Struggle Xiao

Wang Wei was born in a bureaucratic landlord family and became famous in his teens. Taking the early years of Tianbao as the boundary, Wang Wei's thought and creation can be divided into two periods. In the early stage, I was a man who was keen on politics and worked hard, and had a relatively progressive political tendency; The main life in the later period was to be proud of the mountains and to fast and worship Buddha. After Tianbao and before the Anshi Rebellion, his passion for life did not completely disappear. He still has a keen interest in nature and can write many beautiful poems. Five years after the An Shi Rebellion, he was disheartened and could no longer write any good poems. Wang Wei lacked the rebellious spirit of Li Bai, Du Fu's caring personality and Tao Yuanming's lofty ideal of life, and finally chose the road of seclusion in order to harm himself. He lives an idyllic life, with a salary and a leisurely and enjoyable life.

His poetry is also divided into two periods with the change of thought. In the early stage, I wrote more political poems and frontier poems, and in the later stage, I wrote more pastoral poems. Generally speaking, people always regard Wang Wei as an idyllic poet. In fact, judging from the above works, Wang Wei's achievements are by no means limited to his pastoral poems. There are more than 30 frontier poems, while Wang Changling, known as the frontier poet, has only more than 20 frontier poems. It should be said that Wang Wei is a typical comprehensive poem in the prosperous Tang Dynasty.

The ideological content of Wang Wei's poems mainly includes three aspects:

The first category, poems of political feelings. Wang Wei wrote some political poems in his early years, criticizing the powerful and dissatisfied with reality, and exposing the increasingly corrupt politics under the cloak of prosperity, which has certain social and political significance. Such as "Fable", satirizing the aristocratic children of the nobility is just a noble birth, and there is no merit. And criticized their decadent and enjoyable life of "fighting cocks and shooting pheasants into the forest garden". The fifth part of "Accidental Works" compares the extravagant life of "cockfighting", "Gold buys songs and laughs, money is not plural" with the situation of Confucian scholars "studying for 30 years, no feet below the waist", showing the feeling of lack of talents, which is similar to Li Bai's poems. Li Bai revealed in the poem "Ancient Style" that "fighting cocks" and "snorting rainbows make pedestrians afraid". In Answering the King for Drinking Alone on Twelve Cold Nights, he criticized those who made trouble for a while. "You can't sit still like chickens and let them snore and blow the rainbow." Moreover, it is also compared with his own "self-made Confucianism", but Wang Wei lacks Li Bai's rebellious spirit, so the summary of poetry writing seems gentle and sincere, lacking strength.

The second category, frontier poems. This kind of poem describes the tense atmosphere and battle scenes on the battlefield, praises the heroic spirit of patriotic soldiers in killing the enemy, and depicts the scenery of the frontier fortress. Although some of them wrote about military affairs, they also summed up the general fate of intellectuals in feudal society and gave them general resentment and injustice. His "Youth Travel" wrote, "Who knows that it is still fragrant to die without suffering from the side court." Everyone knows the hardships of the frontier fortress, but even if they die, patriotism and chivalry will last forever. In the third part of "Journey to Youth", he also praised the fearless mode of young heroes that "one person can hold two carved arcs and ride a thousand pounds, just like nothing". These young heroes in Wang Wei's works are full of lofty sentiments and ambitions to die for the country, and also have martial arts to defeat the enemy. They are similar to the young heroes in Cao Zhi's work "Dying for the National Disaster and Sudden Death" ("White Horse") during the Jian 'an period. In these young heroes, the author's patriotic thoughts and heroism are entrusted, and the spiritual outlook of the prosperous Tang Dynasty is displayed.

In addition to these frontier poems with positive performance, Wang Wei also has some frontier poems with strong political nature, such as the famous "Song of the Dragon Head" and "Old General", all of which are rewards and punishments unknown in the palace and unfair to impoverished veterans. "Old General" and "Youth Travel" should be linked. Why don't today's heroic veterans have the energy of a heroic teenager who died in battle? Today, this young man with wisdom and courage knows that tomorrow he will be a veteran who will not be forgotten? In contrast, the author reveals the darkness and injustice of society. In addition, Wang Wei is good at depicting frontier fortress scenery and scenery. For example, "the desert is lonely and straight, and the long river falls in yen." It's a famous sentence that has been circulating for a long time. Wang Guowei's "Ci Hua on Earth" called it: "These realms can be strong through the ages."

Wang Wei is proficient in music and good at painting, and his poetry creation shows a comprehensive poetic talent. His various achievements in art made him a representative figure of universal significance. He became famous at the beginning of the prosperous Tang Dynasty, which reflected the prosperity and general development of the whole poetry circle. It is on the basis of this universal development that more outstanding poets such as Li Bai and Du Fu emerged. It is precisely because Wang Wei fully reflected the vibrant atmosphere of the prosperous Tang Dynasty that we say that he was a writer in the prosperous Tang Dynasty after Li and Du Fu. Commenting on Wang Youcheng's poems, Zhao Diancheng said: "Poetry is always inseparable from talent. There are talents, land talents and talents. I got Li Taibai from the genius, Du Zimei from the earth and Wang Mo from the genius. Taibai wins in charm, Zimei wins in rhythm, and Mowa wins in reason and interest. Taibai Qian Qiu is easy to tune, the size of the child is beautiful, and Daxiong's learning is fine, and every sentence is in line with the holy religion. " Although we have made comments on Wang Wei, we can still see Wang Wei's position in the poetry circle in the prosperous Tang Dynasty.

In addition to expressing politics and frontier poems, Wang Wei's poetic achievements are also the pioneers of a generation. The representative works of landscape poetry include "Mountain in Autumn" and "Bird Watching Creek". The representative work of pastoral poetry is New Sunshine Wild Hope. His landscape poems can not only reveal the quiet and comfortable beauty of nature, but also show the majestic spirit of Mount Zhongnan and overlooking the Hanshui River. Pastoral poetry reflects the leisure state of mind in the countryside. Some of his short poems in Wang Chuan Bie Ji, such as Chai Lu and Zhuliguan, all depict an ethereal realm, which is related to the author's negative Buddhist thoughts.

Wang Wei's poems are poetic and picturesque. As early as the Tianbao period of the Tang Dynasty, Yin Yao's "He Yueling Photo Collection" was known as "the pearl of spring, painted on the wall". Su Shi, a great writer in the Song Dynasty, "A Book of Clouds and Rain in Lantian": "There are pictures in poetry; Look at the picture, there are poems in the picture. " Since then, "painting in poetry" has become a comment on Wang Wei's poems.

Poetry and painting, as art forms, have different essential characteristics. Lu Ji in the Western Jin Dynasty said, "Declaring things is more than words, but not good at painting in shape" (Selected Materials of Chinese Aesthetic History, p. 307). He talked about the fundamental difference between poetry and painting, "declaring things" and "preserving shape". Although poetry and painting are different in nature, they have something in common. Szimonidesz, an ancient Greek poet, first pointed out that "painting is a silent poem and poetry is a picture with sound" (laocoon, page 2 16), and Horace, a famous ancient Greek poet, also said: "Poetry is picturesque" (poetics and poetics, page 156). The dialectical relationship between poetry and painting is both different and related, which is well handled in Wang Wei's pastoral poems. This basic feature:

First of all, it is reflected in the unity of opposites-the beauty of poetry and painting.

China's ancient paintings pay attention to the relationship between point, line and surface, reality, and composition from different angles, such as distance and height. These techniques have been successfully applied in Wang Wei's pastoral poems. "When the sun sets, the rivers and lakes are white, and the tide comes to the sky" ("Xing Guizhou"), two poems are one point: the sky; Connection: river and tide; There are faces: heaven, earth and lake. Poetry uses a variety of perspectives to integrate points, lines and surfaces. "Sunset white" is from looking up to looking down, and "the tide rises to the sky" is from head-up to looking up and looking down. In this way, the scenery is clear, both gradually approaching and pushing away layer by layer; The sun is the distant view, the rivers and lakes are the middle view, the white is the middle view, the tide is the middle view, the ground is the close view, the sky is the close view, and the middle view and the distant view are both. These horizontal lines make the whole picture look profound. There is no sunset, no linear rivers and tides, no colors of heaven and earth. Without rivers and lakes, you can't find floodlights. Similarly, without tides, heaven and earth will not be dim and blue because space is occupied by tides. The combination of opposing points, lines and surfaces is so appropriate, just like watching a huge landscape painting scroll, which makes people realize the magnificent beauty. "Sunset lingers at the ferry, and smoke rises from the house in the middle of the night" ("Wangchuan parting to Pei Di") "The desert is lonely and straight, and the long river sets the yen"

The relationship between reality and reality in Wang Wei's pastoral poems is also well handled. "This river runs through the heavens and the earth, where there are both mountains and mountains" ("Looking down at the Hanshui River"), the author does not start from the river itself, but focuses on describing the world related to the river. For the rolling river, only one word "Jiang" is used to write, and for the direction of the river, it is in vain to write with the word "flowing in the world". When writing mountains, the author uses both real and imaginary techniques. The mountain is real and vague. At first glance, as if nothing had happened, it is hazy. China's ancient paintings said: "If there are not enough mountains, there will be smoke." As a painter, Wang Wei not only deeply understood this method, but also recreated it. In the poem Overlooking the Hanshui River, Wang Wei wrote neither smoke nor fog, but the "fog of water vapor" caused by the turbulent waves of the Hanshui River. Wang Wei's description of mountains and rivers with "mist of water vapor" seems to be nothing, not to express the mountains and rivers themselves, but to express the great power of Han water potential with virtual realism. This combination of reality and reality will undoubtedly inspire readers to fully mobilize their life experience, activate their thinking and memory to imagine the momentum of the Han River, and then appreciate the magnificent scenery of the natural landscape.

Secondly, it is manifested in painting techniques-the beauty of conception and the beauty of ink dropping.

In the structure of poetry, he is good at "managing position" and combining scenes into very harmonious and vivid pictures. For example, the first eight sentences of "Weishui Farmhouse" say: "In the setting sun, cattle and sheep go back to the lane. There is also a rough old man at the door of the thatched cottage, leaning against the Hou. There are whistling pheasants? Full ears of wheat, sleeping silkworms and peeled mulberry leaves. There are many signs of rural life listed in Fu Tian Beitiao, which seems to be scattered, but the ninth sentence "I advocate leisure here" uses a little "leisure", and the scenery runs through it. This writing idea is profound. In the picture arrangement, we should pay attention to the treatment of reality, distance and size, just like an excellent landscape painting, multi-level realistic description, exaggerated "bizarre" brushstrokes, and leave blank space appropriately to give viewers room for imagination.

Draw from the big picture, concise and profound, and the outline is open and generous. Such as "Hunting Watch" and "The wind blows the horn bow, and the general hunts the Acropolis". I started with the climax of hunting, and then launched a series of flying pictures: "The grass withered and the eagle's eyes were ill, and the snow was as light as a horseshoe." The sharpness of the eagle and the quickness of the horse set off the warm atmosphere of hunting and the superb skills of hunters. "Suddenly crossing Xinfeng City and returning to Liu Ying", the pen and ink are refined and the pace is fast. The last two sentences, "Looking back at the carving, the clouds are thousands of miles away." Set off the gallop just now smoothly and slowly, which makes people memorable.

It is famous for its ingenious conception and fresh language. Seeing Shen Zifu off to Jiangdong is a farewell poem: "Crossing the willows and dredging, the teacher paddled to the door. Only acacia is like spring scenery, and Jiangnan Jiangbei will send you home. " Me, net, me, fisherman. Here comes the boatman. Qi Lin, the river has turned. When the ship got there, it gradually disappeared. I can't accompany you back to Jiangdong in person, but my lovesickness can accompany you straight to Jiangdong. The poet compares "acacia" to "spring scenery", which is really a very fresh way of writing. -On the one hand, you can see the love of acacia, and on the other hand, it is not sentimental. "Only acacia is like spring scenery, and Jiangnan Jiangbei will send you home." You can see the spring scenery on both sides of the strait along the way, so my lovesickness will follow you back to Jiangdong like spring scenery. In Wang Wei's poems, "the green willow in the guest house is new in color", "the night is quiet and the spring mountain is empty" and "the spring water is full of vitality", and the spring color is green everywhere. This green color turns into moonlight, birds singing and other feelings, which constitutes the fresh breath of Wang Wei's poems, showing the exquisiteness of his conception and the freshness of his language.

Once again, it is manifested in the unity of opposites-the beauty of form and spirit.

China's classical literature and art, especially poetry and painting, has always emphasized "expressing the spirit" and demanded "writing the spirit with form". Compared with western art which emphasizes the simulation of objective things, China ancient art pays more attention to the expression of thoughts and feelings. If the poem is only vividly written, it is not the highest realm. Only when this painting is full of human temperament, personality, interest and the beauty of poetry and painting can it be considered excellent. Many of Wang Wei's pastoral poems strive to be similar in spirit on the basis of similarity, and reach the realm of "two muddy artistic conceptions". We don't pursue the beauty and vividness of words, but strive to outline a picture with a few strokes, express an artistic conception, give people a seamless impression, and show the poet's character in it.

"Birding Creek" "People are idle and osmanthus flowers fall, and the night is quiet and the mountains are empty. When the moon comes out, it surprises the birds and sounds into the spring stream. " It seems to be an elegant ink painting, which not only depicts the beautiful scenery of spring mountains and moonlit nights, but also reveals the hermit poet's incomparable love for nature. "People are idle and sweet-scented osmanthus falls" means that there is movement in silence, and the dynamics of flower falls reflect people's leisure and silence. "The night is quiet and the mountains are empty" is still rendering a quiet atmosphere. The word "spring" is not a idle pen. Flowers, moonlight and birds are all related to spring. It is unique to spring to say that the night sky is soft and quiet, which is to write static in the dynamic. The moonlit night is quiet but not silent, and the spring mountains are empty. First of all, in spring, laurel blossoms bloom and fall, emitting a wisp of fragrance. Then there is "when the moon rises, it surprises the mountain birds, and when the moon rises, it sings in the spring stream." From time to time, there was the chirping of mountain birds, and the last two sentences were quiet in motion. In contrast, the silence written in the first two sentences is highlighted. The third sentence says that the moonlight shines quietly into the bird's nest, making the birds wake up in silence and mistakenly think that it is dawn. They call for the dawn. When the night light faded away, the birds here were silent, and they went to sleep peacefully, while the birds over there sang again because of the moonlight. The moonlight gradually shines in different directions, and birds in the distance in the empty mountain make intermittent calls. "Time" not only describes the characteristics of the scenery in great detail, but also contains the author's rich feelings, and creates a contrast between motion and stillness in hearing, thus highlighting the tranquility, serenity and vividness of the moonlit night on a spring mountain. The unity of opposites between static and dynamic is the main artistic feature of this poem, and it is also the common feature of many landscape poems of Wang Wei. It can be said that the word "Jing" is the key to understand Wang Wei's landscape poems, because with "Jing", we can appreciate the beauty of nature.

One autumn night in the deep mountains, an empty mountain after the rain, stood in the autumn evening. The bright moon shed clear light from the cracks and cleared the fountain on the rocks. The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe. My friend's prince, what does it matter if spring is over and you are still here? . The first couplet "Empty Mountain after Rain, Autumn Night Standing" describes the scenery after the rain in the deep mountains and autumn night, closely following the poem, showing a picture of Shan Jutu in autumn. The word "empty" points out the quiet and empty environment at night and the state of mind beyond the world. "The moonlight shines in the pine forest, and the crystal stone shines in the stream. Bamboo whispers that the laundry girl returns, and the lotus leaves bend before the fishing boat. "。 "Quiet and lively, like a clever focus plane, it shows the poet's relaxed and leisurely feelings. It vividly depicts the autumn scenery in the mountains: the flat moon after the rain is clear and bright; The pine forests in the mountains are sparse and noble; The clear spring on the stone is cool and clear. The words "shoot" and "flow" endow a static scene with dynamics, and form a static, quiet, clear and smooth realm. Laughter and laughter came from the bamboo forest, and the women returned home from the moon, the lotus leaves rustled and the broken leaves of the fishing boat floated down, forming a lively and lively realm from scenery to people. The two couplets are dynamic and static, static and static, and the sound and light colors set each other off. "My friend's prince, spring has passed and you are still here. What does it matter?" It points out the love between being casual and staying in the mountains. "Stay" and the first sentence "emptiness" take care of each other, reaching the realm of man and materialization, mind and environment. The fresh and beautiful autumn scenery of the whole poem complements the leisurely and quiet seclusion, and the artistic conception is beautiful. Use language to paint a seemingly tangible picture of life, and it is a picture with sound. The unity of opposites between motion and stillness, emotion and scenery-make the picture, sound, movement and even the fragrance of flowers and plants skillfully blend into one in the poem. This is Su Shi's evaluation of "painting in poetry and poetry in painting"!

In short, from Wang Wei's light and elegant brushstrokes, we can often feel a quiet and indifferent state of mind, giving people philosophical associations.

The fourth embodiment is the color of painting-the beauty of shade.

According to the analysis of modern psychology, color is more acceptable than lines, and it is the most memorable object. As a painter, Wang Wei pays attention to the use of color, which is all in poetry. In many poems, he used a variety of colors to vividly show the colorful and rich colors of nature. He is also good at studying and discovering the relationship between color and people's emotions in different environments, and rendering emotions and setting off artistic conception through proper description of object colors. Wang Wei's poems often use green, cyan, light blue, silver gray and other colors, giving people a fresh aesthetic feeling, which is closely related to the quiet artistic conception expressed in his poems. Wang Wei's poetic pen, flashing and dipping in color, is like a magic wand. Wherever it goes and touches, it emits wonderful changes in light and color. Please see: the green is quiet, the willow is bright, the jade screen window is dark, the red skirt is shallow and deep, the white water is bright outside, after the blue peak comes out of the mountain, the green grass is reflected in the water, Bai Niao climbs over the mountains, the eagle is jealous, and the grass is green in the rain, which can dye the water. The poet described the light and shade, depth, shade, cold and warm, dry and wet, movement and distance of light color one by one, creating a magical color world. This color world is also his emotional world. In "Sending Punishment to Guizhou": "The sunset in the rivers and lakes is white, and the tide rises to the sky." The first sentence says that the sunset reflected by the rivers and lakes is white, and the next sentence says that the whole world is filled with tidal green light. The gloomy and cool colors of "green" and "white" have become the basic colors of this river and lake evening photo, reflecting the sadness and sadness of the poet when he bid farewell to his friends. Another example is "In the Mountains": "The white stone rises in the west of Beijing, and the red leaves are sparse in cold days. It didn't rain on the mountain road and the clothes were wet. " The whole picture is shrouded in misty emerald color. Isn't that gentle and ethereal that permeates the author's pleasure of joining nature?

China's ancient paintings often express a sense of color with a single tone, which is widely used in Wang Wei's pastoral poems. "Qing shallow white stone beach, Qingpu comparable. Born in the water, dancing under the moon "("White Stone Beach "), these four poems give people a sense of color, water is innocent, stone is white, yarn is white, moonlight is white, and they give people a sense of harmony. In this harmony, the difference is still visible: water is colorless and transparent, and there is no color in itself. Because the stones under water and above water are white, we can see that the water is clear and white. Stone is whiter than water, and yarn is whiter than moon, but there are also subtle differences. Moonlight is an inorganic substance, which makes people feel white, but it is far less white than yarn. Compared with yarn, stones are white. These scenes are unified in the faint moonlight, forming a tone, depicting a beautiful picture in layers, revealing a kind of elegant beauty.

"The sunshine there enters a small forest and reflects to me from the green moss" (Chai Lu) is also an example. The deep forest is light green, and the sun has covered the moss with a layer of dark green. The color difference between sunlight and trees and moss is obvious. It is already dark in the depths of the forest, and the moss under the trees in the forest highlights that there is no sunshine in the depths of the forest. According to the laws of nature, when describing the darkness in the deep forest, we should focus on the place where there is no sunshine, but here the poet highlights the sunshine in the place where the sunshine shines and enters a small forest, which is the genius of his means. The setting sun shines into the depths of the forest, reflects on the moss, brings a ray of sunshine to the depths of the dark forest, adds a little warmth to the moss in the depths of the forest, and brings a little business to the whole forest. But if you appreciate it carefully, you will feel that the objective effect of nature is absolutely opposite to the subjective emotion that the poet wants to express. Blindly darkness sometimes makes people feel dark, but when a touch of afterglow shines into the dark forest, mottled tree shadows are reflected on the moss under the tree, and the small scenes are in sharp contrast with the boundless darkness, which makes the darkness of deep rest more prominent. In particular, this kind of "dead light" is not only weak, but also short-lived. After a touch of afterglow disappears in an instant, it is followed by a long darkness. If one or two sentences "There seems to be no one on the empty mountain, but I think I heard a voice" set off the silence with sound, then three or four sentences "The sunshine is there, enters a small forest and reflects on me from the green moss" set off the darkness with light. The whole poem is to add a little warm color to most cool pictures to make the impression of cool color more prominent. The poet did the opposite and wanted to show his silence, so he let it ring; Want to show its darkness.