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Ask for an article commenting on Wang Wei ~ ~1000 words or more! ! thank you !
Abstract: Wang Wei was a famous poet in Tang Dynasty. After many dynasties, his works are still praised. In the classic Dream of Red Mansions, Wang Wei is mentioned many times, and the "poetry" in Dream of Red Mansions also contains the infiltration of Wang Wei's poetic skills. Through the interpretation of Xiangling's poem in A Dream of Red Mansions, this paper talks about Wang Wei's views on his pastoral poems and appreciates its artistic charm.
Keywords: A Dream of Red Mansions, Wang Wei's poetic art, and the art of blank space in pastoral poetry
I began to learn Wang Wei's poems when I was in primary school, but I didn't understand the profound meaning. People say good is good. And really began to learn to read, but it started from A Dream of Red Mansions. In the forty-eighth chapter of A Dream of Red Mansions, Xiangling and Daiyu described the poem like this: Xiangling laughed: "I only love Lu Fangweng's poem' The curtain is heavy and fragrant, but the ancient inkstone is slightly concave and gathers more ink', which is really interesting!" However, Daiyu's evaluation of these two poems is "shallow", and she advised Xiangling to start from rubbings.
Dai Yu is a recognized poet among women in the Red Chamber, and her talent and poetic attainments are undeniable. This passage by Dai Yu also shows the high evaluation of Wang Wei. In her view, Wang Wei's position has surpassed that of Lu You. To learn poetry, we must first understand Wang Wei's five words, which put Wang Wei and Du Li on the same level-with these three people as the foundation, there will be no trouble in poetry.
Then, after reading Wang Wei's poems carefully, the poet Xiang Ling has really made great progress, especially his wonderful appreciation of Wang Wei's poem Frontier fortress, which has always been praised. And her thoughts on Wang Wei's poems are well-founded and impressive.
While appreciating Wang Wei's poems, Xiangling said with a smile: "I saw his poem" Bunker ",which said:' The desert is lonely and the long river sets the yen. "How straight do you want to smoke? The sun is born round: the word "straight" seems unreasonable, and the word "round" seems too vulgar. When I closed the book and remembered, I seemed to have seen this scene. You said you could find two more words, but you still can't find two words. Then there is' the rivers and lakes are white at sunset and sky blue at high tide': the words' white' and' green' also seem unreasonable. Let me see, these two words can only be used to describe it. It sounds like an olive weighing thousands of pounds in my mouth. "Sunset lingers at the ferry, and midnight snack smoke wafts from the room": the words "Yu" and "Shang" are hard for him to think of! When we came to Beijing that year, we took a boat in the bay that night. There is no one on the shore, only a few trees, and several families are cooking dinner in the distance. The smoke turned out to be blue, and the clouds were straight up. Who knows, I read these two sentences last night, and it seems that I went to that place again. "
These words of appreciation turned Wang Wei's poetic language into a visual picture. Looking at Wang Wei's poems, is it just a landscape painting with faint ink stains on rice paper? The blank in this painting is even more intriguing.
Wang Wei is clever and wise. How many people are pondering the tempering of poetry and songs, but he loves the realm of poetry. However, unfamiliar words and sentences are always poor and even go to the abyss of flexion, while simple sentences have their own natural and lasting affinity, so they have a wide range of perceptual groups. "The desert is lonely and straight, and the long river falls in yen." A straight circle, which is unreasonable, happens to be a painting. Layers of vast yellow sand are stacked on top of each other, connected with the blue smoke in the sky, and the long river is wrapped around the sunset, which is full of light and harmonious colors. A few words paint a vast picture of the desert, which is bound to be a large blank, with layers of scenery piled up, giving people a broad imagination space.
Similarly, in Zhong Nanshan, the phrase "When I look back, the clouds are behind me, and when I enter, the fog disappears" seems to have the same effect. A "combination" and a "nothing" may seem a little rough and not refined at first glance, but they are chewy when carefully tasted. Looking back, I don't know when the white clouds have quietly accumulated and the green ones have gradually disappeared. What Wang Wei presents us is a static picture, and there is a sense of disillusionment in the vicissitudes of life. From separation to integration, from existence to nothingness, a gap between the two is filled by ourselves. Just like animation and comics, I personally think comics have a better artistic conception. Imagine that if Jimmy's subway is remake into a coherent animation, it will inevitably lose a lot of flavor. Our brains need some time-outs. In the gap between pictures, we can have more room to think and feel, instead of simply passively accepting the artistic conception he wants to tell.
In "I miss my Shandong brothers on vacation in the mountains", he wrote: "Being in a foreign land, I miss my relatives twice every festive season. I know from a distance where my brother climbed, and there is one person missing from the dogwood. " On September 9th, China has always been the day to climb the Double Ninth Festival. On such a festival, the poet is alone in a foreign land. Hongyan has no books, no sound for thousands of miles, and no news from home. I can only imagine that my brothers are looking at the distance at the moment, and when they fill up the cornucopia, maybe someone will find that I, who should have existed as my eldest brother, am in a different place at the moment. This is Wang Wei's style, that is, stopping at one point-another blank space. This is a conversation between an honest man and you. He simply told you that I was in a foreign land, now it was a holiday and I was homesick, and then described the presumed hometown scene for people to imagine. Write here, as if separated by two mountains, the poet is here and his relatives are there. They all received the signal of missing each other, but they were far away in time and space. This friendship touched many people's hearts at the same time. There is no hysteria, no sadness, but people feel his grief from the heart, which is more touching than the complete emotional venting.
Wang Wei's poem is a Zen painting. Only those who devote themselves to Buddhism feel like a still lake can be so detached, and there is a free and easy way to see through the world between the lines. I love him most. "When people are idle, osmanthus flowers fall, and the night is quiet and the mountains are empty." When he was idle, the words reached his hands, changing the enchanting beauty and turning to the realm of tranquil nature. Qing Yuan Xing Si, a Zen master in the Song Dynasty, once proposed that there are three realms of participating in Zen: at the beginning of participating in Zen, mountains are mountains and water is water; In meditation, seeing mountains is not mountains and water is not water; In meditation, you realize that mountains are still mountains, and water is still water. There is nothing special about the word "people are idle and sweet-scented osmanthus falls", but leisure and autumn set each other off. At this time, when you see mountains or mountains, you have already entered the third world.
Reading Wang Wei's poems has such a sense of pleasure. He didn't pour out his feelings to you blindly, but we can receive these feelings in his natural and simple words, thus generating the pleasure of reading. There is a view in literary theory that literary text is an uncertain "calling structure", which contains some "blanks" that only readers can fill. Gadamer, a German hermeneutic theorist, also pointed out that art exists in the "dialogue" between readers and texts. Obviously, Wang Wei knows this well. Instead of pouring full emotions into words, he invisibly constructs a dialogue artistic conception and discusses his own poetic art with readers. His poetry is called "painting in poetry", and this painting is a masterpiece that is good at leaving blank space, so his position in the history of ancient poetry in China is beyond doubt. No wonder Mr Wen Yiduo said that Wang Wei "established an authentic China poetry tradition for China's poetry". And Wang Wei's endless pastoral poems really deserve our reverence and admiration.
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