Wang Wei's pastoral poems absorbed the characteristics of painting techniques in structure. The Six Methods of Painting sung by Xie He in the Southern Dynasties said: "First, the charm is vivid; Second, the bone method pen; Third, it should be pictographic; Fourth, we should color by class; Fifth, it is necessary to operate in the post; Sixth, we must transfer and model. " Quotient position is the essence of painting (Zhang Yanyuan's Notes on Famous Paintings of Past Dynasties), and painters are good at combining many individual scenery into a whole through quotient position, and Wang Wei's pastoral poems are also well versed in this method. For example, I wrote a letter to Pei Di from my cabin in Wangchuan:
The mountains are cold and blue, and the autumn water flows. Leaning against Chai Men, listening to cicadas in the evening breeze.
Sunset lingers at the ferry, and the smoke from supper rises from the house. Oh, when will I make a wish to the great hermit again and sing a wild poem under five willows? .
The whole poem is like a fixed-point photo, which is "outside Chai Men". Based on this, the poet looked around, cut out scenes with seasonal and time characteristics, such as cold mountains, autumn waters, sunset, cicada singing and solitary smoke, and then cut out the close-ups of the activities of the poet and two hermits, Pei Di, and combined them into a faint, distant and quiet autumn night picture of Wangchuan. The effort of this kind of management position is profound. Another example is "Wei Shui Nong Jia", in which the author depicts a picture of a happy family coming home late with scattered perspective. The first eight sentences list many individual signs of rural life, which seem scattered. But in the ninth sentence, the word "leisure" is used to connect the symbols of those individuals little by little to form a harmonious, concrete and vivid complete picture.
This structure with painting characteristics is also reflected in the creation of group poems, such as the famous Twenty Poems of Wangchuan, in which the author describes 20 scenes of Wangchuan, namely Mengcheng 'ao, Huazigang, Wenxing Pavilion, Jinzhuling, Chai Lu, Mulan Chai, Cornus slices, Gonghuaimo, Hulin Pavilion, Nancha, Lihu, Liulang and Luanjialai. Most of these twenty quatrains are fresh and natural, vivid and vivid. Judging from the organization of a single song, the method of fixed focus is basically adopted, that is, a certain corner of Wangchuan Garden Villa is cut into the picture in this way with a fixed scope of examination and a fixed perspective. If some poets and tourists row to the pavilion in the middle of the lake to drink and enjoy the lotus: greet the guests gently and come to the lake. When the porch is drinking wine, hibiscus blooms on all sides. ("Hulin Pavilion") A poet wrote the scene of playing the flute to send friends ashore: Linjipu played the flute and sent her husband at dusk. Looking back on the lake, green hills roll with white clouds. (Li Lake) Someone wrote: Sitting alone in the deep bamboo, playing the piano and whistling: leaning alone on the dense bamboo, playing the pipa and humming a ditty, so light that no one listens, only my companion, the bright moon, can be heard. ("Bamboo House") There are also descriptions of the sunset in autumn mountain, the reflection of willow waves, the shadow path of palace trees, the flowering of dogwood and the falling of hibiscus flowers. All of them are not as good as the rest, and the most picturesque scene is framed for the population to recite and yearn for. From the perspective of overall combination, it is also a clever use of the unique scattered perspective of Chinese painting, which constantly changes the perspective instantly, that is, the common observation methods of comprehensive view and step-by-step view in Chinese painting, and splicing the visual impressions obtained from different perspectives in motion, so as to combine them into a complete and summarized image tone within the overall visual range. In this way, these twenty quatrains are combined into a picture of Wangchuan Villa, that is, "the valley is cloudy, the clouds are moving, the dust is out of the mind, and the pen is strange." Its exquisite and unique gardens, exquisite landscapes and peaceful beauty are really refreshing and pleasing to the eye. It is no wonder that later generations of scholars, when watching Wang Wei's posthumous work Wangchuan Villa, often use the contents written in Wang Chuan's Twenty Poems to express their appreciation of painting. Such as Wu Youcheng's poem 04:
Natural and unrestrained kaiyuan scholar, god painted Wangchuan Villa. The tree is deep and the house is small, and the stream is quiet and round.
The bamboo path distinguishes the haze, and the courtyard gathers dusk smoke. There are high sleepers among them. Listen to the sound of spring.
The poem in the painting is still good, haunting me from Sichuan. The lake is clear and refreshing, and the water waves are quiet and turbid.
Fu Yong became a pearl jade. Manage fog and smoke. When the court is full, it is like a nymphs.
In a word, these 20 poems, each capital is an independent and exquisite painting sketch, combined with a harmonious and orderly panoramic view of the garden, are very similar to the "panoramic painting" in ancient China, which reminds us of the composition format of Han Xizai's banquet in the Five Dynasties, the "Thousand Miles of Rivers and Mountains" in the Song Dynasty, and the "Riverside Scene at Qingming Festival" and other paintings. The image construction of the above 20 quatrains is essentially the same as this.
Wang Wei's pastoral poems are also carefully designed in the sense of space in the picture. China's ancient paintings paid great attention to the treatment of the relationship between reality, size, distance, density and shade. These techniques have been successfully applied in Wang Wei's pastoral poems. "On the banks of the Han River" is a masterpiece that combines painting with poetry. The first couplet is "Three branches in the south reach Chu, and nine streams touch Jingmen." The magnificent scenery of Hanshui River is rendered with splash ink. As the background of the picture frame, the poet outlines the scenery invisible to the eyes, collects the lonely Ye Ping on paper, and the vast river flows in the picture frame, which renders the atmosphere for the whole picture; In Zhuan Xu, the scene of "This river runs through the heavens and the earth, with both mountains and colors" is both true and empty: the flowing river in the former sentence is long and distant, and the vastness of the river in the latter sentence is set off by mountains. The poet's pen and ink is very light, but its effect is far better than heavy oil paintings and colorful watercolors. The first joint of water is closely connected; The couplets are vast and dense, and the pictures are dense and complicated. So the poet's pen and ink gathered from "outside the world", from far to near, and painted a magnificent scene in front of him: "the human residence seems to float on the ripples in the distant sky." These two sentences are romantic and magnificent exaggeration and imagination. With the elegant and smooth brushwork of alternating reality and reality, they vividly write the aesthetic feeling caused by people's optical illusion (dynamic and static dislocation): battlements are like a boat in the middle of the water, and waves beat against the sky, just like the sky dancing lightly. Another example is the combination of reality and fiction, "less is more" (Liu Xie's words) and the method of deformation. Only forty words describe the majestic peaks and wide veins, beautiful scenery of deep valleys and clouds, and magnificent changes of the scene of a huge Zhong Nanshan.
(2) the beauty of light and color.
1, diversity trend. Marx said: "The feeling of color is the most common form of general aesthetic feeling." 5 arnheim, an American, said in On Color: "Color can powerfully express feelings. Red is considered exciting because it reminds us of fire, blood and the meaning of revolution. Green evokes people's fresh ideas about nature, while blue is as cool as water. " 6 Poets always take pains to seek those colorful languages, in order to express their thoughts and feelings incisively and vividly, and strongly infect readers' emotions. In the use of color, Wang Wei's pastoral poems absorbed the advantages of painting. The scenery of nature is rich and colorful, so the poet vividly expresses all kinds of colors in nature with diversified and integrated colors, and forms a complete and harmonious picture with unified tones, so that the scenery jumps from the paper and the modality flies. For example, "Pastoral Song" (No.6): "Peach red contains continuous rain, willow green contains spring smoke", and the poet describes the scenery on the basis of sketching. The use of the words "red" and "green" makes the scenery bright and pleasing to the eye, giving readers a colorful picture. "Peach flies away, burning its glory", plus "Liu is Yi Yi", the scenery is pleasant. After coloring, add another layer of rendering: dark red or light red petals are stained with rain drops all night, and the color is softer and more lovely; The air is fresh after the rain, and the green wicker is caged in a hookah, which is even more graceful and charming. After layers of rendering and meticulous description, the poetic scene has become a meticulous and colorful Chinese painting with a warm overall tone. In Farewell to Wangchuan, "the grass is green in the rain and the peach blossom is red on the water", which is similar. Even better, the poet used the words "dye" and "nature" (burning) to exaggerate the depth of the grass and the brilliance of the peach blossom, and the visual experience was extremely strong. The poet also pays attention to the contrast and contrast of colors, such as "Egrets flying on the secluded marsh, Xia Shu turning into oriole", "Green in rice fields" and "White" of flying herons, "Green in Xia Shu" and "Yellow" of oriole, which are much more vivid than the original works, and there are also examples of "desert" and "Yin", such as the new king's "Wai" Another example is In the Mountains:
The stream of the river has been flowing for less than a day, and white stones are exposed on the riverbed. The weather is getting colder and the red leaves on the branches are becoming scarce. There is no rain on the winding mountain road, the smoke is misty in the dense pine trees, and the water vapor is heavy, as if to flow, and then the clothes of passers-by.
This winter scene in the mountains, which is composed of white stone and phosphorus creek, bright red leaves and boundless thick green, is colorful and bright, while the background color of the whole painting tends to be green. "This kind of writing is pure line drawing, which evokes readers' association with selected details. The seemingly simple narrative is actually an extremely vivid intuition. ○8 The poet keenly conveys his intuitive impression to the reader through the meaningful symbolic form of color, and gives the reader a picture.
2. The feeling and taste of coloring and stippling are beautiful. Wang Wei did not stick to the traditional rules of allocating colors by class in the use of colors, but took the lead in expressing feelings and making colors full of feelings. He is good at studying and discovering the relationship between a certain color of an objective object and a certain emotion of a person at different times and in different environments, so he can render emotions, express feelings and set off artistic conception by describing the color of an object properly, thus making poetry painting more interesting. Such as the "level ruler" in "Five Miscellaneous Questions of Huangfuyue Yunxi":
The spring pool is deep and wide, so you just wait for the canoe to come back. Lush green leaves close and weeping willows sweep away.
The canoe echoed in the flat pool. After returning to the boat, the green duckweed slowly closed and was suddenly swept away by weeping willows. Chunchi, Lv Ping and Chuiyang are vivid and use the same color. "Green gives people a real sense of satisfaction" (Goethe), Kandinsky of Russia once said: "Green is completely calm and stable, and it is the most stable of all colors. It doesn't move in any direction, nor is it as attractive as joy, sadness or enthusiasm. " The green color in Wang Wei's poems, like a warm spring breeze, is refreshing and cleans up a lot of irritability and depression in his heart. In order to show a quiet and peaceful living environment, an ethereal state of mind and a clear and bright state, Wang Wei often uses colors such as green, cyan, light blue, silver gray and white to create a quiet, clear, ethereal and diluted atmosphere. Such as "shallow white stone beach, green pu comparable." Living in water, under the bright moon. "("White Stone Beach ")" Flipping empty songs, green ripples. I sneaked into the mountain road, and the monks were unknown. " ("Jin Zhu Ling") "The empty valley is less populated, and the green hills are getting colder. Admire the secluded place and look at the white clouds in the distance "(Pay is better than the sun for dusk, Su Qintai will read the book pavilion"), "I have sailed the river of yellow flowers, which is borne by the canal of a bixi" (Qingxi), "Thousands of miles across the sky, and several peaks emerge from the clouds" (Brother Cui Puyang's season is heavy and the mountains are lush), "Bamboo Pavilion" and "Gong Huaimo"
3. The three-dimensional sense in the interweaving of light and shadow. Wang Wei's pastoral poems pay more attention to the intake and contrast of light and shadow, and many poems repeatedly describe the refraction and projection under the background of spring sunrise, moonlight clouds and halo of the sun and the moon in the pine forest. The clever weaving of light and shadow makes the picture rich in color and more stereoscopic. For example, "moonlight in the pine forest, crystal stone in the stream" and "an autumn night in the mountains", under the bright moon, dense pine forests, flowing springs, pale rocks and dense tree shadows constitute a landscape painting with distant charm. Another example is "The setting sun is white, and the tide rises from heaven and earth" ("Sent to Guizhou"), which makes people see the faint oblique light projected on the vast river, and the raging anger seems to make the world dark. "The clear waves fade into dusk, and the bright moon is bright" ("Before and after the plate"), a picture of the sunset on the ground, the ripples in the microwave, the bright moon in the sky, and the brightness is shining again. Similarly, there are "the sun enters the forest, and the moss shines on my back" (Chai Lu), "It's so light that no one listens, except my comrade's bright moon" (Zhuliguan), "The rain is oblique, and birds are still there in the sunset" (Cui Puyang's brother returns to the mountain), "Xieyang Township, Cattle and Sheep Trail Lane" (Weishui Farmer's Farm) and "The middle peak is divided, and it is sunny and sunny"
(C) the beauty of sound rhythm
Wang Wei is good at painting as well as music. "Concubine" once praised him for his "leisurely temperament and wonderful pipa". "Historical Records" said: "Wang Weizhi's works, such as Shanglin Xiaochun, are slightly baked; Hundreds of warblers, repeated by the palace merchants; Huangshan Zisai, Qin Gong, Hanting. Wei Li with thousands of faces is between the boundless and the boundless. It is the so-called sound painting. Those who are no better than painters. Which one can do it? Qing is a leisurely mood and elegant tone. People are still reciting it. Very embarrassing. " Wang Shizhen said that his poems "cadence, cadence, from the palace table". He is proficient in music and was once a great music minister. He is not only good at applying the beauty of rhythm in music to his poems, but also makes his poems melodious and meaningful. Moreover, as a musician, he is particularly sensitive to the sounds of natural scenery, so his pastoral poems often flow with the sounds of nature: chickens and dogs, drums and bells ringing at dusk, birds singing, apes singing and cicadas singing, leaves falling, wind and rain flowing, playing the piano and drums ... Most of them are very vivid pictures with sounds. For example, "When the moon crosses the Tianhe River, the light turns wet, and the magpies startle the autumn leaves to fly frequently" ("Two Poems by Qiu Si"), "Young bamboo contains new powder, and red lotus falls off its clothes" ("What's Living in a Mountain"), with a fresh, subtle and charming style, the subtle changes and acoustic effects of natural scenery are written, which makes people feel that the images projected in each poem are moving in an instant. Another example is "Pastoral Work in Spring":
Spring pigeons are singing in the room, and apricot blossoms are white at the edge of the village. Hold the axe to cut down the poplar, and the lotus hoe the spring pulse.
Yan knows his lair, so he looks at the new calendar. If you are in a hurry, you will not be royal, and if you are far away, you will travel far.
In this poem, the singing of spring pigeons, the whispering of swallows, the "Kan Kan" with an axe and the "Qiangtang" with a hoe are mixed into a melodious spring sonata; Snow-white and dazzling apricot blossoms are in full bloom, pigeons are singing and dancing, and farmers are busy planting mulberry to control water ... A pastoral painting full of spring breath is vividly displayed before our eyes. In this secular picture full of local life, the arrangement of images develops slowly according to the rhythm of sound. Although the whole picture is always light in color, it becomes much more lively with the sound of songbirds, which makes readers realize the philosophy of life that "the east wind changes the years in the dark" in the double stimulation of vision and hearing. This is to use sound to highlight the dynamic nature of the image of the rendered picture and convey a positive and healthy mental state. And "Singing a stream on the Qushi, the pine and the pine adjust the sun" ("Crossing Ji Xiang Temple") is a melody. The word "swallow" vividly simulates the sound of flowing spring water struggling among rugged and steep rocks, echoing the faint bell written in the previous sentence "But now I hear a bell in the height", rendering the seclusion and seclusion of the deep mountain forest. There are also some examples, such as "Birds are startled when the moon is out, and the spring brook is singing" ("Birds are singing in the stream"), "Birds' chests are covered with moss, and chickens are singing on a whiteboard" ("Tianjia"), "Going to the garden for shelter from the rain and crossing the spring city" ("When Chu and Guangxi don't arrive"), "The rapids are singing over the rocks, where the light is fading in the dense pine" ("Qingxi" The dark green rocks and so on (Drama on the East Creek and the Moon) also use the sounds of nature to set off the tranquility, leisure, peace and indifference of the mood. As Mr. Qian Zhongshu said, "It is deeper than the silent, and it is deeper with each sound." ○9
Vivid beauty
China's classical art, especially poetry and painting, has always emphasized "vividness" and demanded "writing the spirit with form" and "vividness". Compared with western art, China ancient art pays more attention to the expression of thoughts and feelings. In the Qing Dynasty, Tang Dai's Sketch of Painting held that "painting landscapes is more expensive than verve". Charm, not fog, is the true qi between heaven and earth. Everything is lifeless and lifeless ... However, if there is life, there is rhyme, and if there is no life, it is dull. " The painting theory based on verve theory holds that if a painting does not have the "vivid verve" in the sixth law of painting, even if it is beyond reproach in the other five laws, it is still a dead painting of all workers, not a living painting, nor a real painting. As Yuan Yang Weizhen thought, painting is more vivid than vivid. Vivid charm (preface to painting treasures) Vivid charm is not only a pleasing object or decorative thing with visual function, but also a spiritual force to cultivate people's spirit, bring people fullness, richness or maturity, and thus give people a beautiful impression and feeling. As the originator of Nanzong landscape painting, Wang Wei's pastoral poems contain profound and endless charm in shaping mountains and rivers and depicting beautiful pastoral scenery instead of simple leisure. It seems to be written at random, not engraved; But the writing is vivid, implicit and meaningful; There is no trace of axe chisel, but there is exquisite beauty. Such as "Tie Home Folk Songs":
The clear river flows slowly through the bushes like my chariot. I became a traveling companion and went home with the birds at dusk.
An abandoned city wall is above an old ferry, and the autumn sunset drowns the peaks. Along the way, I will close my door and keep calm.
The development of the scene of this poem is very hierarchical. The first six sentences can be said to be a scene and a picture. Every sentence has a dominant image: Qing Chuan, horses and chariots, flowing water, sunset bird, empty city (ancient crossing) and sunset (autumn mountain), which is reflected in the frequent flashing of images (superimposed with hidden audio and video, such as the wheels of horses and chariots, the shallowness of flowing water, the singing of sunset birds, etc. In particular, the modification of adjectives with rich charm, such as famine, autumn, dusk, autumn and ancient times, and the clever use of the verbs "pro" and "man" make the connotation of the above-mentioned series of images more tense, including sadness and loneliness, serenity and calmness. Another example is the poet's selection of spring water, bright moon, pine bamboo and violet in "Autumn Night in a Mountain" to describe his noble sentiment, and to depict simple living, a happy fisherman, who is carefree, which contains the yearning for the ideal realm of integrity and harmony. The autumn scenery in the mountains is shrouded in a gauze-like moonlight, revealing a long and clear charm.
In the Qing Dynasty, Wang Shizhen's "Yiyuanyan" said: "The figure is the first, and the charm surpasses its appearance; The landscape is dominated by charm, and the shape and shape are contained in it for cooperation. If the shape is lifeless, the spirit will lose its way and it will be sick. " Wang Guowei's "Words on Earth" said: "Poets must be inside and outside the universe. If you are inside, you can write, but if you are outside, you can observe. If you enter it, you will be angry; Beyond it, it is high. " Wang Wei's pastoral poems imitate the form with verve, keeping the form and taking the spirit; Personal feelings of looking up at the universe, overlooking life and understanding life are often injected into the mountains, rivers, waters and shadows. It can be said that "wonderful words are no different from Buddha's flowers and Ye Jia's laughter" (Poetry with Classroom, Volume III) is worthy of "careful pondering" and aesthetic pleasure.
From Baidu, I know.