and magnificent rhythm.
⑦ Dynamic and static contrast is to describe both moving things and static things, so that one sets off the other.
Second, virtuality and reality are innate:
1, Introduction:
This is the structural feature of artistic conception. Virtual realm refers to the aesthetic imagination space induced and developed by the real realm, which is realized through the real realm. The real realm should be processed under the control of the virtual realm, and the virtual and the real become a unique structural way of artistic conception. Learners should pay attention to the different connotations of "virtual" and "real" and their dialectical relationship, and understand them in connection with specific works.
2. Explain in detail:
In the traditional techniques of Chinese painting, emptiness refers to the part with sparse strokes or blank parts in the picture. It gives people room for imagination and endless aftertaste. Poetry and painting are the same, and poetry draws on this method of Chinese painting. The emptiness of poetry means that you can't touch it intuitively, but you can appreciate the ethereal images and ethereal realms between the lines.
"In Chinese painting, it actually refers to the meticulous and rich brushwork in the picture. In poetry, "truth" refers to the real images, facts and reality existing in the objective world. For example, the dark reality of Tianmu Mountain ascended to heaven in a dream; In Niannujiao Red Cliff Nostalgia, there is still a lack of description of the precipitousness of Red Cliff. In Yulin Ridge, Shangque wrote two scenes of parting, such as "Cold begets sorrow, and it's late for the pavilion" and "Holding hands and looking at each other with tears", which were speechless. "and so on.
Virtual and real are complementary, since they can coexist, it shows that virtual is also a kind of existence, and virtual is by no means nothing. This existence is born of reality and created by the imagination of the brain on the basis of reality. Virtual and real are a pair of relative concepts. "The combination of the virtual and the real" refers to the mutual connection, mutual penetration and mutual transformation between the virtual and the real, so as to reach the realm of the coexistence of the virtual and the real, thus greatly enriching the images in the poem, opening up the artistic conception in the poem, providing readers with a broad aesthetic space and enriching people's aesthetic taste.