At first, the word "image" was an important concept in China's ancient literature. In the Southern Dynasties, Liu Xie put forward in Wen Xin Diao Shen Long Si: "Dissolve the mystery, find the rhyme and set the ink;" A craftsman who shines alone can get a glimpse of the image and get lucky. This is Gavin's first skill and the end of the article. " He regards the construction and expression of images as one of the standards of literature and poetry.
"Artistic conception" refers to an artistic realm produced by the integration of the life picture described by the poet through the combination of images and the aesthetic emotion of the poet. It is the overall image of the blending of scene and reality, which can open up a rich aesthetic imagination space.
It can be said that whether the artistic conception is profound or not is closely related to the image of poetry. Only by understanding the meaning of images can we grasp the content of poetry, understand the theme of poetry, enter the artistic conception of poetry and perceive the poet's emotions.
China's classical poetry writers often give objective scenery subjective feelings to establish images and realize lyrical and lyrical functions, which forms the remarkable characteristics of China's classical poetry, which also highlights the characteristics of China's classical poetry writers' creative mode. Therefore, the symbols bearing the meaning of poetry have also entered the art field of rhetorical aesthetics.
Poets always use colorful images to pin their grief for the Spring and Autumn Period and their sorrow for parting. The carefully selected images constitute the artistic conception of the poem, showing a subtle and meaningful charm, which constitutes the unique landscape of China's traditional poetry. It can be said that image is the soul of poetry.
Creating the poet's spiritual space with images is the law that all art forms must follow, and it is also the pursuit of poet's creation. Poets convey their emotions through the image world, allowing readers to perceive and ponder in imagination. They either chant things, or write scenes, or describe characters, or describe life scenes, and so on.
Poets have feelings for everything in the world. They express their inner feelings by cutting images and choosing images, revealing the artistic characteristics of poetry creating the image world. For example, Li Bai's "I don't know what autumn frost is in the mirror", and an "autumn frost" contains the poet's endless sadness. Chen Ziang's Youzhou Tower also expresses the loneliness and sadness of the lyric hero through time and space.
The beautiful artistic conception of classical poetry is inseparable from vivid, true and vivid images. The creation of images combines the author's emotions. When we appreciate, we should grasp the images through the processing and combination of these images, so as to evaluate the content and emotion of poetry.
There are three main types of poetic images: images of people, images of scenery and images of things. These three types of images all aim at creating artistic conception by images, and reflect the poet's feelings and poetic connotation through the blending of scenery.
The so-called portrait is the character in poetry. There are many kinds of characters in classical poetry, such as those who don't admire Li Rong and are uninhibited, those who care about mountains and rivers and retire, those who care about the world, country and people's feelings, those who miss their hometown after seeing friends off, those who are talented and ambitious, those who are determined to serve their country, those who have clear love and hate, and those who are generous and cynical.
For example, the last four sentences in the Tang Dynasty poet Du Fu's Ascending the Mountain: "I came from three thousand miles away. With the sadness of autumn, with my sorrow of a hundred years, I climbed this height alone. Bad luck has a bitter frost on my temples, and heartache and fatigue are a thick layer of dust in my wine. " The last four sentences are the second image group, expressing the poet's feelings of climbing mountains. The wandering in autumn, the lonely poet leaping high, the gray sideburns and the wine glass just stopped show the poet's wandering situation for many years, and his ruthless loneliness and pain can be imagined.
Du Fu has been far away from his hometown for a long time, lonely, frail and friendless in his later years, and he can't help but feel sad when he climbs high in the bleak autumn. The poet lost all his hair and beard when he thought that the country was in danger and his career was bumpy. However, because of the initial illness, although there are all kinds of melancholy, I can't get rid of it, and the mood of worrying about the country and hurting the country is vivid.
Another example is the famous sentence "... Tang Dynasty poet Wang Wan's" Park on the North Fort Mountain ",in which" the sun rises in the sea at night, and the spring melts in the old year ". The poet painted such a picture for us: the night is coming to an end, the dawn is slightly exposed, and a red sun rises from the sea of Ran Ran; The beautiful and moving picture of late spring and quietly coming winter is the blend of scenery and emotion in poetic images. The universal philosophy of life in poetry gives people an optimistic and positive force. It can be said that there is love in the scene and reason in the scene. This is the lyrical function of scenery images in poetry.
The so-called scene is the scene image in poetry. Wang Guowei said in "Words on Earth" that "all scenery words are sentimental words", so it can be said that the scenery in the poem is sentimental. In this respect, Qin Guan's Walking on the Sand is a good example. In the first part of this poem, the poet wrote: "The fog is lost, and the moon is lost." Taoyuan is nowhere to be found. It's like a lonely museum closing in spring, and the cuckoo's voice falls in the sun. "
The first three sentences of Qin Guan's Walking on the Sand are fictional scenes, and the writers here use the writing technique of creating scenery with emotion-the scenery is designed for emotion, just as Wang Guowei said in "Words on Earth" that "all scenery words are love words". Because the poet tried to rise and fall, he was banished to Chenzhou and lived alone in Chenzhou Guest House, facing the lonely pavilion, so he could not see the image of "Jindu".
From the time point of view, the opening sentence of Walking on the Sand was written on a foggy moonlit night, and the time described in these two sentences was "sunset"; Literally, how did time return to that weak moment? Obviously, these two sentences are the true writing of Qin Guan's works. It turns out that the poet can't bear to be lonely.
The poet's mood at the moment is disappointed and sad, so the words "spring is closed and lonely, the sunset cuckoo sounds" are particularly sad and sad to read, and they are also particularly sad and touching to read. The word "Kokan lonely pavilion" and "cold" describe the loneliness and desolation in the poet's heart. It is appropriate to use this sentence of Wang Guowei to evaluate Qin Guan's writing technique here.
The blending of scenery and emotion is nothing more than a scene of homesickness and parting. Li Bai wrote in "Smelling the flute in Los Angeles on a Spring Night": "Who can hear the willows in this nocturne and can't help but miss his hometown?" The folding willow here can be understood as hearing a folding willow song, and it can also be understood as hearing the idea of folding willow in music. "Liu" is a homonym for "Liu". When the ancients bid farewell to relatives and friends, they folded willows and gave gifts to each other, suggesting nostalgia and nostalgia. Folding willows is not only a custom, but also represents a scene and an emotion. The ancients also had the habit of folding willows and sending them far away, which meant looking forward to the early return of relatives who had traveled far away.
Liu Yong wrote in Lin Yuling: "Where did you wake up tonight? In Yang Liuan, the poet closely linked the image of willow with parting. The most touching images, such as willow, breeze and waning moon, are condensed together and can move people's hearts more.
Images in poetry are rich in connotation, reflecting the reality, emotion and pursuit of people's lives. Only by walking into the image of poetry can we better understand the influence of humanistic spirit in classical poetry.
The so-called object image is a symbolic description of the scenery personified by the poet to express his inner feelings or emotions, and expresses the poet's character, integrity and thoughts and feelings in a tortuous way.
In Ma Zhiyuan's Qiu Si, the choice of "dead vine" as the opening image not only plays a leading role in the later related images such as "old tree" and "dark crow", but also lays a desolate tone for the whole series of images, directly endowing the whole article with a long and sad artistic conception, forming an image combination with a series of subsequent images, and conveying the author's sadness of missing his hometown and suffering from wandering.
There is Lu You's "Bu Operator Yongmei Flower" in the Southern Song Dynasty: "Everyone is jealous if he has no intention of fighting for spring. Scattered into mud and crushed into dust, only the fragrance remains. " Lu You takes beauty by appearance, and focuses on depicting Mei's character: opening up in the severe winter instead of competing with flowers for spring shows that she is broad-minded and free-spirited, and Mei sticks to her own sentiment, which is also a portrayal of the poet's own character.
In China's classical poems, the construction of images is often based on the wonderful combination of emotion and scenery, which gives the possibility of establishing images in artistic conception. As Wang Guowei said in The Thorn on Earth, "In the past, there was a difference between scenery and emotion in poetry. I don't know all the scenery but all the feelings. " In the images of China's classical poems, the blending of scenes is often manifested as a series of image combinations of blending scenes.
Scenery blending is the common pursuit of poets in creating artistic conception and images, but the characteristics of artistic conception are not limited to scene blending, it breaks through and transcends concrete images, from finite to infinite, from concrete to ethereal. It stimulates readers' imagination and association, enters the infinite rich and broad artistic space created by the poet, and thinks and understands the poet's thinking and understanding of social history and even universal life in his poems.
For example, Wang Wei's Bird Watching Creek is another good example: "When people are idle, osmanthus flowers fall, and the night is quiet and the mountains are empty. When the moon rises, the birds are surprised, and when the stream is deep. " The poet chose several scenes of the silent forest: "Falling flowers, empty mountains, moonlight rising, birds singing and deep streams all contain the poet's unique feelings and constitute the image of the poem."
"Quiet" and "leisure" in the poem refer to leisure and comfort, and to aversion and avoidance of worldly troubles such as officialdom, fame and wealth, personnel disputes, etc. It is the poet who has this quiet and comfortable state of mind, writes silently with his voice, artistically processes these images and creates a unique quiet and profound artistic realm.
China's ancient poetry, no matter how lyrical, no matter whether its lyrical protagonist appears directly or not, can present a beautiful picture scroll in front of us, creating a unique artistic conception, which is both beautiful and touching, fresh and meaningful, sad and melancholy, or hazy.
Immersed in the poetic imagery with a blend of scenes and lingering in the realm created by the poetic imagery, readers can listen to the poet's truest stories about nature, society and life, satisfy the poet's richest, truest and most delicate emotions, and enjoy the aesthetic taste with the most humanistic care and humanistic spirit, so as to enjoy and edify beauty and appreciate the life concept and aesthetic realm of China's classical poetry.