Keywords: natural blank Zen
China Library ClassificationNo.: G 122 Document ID: A DocumentNo.:1672-3791(2012) 06 (a)-0208-01.
Wang Wei is a master of pastoral poetry and songs in China. His pastoral poems not only inherited Tao Yuanming's carefree life attitude and personality ideal, but also inherited the bright and hearty model mountains and detailed descriptions of Xie Lingyun and Xie Tiao's poems, and created natural pastoral poems, reaching the peak. Wang Wei's pastoral poems combine the two, writing landscapes with pottery poems and adopting the method of Xie Jia's entering the countryside, which truly achieves the seamless integration of landscapes and villages.
First of all, Wang Wei's pastoral poems created the highest realm of poetry-the beauty of nature. In the history of Chinese aesthetics and literature, natural beauty is called the highest realm. Old Tian Zi said: "Simple, the world can't compete with it for beauty." Li Bai, a great poet, thinks that beauty should be "clear water produces hibiscus, which is naturally carved", and Yuan Haowen thinks that beauty lies in "a word is natural and eternal, and luxury sees the truth". As the highest form for people to express their feelings, the highest realm of poetry should be nature. Wang Wei's pastoral poems fully embody this aesthetic realm.
For example, his "Weishui Farmhouse":
In the countryside where the sun is setting, cattle and sheep go home along the path. 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, peeled mulberry leaves. Jojo and Fu Tian greet each other cordially. No wonder I long for a simple life and sigh the old song, oh, back to the past! .
The poet painted a natural and fresh picture for the quiet life of Tian family without carving or painting. Who does not envy and who does not want to retire? Who doesn't envy this kind and comfortable life, peace and cheerful attitude, and who doesn't want to retire? The whole poem seems to blurt out, without a trace of carving, but full of poetry, which can be said to be extremely gorgeous and plain.
Another example is his "Autumn in the Mountain":
The empty mountains are bathed in a new rain, and feel the early autumn at night. 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. Spring spring might as well give it a rest, and the autumn sun can stay on the hills for a long time.
This famous landscape article expresses the poet's personality beauty with natural beauty. Poets write landscapes freely, effortlessly and naturally. This is consistent with the view advocated by the poets in the Tang Dynasty that "the truth lies in temperament ... but romantic and natural" and "fake things are not as good as truth, and fake colors are not as good as nature". Wang Wei regards returning to nature as a realm of life and truly returns to the origin of natural life. The poet's life is relaxed and conscious in keeping with the natural rhythm, and he deeply understands the way of nature.
Secondly, Wang Wei's pastoral poems use the art of blank space in writing, leaving readers room for reverie and aesthetic expectation. In Wang Wei's poetry creation, there is also an artistic realm that transcends concrete things and conforms to the spirit of heaven and earth, that is, it is not limited to the perceptual images of sound and emotion, but also can look up at the white clouds, overlook the clean stream, swim in space and swim in everything. Looking for infinity in a flower, a bird, a mountain and a valley, and getting aesthetic experience in watching nature, this is the blank art.
In Tang poetry, emptiness is a state of mind, and white is "counting white is black". Wang Wei, who first showed peace of mind, wrote:
The empty mountains are bathed in a new rain, and feel the early autumn at night. (An autumn night in the mountains)
Fresh osmanthus flowers fall, and the night is quiet and the mountains are empty. ("Birding Creek")
There seems to be no one on the empty mountain, but it is heard. (Chai Lu)
……
"Empty" here means "spacious and quiet". It is precisely because of the peace of mind that we can move from concrete to abstract, from finite to infinite, from instant to eternity, and turn the feeling of instant into eternity.
Wang Wei's methods of "counting white as black" and "doing nothing" in his poems are also second to none. He is particularly good at using "white clouds" to symbolize the freedom of Buddhism and his understanding of life. Please look at the following poem:
At dusk in the distant mountains, I return to the white clouds alone. ("Back to Wangchuan Work")
Looking at the lake, the mountains are green and the white clouds are rolling. (Li Hu)
Cloud, when I looked back, it was behind me. I was too young to see anything. (Zhong Nanshan)
……
The freely curled white clouds lead people's thoughts to infinity, let you gallop freely, and the poetic realm is faded by the white clouds, showing a beautiful scene like a mirror. As Mr. Chen Zibin, a scholar in Taiwan Province Province, said: "Smart writers often leave the feeling of beauty to themselves to ponder. Only by brewing freely in their minds can they allude to infinite reverie and interest. Therefore, the imaginary' beauty' derived from self-perception or illusion and trying to figure it out is a meaningful feeling of beauty that everyone yearns for. " This is the effect of blank space, which is "unintentional and intentional". Thousands of years of white clouds will naturally present a picture that seems to be true and unreal, so there is a blank phenomenon in the works.
Blank is a kind of rest in appearance, but it forms aesthetic expectation in the viewer's mind and is an extension of aesthetic rhythm.
Thirdly, Wang Wei's pastoral poems naturally merged with poetic realm, creating a model of poetic Zen. In China, advocating and loving nature originated from Taoism and Buddhism. Wang Wei was deeply influenced by his mother in his early years and believed in Buddhism. His name and words are derived from Vimalakīrti's classic character, Vimalakīrti, a layman. After middle age, the officialdom was frustrated and was repeatedly relegated. Especially after the Anshi Rebellion, he was no longer interested in playing for the broken Tang Dynasty, and even less willing to go along with Li, so he chose a carefree life. Surrounded by nature, he got rid of the fetters of fame and fortune, the troubles of real suffering, his own emotions and desires, and merged into and accepted the influence of nature. Wang Wei's later pastoral poems show Zen flavor and philosophy in nature, which are incoherent, endless in meaning and convey the meaning of nature. For example, his Wu Xinyi:
The branches of the topmost hibiscus flowers are full of scarlet calyx in the mountains. The mouth of a stream is silent, without a trace. They open and fall.
This is a world far away from the hubbub, and it is also a symbolic realm of the poet Wang Wei's empty Buddhist concept. Hu Yinglin, a literary critic in the Ming Dynasty, said that this poem was a work of Zen. "I have forgotten my life experience, and all my thoughts are silent." The artistic conception created by Wang Wei here is a combination of nature, poetry and Zen, which has great enlightenment and strong artistic appeal.
Yan Yu, a literary critic in the Song Dynasty, said: "Generally speaking, Zen is only in wonderful enlightenment, and poetry is also in wonderful enlightenment." Wonderful enlightenment is an epiphany of Zen, and it can also be expressed as an understanding of art. Wang Wei's participation in Zen is rewarding, while Zen advocates the style of beautiful mountains and forests, which also plays a guiding and enlightening role in Wang Wei's conscious approach to mountains and rivers and exploring its aesthetic value.
Mr Zong Baihua pointed out: "The creation of China's artistic conception needs both Qu Yuan's sadness and Zhuangzi's singularity. Only when you are touching, can you be passionate and go deep into the core of everything. This is called entering the play. Super ethereal, you can be like a flower in the mirror, a moon in the water, a gazelle hanging from the horn, without a trace. The so-called super image. " From this perspective, Wang Wei's landscape poems are really typical. The charm of Zhuang Sao nurtured Wang Wei and the artistic spirit of the Chinese nation.
refer to
[1] Li Hao. Tang's demeanor [M]. Chinese publishing house,1997,2.
[2] Sun Rong. Scholar tourism [M]. Chinese publishing house,1997,2.
[3] Zong Baihua. Aesthetic walk [M]. Anhui Education Press, 2006, 1.