What is Xiang Xing?

The so-called "towards the star" means that the poet's emotion and spirit control the image, making it integrate with the vibration of the poet's mind, thus gaining life, personality and vitality.

Analysis of "Xiang Xing" in Tang Poetry

The characteristics of Tang poetry include style, popularity, temperament, words, images and emotions. Generally speaking, any poem with the characteristics of Tang poetry can be called "Tang poetry". The artistic character of Tang poetry is mainly embodied in "emphasizing style, stressing prosperity, paying attention to rhythm and rhetoric, and pursuing interest and charm". Xiangxing is a unique aesthetic realm of Tang poetry, especially in the prosperous Tang dynasty, and it is a symbol of the complete maturity of Tang poetry art.

Keywords: Tang poetry style to the stars

The definition of Tang poetry, generally speaking, all poems with Tang characteristics can be called "Tang poetry", which refers to both poems written by poets in the Tang Dynasty and poems with Tang characteristics written by people after the Tang Dynasty. The characteristics of Tang poetry are mainly embodied in "attaching importance to style, stressing prosperity, rhythm and rhetoric, and pursuing interest and charm".

Xiangxing is a unique aesthetic realm of Tang poetry, especially in the prosperous Tang dynasty, and it is a symbol of the complete maturity of Tang poetry art.

The "Xing" in Xiang Xing comes from the "Xing" in Bi Xing, but unlike the "Xing" in Bi Xing, the "Xing" in Bi Xing has another meaning, which refers to a kind of implicit and euphemistic poetry. "The text is full of meaning, but it is also full" (Preface to Zhong Rong's Poems in Southern Song Dynasty).

Such as: Wang Luobin's "Political Prisoners Listen to Cicada";

The cicada singing on the western earth makes me firm in my cell, but it needs the singing with black wings to break the heart of a white-haired prisoner. His flight passed through the thick fog, and his pure voice was drowned in the world of wind. Who knows if he is still singing? Who will listen to me? .

The first two sentences of the poem arouse the guests' yearning for cicada. In three or four sentences, one said cicada and the other said himself, linking things with me; Five or six sentences are purely metaphors, none of them are not about cicadas, and none of them are not about themselves; Seven or eight sentences are still compared. Writing about cicada's noble heart is actually a metaphor for one's ambition and honesty. The whole poem from things to people, from people to things, constitutes the realm of the unity of things and myself.

The image of "towards the star" refers to the physical image, including scenes, images of things or pictures of life. Generally speaking, it refers to the images depicted in poetry. "Image" is the external image of poetry, and "Xing" is the deep meaning and emotion contained in the image. The combination of the two forms the "Xing" concept of the poets in the Tang Dynasty, which has become a high artistic realm. The theory of "looking at the stars" shows that the Tang people's grasp of artistic image has shifted from focusing on the perception of appearances to exploring the inner spirit.

Such as: Liu Zongyuan's Jiang Xue;

There are no birds on a hundred mountains, no footprints on a thousand roads, a boat, a bamboo cloak, and an old man fishing in the cold Jiang Xue.

The poet wrote his noble, detached and incorruptible personality with images such as "absolute", "extinction", "loneliness" and "indifference". The poem uses typical generalization techniques to describe a wonderful snow scene in the Han River, and outlines the image of a fisherman fishing alone in the snow, further expressing the poet's pride and loneliness after being beaten in Yongzhou. The image of "fisherman" is the sustenance of the poet's thoughts and feelings and a portrayal of his personality and character.

Another example: He Zhangzhi's "Singing Willow";

Jasper dressed as a tree, hanging down ten thousand green silk tapestries. I don't know who cut the thin leaves, but the spring breeze in February is like scissors.

This object-chanting poem is about willows in early spring and February. The first two sentences describe the delicate and charming willow leaves and their gentle charm, while the last two sentences are associated with spring breeze and willow leaves. Through novel and ingenious metaphors, they not only play up the role of spring breeze in nurturing everything and cutting spring scenery, but also hint at the delicacy of tender willow leaves. By singing willow leaves, we praise the spring breeze, publicize life and praise all creative work. The first three sentences are "Xiang" and the last sentence is "Xing".

Meng Haoran's Passing the Old Village;

This old friend prepared a delicious meal and invited me to his hospitable farm. Green Woods surround the village and green hills are located outside the city. We opened your window overlooking the garden and fields and let it slip, Summer. Please come here to see chrysanthemums when the ninth festival comes.

The whole poem vividly depicts the beautiful rural scenery, simple family life, pure friendship between host and guest, and the poet's natural and comfortable feeling of being intoxicated in the countryside.

Another example is Li Shangyin's Leyuan Scenic Area:

In the evening, I was unhappy and drove to Gu. Sunset, infinitely beautiful, only near dusk.

The "image" of the whole poem is not distinct, but the meaning beyond the image it pursues gives people a sense of beauty. In the meantime, the metaphor of the Tang Dynasty is like a "sunset", which gradually declined, showing the poet's regret for the decline of the Tang Dynasty. "to see the sun, for all his glory, buried in the coming night" has become a famous sentence that has been passed down to this day, used to describe sad feelings.

For example, Gao Shi's frontier poems express homesickness and homesickness. "Snow is clean and horses are grazing, and the moonlight river flute is guarding the building." Excuse me, where did the plum blossom fall? The wind blew all over the mountain overnight ("Listen to the flute"). "The prodigal son joined the army, and Emei Chanjuan kept the empty boudoir. It's natural to cry alone, but when the situation returns, you can smell the birds crying at night (Song of the Frontier) and "Still in the front line, the real armor is in rags, so it's time for Yu Miao to cry after leaving. Still in this southern city, the young wife's heart is broken, while the soldiers on the northern border are looking for their homes in vain "(Ge Yanxing).

Gao Shi's poems describe the frontier customs, and the trend of image rejuvenation is particularly obvious. Such as "Yingzhou Song": "Yingzhou teenagers are tired of vilen and hunt alone at the gates. Drinking a thousand points is not intoxicating, and Hu can ride a horse at the age of twenty. " "Tribal Song": "Fan Jun walks by the fort, blowing autumn on behalf of the horse. Veterans wear golden armor, while E Shi wears a golden robe. Zhou put the leopard tail and red fork into the wolf's head, showing the lifestyle and strong and brave spirit of the frontier ethnic minorities. Plain and heavy, it is a typical realistic pen and ink; Gao Shi always reflects life according to its true colors, observing life like a flat mirror, rather than reflecting life like a three-shuttle mirror. Such as homesickness, Gao Shi is "the cold light of the hotel does not sleep alone, why does the guest's heart turn sad?" My hometown thinks a thousand miles tonight, and it will be another year tomorrow "("Night Talk "). Zuo Yunlin said in "On the Artistic Achievements of Gao Shi's Poetry": "Gao Shi's poetry mainly adopts realistic creative methods. Looking at Gao Shi's poems, we can say that he is a realistic poet. ..... Normal universities always reflect objective things according to their inherent characteristics and the logic of life itself. To put it simply: realistic writing, realistic technique and vigorous brushwork. With the courage and courage of a politician and strategist, he profoundly revealed the drawbacks of the border defense policy and stated his views on the war, which was obviously political. He not only opposes the policy of compromise and being close to the people, but also opposes the strategy of fighting for a long time, that is, "the struggle is not long, and the pro-Africa is far-reaching." The former has caused frequent border troubles such as "the frontier is full of dust and dust in the north, and Lu rides south". The latter "built a pavilion in Wanli, and the Han soldiers were still ready for Hu", which caused a waste of people and money; He advocated "always sweeping the desert and fighting Khan". Concentrate on the success of World War I and never suffer from it; He believes that the purpose of war is "to make friends with ordinary things, and the whole life will be turned upside down." The aura suburbs add weather, and Wan Li is absolutely smoky ("Poems of the Shogunate of Xin 'an King"), which means that "the frontier court is absolutely Diao Dou, and the battlefield becomes firewood. The night is not awkward, and the mouth is long and the mouth is rustling "("Looking at Judge Yang Shang Biechang ") to eliminate the war with war and promote peace with war; He opposed militancy and abuse of force; "Korea's family can use force to develop a barren foreign land. ..... Try the pavilion, I want to cry. "("Ji Men Er ") He exposed the improper tactics of the commander-in-chief and the master, which led to a great defeat:" Sweep the guns and spin the bees "("Farewell My Concubine "17 Guanluo)," Five generals went deep and the former army stopped halfway "("The Return of Jibei "); He accused the frontier commander-in-chief of hiding the defeat, playing the meritorious military service in vain, and was awarded the honor: "Go back to Jinggao East Street, fight and ride to spread the defeat to the west. Flying away from the desert, I built Chang' an. " ("Fifty-seven Farewells") He is worried about stealing and bullying to guard against waste. Land Rover is fierce and stubborn: "Why is the border town depressed and Huang Yun fainted in the daytime? In the battle of the battlefield, the long-tailed fox was repeatedly harassed and sad. No safety book? The generals are very kind. " (Ji Zhong Zuo) He admired martial arts, but he also opposed indiscriminate killing: "Clear the field by the temple, and you will be rewarded if you kill it" ("Nine Articles of Doctor He and Member Li"); While celebrating the victory, he also noticed new troubles. He angrily denounced the evil spirits for playing politics and unfair policies: "Every day, the elite are trained, and the enemy is wiped out. Offer the son of heaven in Katsumi, and discuss how to capture Khan. ..... whose vertical and horizontal strategy has turned into strength. The general is sad, but the messenger is also bitter. This is the main aspect of the aesthetic taste of Gao Shi's frontier poems, and it is also the concentrated expression of his creative personality.

Some beautiful poems about the scenery, such as "the rushing rapids sound like arrows, and the city heads are like bows". None of his frontier poems are pure landscape poems, and the scenery involved is just a touch of reason. His aesthetic taste and creative orientation lie in social beauty, politics, military affairs and people's feelings, which are related to the overall situation. The Book of Old Tang Dynasty is highly recommended. "I thank my economic strategy, my rich talents, my long-term strategy and my long-term vision. I can be a loyal minister. " "Le Yan" Wang Ba is bold, famous for his service, honest, in trouble, and takes safety as his responsibility. "Gao Shi" also claimed that "I will draw a good picture tomorrow, and I want to move the princes" (the second part of "Three Poems of Dongping Road"), and "I am always grateful and willing to win the war" ("Frontier fortress"), so "China's Soul of Morale" was naturally discussed by Chu Shi.

Gao Shi's frontier poems are simple and natural, refined and lively, vigorous and powerful.

Wang Wei's later poems, such as Chai Lu, are more in pursuit of "promoting images";

No one can be seen in the silent valley, only the voice is heard. Return to the scenery and shine back on me from the moss.

This poem describes the quiet scenery of empty mountains and deep forests near Chai Lu in the evening. "Those who are deeply silent, every time they are set off by sound, feel deeper" (Qian Zhongshu's Tube Cone) writes the realm of emptiness, quietness and quietness. "Sound" refers to echo in ancient times, and the author uses this "image" to express his own personal experience of the ethereal realm of "Buddha country" and his diligent pursuit of noble personality.

Another example is Wang Wei's "Send Yuan Er Shi An Xi":

The rain in the early morning moistened the dust of the land, the inn of the inn, the branches and leaves of the inn, and a new leaf I advise you to have a glass of wine. There is no reason not to go out.

The "image" of the whole poem is obvious, and the first two sentences of the poem write farewell scenes; The last two sentences are about friends' deep feelings of parting and heavy wishes for the future, but the "image" is also very special. I don't write about the ecstasy and sadness of parting. From the words "green" and "new", I see the author's light and hope, which shows the author's positive and optimistic attitude towards life.

Of course, the characteristics of "star-oriented" in Tang poetry are gradually divided in the continuous development, one of which develops into "artistic conception theory" and the other into "verve theory" Formed the unique artistic characteristics and aesthetic style of Tang poetry.

-[repost] Professor Lin Jizhong: Let the image play.

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The article does not intend to stay on the original intention of a concept put forward by an ancient man, but intends to return it to the practice of creation and criticism to enrich its connotation, which is quite different from the construction of new poetry theory.

The ancestors attached great importance to the relationship between words, meanings and images. The Book of Changes said: "The sage has a vision of the world, but he intends to describe it as if it were its thing, so it is called the image." Wang Bi's "A Brief Example of the Book of Changes: Xiangming" also said: "The husband is like, and the meaning is also; The speaker is also a bright image. Do what you want, just like you said. " The ancients knew very well that image is a bridge between words and meaning. The image of philosophy and the image of literature are therefore homologous. Not only that, but also, as we all know, the methodology of Metaphysics and Zen Buddhism in later generations constantly influenced the development of China's literature and art, and then the two images seemed to be neck and neck.

Therefore, the ancients said that these two images have many similarities and few differences. The disadvantages of the theory of verve and its desirability lie in the understanding of the word "image"

Choosing the word "Xiang Xing" to comment on poetry was first seen in Yin Kun's "He Yueling Photo Album" in the Tang Dynasty. Check the complete works, you can get three places:

Syria Day:

Her husband's prose was inspired by God, spirit and emotion ... but it's a pity that the ancients didn't argue about the emblem of officials and businessmen, and the quality of words was ashamed of teachers. Therefore, attacking heretics, making mistakes, and being unreasonable, words are often redundant and uninteresting, but expensive and light. Although it is full, it will be useless!

Comment on Han Tao:

Poets throughout the ages, who have both poetry and painting, are rare. Let Shen Tao really tell both: the power to stimulate the image and restore the character.

Comment on Meng Haoran:

Haoran poetry, Wen Caifeng (with grass head) velvet, dense latitude and longitude, semi-elegant tone, all cut the body. As for the' farewell to wine in the mountains, poems on isolated islands', no matter what the image is, the same is true.

"Xiangxing" is the antonym of "glamorous and gorgeous", which is compatible with "character" and "truth". Yin didn't answer "what is this", but he told us "it's not what".

Contrary to lightness, Xiang Xing should refer to a style that is not lightness; Together with personality, it should be an intrinsic quality of a style besides vigor. For example, Meng Haoran's poem: "The mountains are far away from wine, and the islands are inscribed with poems." Yin called it "no matter what the image is, it is also true." As long as Xie Lingyun's "truth" is excluded, the remaining "improvisation" will have "image".

According to this, we can roughly circle the scope of "towards the star": it refers to the inherent quality of a poem that is vigorous in style but not superficial, and its formation is related to improvisation.

I always thought that the ancients might not have separated the content and form so clearly as they do today. Speaking with vigor and vitality not only refers to the concise and powerful external characteristics of language style, but also refers to its touching power from the inside out, which is both content and form, and also the process from content to form itself. Similarly, talking about images means not only the static composition of images and images (vivid images contain interesting charm), but also the dynamic process itself, in which things and I meet and achieve the effect of blending scenes. So Yanshi commented on Wang:

Uygur poetry is elegant and agile; The meaning is novel and reasonable. It is a pearl in spring and a painting on the wall. Every word is different.

The scenery remains unchanged, but the meaning needs to be new and the theory needs to be complete, making it an artistic scenic spot of "the pearl of spring comes and is painted on the wall". Comments on Zhang Wei say more clearly:

It is said that the old man Zhou Bei answered, drank wine in the lake and walked around outside the material feelings, but everyone didn't say anything, so why go back to explore historical sites and then start looking for ghosts?

Try reading Zhang Wei's Wine in the Lake;

Sit on the lake to enjoy the moon at night and walk up the mountain during the day.

My eyes are full, and everything in my heart seems very relaxed.

The owner has more than 100 stones, so he should count the mud in buckets without hesitation.

That is to say, I am relatively unhappy today, and what good will it do to miss you in the future!

I hope you can stay at Huang Weng's house.

This person is not drunk, the scenery is uneven and lonely.

This creative method of "improvising" is obvious, which is consistent with the taste of the phrase "mountains and waters are far away" quoted by Meng Haoran when commenting on it. As long as the environment remains unchanged, Yin's emphasis on the poet's interest must be novel. Comment on Cen Shenyun: "The language of participating poems is strange and solemn, and the meaning is also strange"; Comment on Helan Jin Ming: "There are five more difficult to walk, and many new ones"; Comment on Wang: "Love adventure and stay away from nature." Yin, on the other hand, pays more attention to "distance" and comments: "Keeping public poems, emphasizing high-profile and easy-going, with far-reaching interests and deep feelings"; Comment on Liu Da (this word can't be typeset) Xu Yun: "If you pile up empty poems, you will feel quiet and far away, and you will think strangely, and suddenly you will get something that will surprise everyone." If you have a high interest, then you will encounter a pleasant scenery and "suddenly gain something". This is an interesting masterpiece. Therefore, open-book review is often based on:

Jianshi seems to have arrived in the village from the beginning, but found a wild way hundreds of miles away and returned to the avenue. Therefore, its purpose is far-reaching, its popularity is different, and there are still many good sentences to come. Love began to flourish. After hard thinking, I said something strange in the middle and finally gained something and made a good sentence. Such an artistic image can often reflect the original intention of being far away from home. Yin used the image language of "getting through the village at the beginning, but looking for a hundred miles of wild paths and returning to the main road" to express the process of obtaining images with good intentions. In particular, it is worth noting that the artistic effect of Yuanwei comes from the inner interest of love.

Let's go back to the example of Yin's criticism. Yin's interests can be roughly divided into two categories: one is noble and straightforward, such as "I don't know who is brave, but I still remember", "Killing people on the Liaohe River, riding a horse to get Yang", "One person is useless, and Wan Li is depressed"; One is a situational sentence with affection, such as:

The moon in the middle of the pine forest is shining like a husband. (Chang Jian)

Here, birds live in the mountain light, and people's hearts feel quiet in the pond. (Chang Jian)

The sunset is beautiful, and the ship will return to the air. (Wang Wei)

Houses are built with clothes that attack people, and mountains and moons reflect stone walls. (Wang Wei)

The loose color shines on the water and someone is heard. (Liu Daxu)

The autumn wind in the mountains blew into the open forest, and the leaves rustled as if someone had entered the forest. (Cen Can)

The cold wind blows the long forest, and the day is set up. (Yukime)

The shadow of the tower hangs clear, and the bells are ringing white clouds. (mother dive)

The small door into the pine and cypress, empty. (Chu Guangxi)

Most of the scenes are very ordinary scenes, but they are full of romantic feelings and quite meaningful. All these can be regarded as the concretization of Yin theory.

Now, we can clearly outline Yin's "":it is the combination of the poet's distant interest and real scene, and it is the creative process of "improvisation" and its meaningful artistic effect.

We are interested in the ability and vitality of this concept. In such a big blank circle left by Yin, how did later generations combine shapes and images? Xing, Bi Xing? Send fun? Feeling excited? Image, image? Image? Scene? Between Xing and Xiang is the subject of Xing, the object of Xiang, the subject of Xiang and the object of Xing. Or is "Xing" and "Xiang" the guest and the host? Xing in the elephant? Xing is an external image? There's an elephant outside the elephant? Si Kongtu, Yan Yu, Hu Yinglin, Wang Shizhen, Fang and even modern people all combined the Rubik's Cube in spring according to their own ideas.

Yes, the vitality of the theory comes from the juxtaposition of terms and the determination of both ends, but the relationship between them is uncertain, thus leaving a lot of space and capacity. As a result, Xiangxing surpassed Yin Kun's original intention and gained eternal life.

Chen Ziang's theory of "good luck" has a great influence! But it's easy to send. "Wen Xin Diao Long Bi Xing" has a cloud: "Therefore, a comparison is attached; Ye Qi traveler. People who are persistent in principles, cutting lessons and referring to things; People in love propose marriage by micro. From love, standing, and rational proportion. " Liu Xie is opposed to re-managing, so he said, "Everyday use is almost the same, and I forget it every month, so I learn small and abandon big." Zi Ang advocated posting in prosperous times, originally to promote prosperous times and criticize Qi Liang's use of Bixing style. However, the tendency of "posting" in Prosperity and Posting is too strong, which often makes people ignore the independence of the image. Just think of it as a home of righteousness and reason, that is, a zone where one is "attached to reason". The word "Xiang Xing" was invented by Yin family, which not only kept the word "Xing" but also made it independent, so that the combination of Xing and Xiang was not hermit crab-like, which could avoid the disadvantages of attachment, which was really Zi Ang's initial intention. As mentioned above, Yin's On not only refers to the creative effect, but also includes the creative method. It is pointed out that the artistic effect with far-reaching charm comes from the deep feelings and interests, and Xiang Xing has met with me, so Bi Xing, the Literary Mind and the Carving of Dragons, says that "the poet is better than Xing" and the Preface of Poetry says that "the writing is full of interest"

I'm touching things, and I have something to say.

Please pay attention to such a basic idea: the ancients in China advocated "the unity of heaven and man" and "the human heart reaches heaven". Literature and art also try their best to show the harmony between man and nature. This is especially true of the pastoral poems in the prosperous Tang Dynasty, and the famous sentences in Yin's Collection of He Yue are enough to prove it. The theory of "towards the stars" can embody the equality between man and nature. It is neither the "empathy" of people to things, nor the "symbol" of the conceptualization of things to people. People and things are mutual induction.

The human mind touches peace in a pool of water, and the beauty of the mountains is even more pleasing to Wu. (quoted above)

This is Wen Xin Diao Long. Looking for the so-called "eyes are still in the past", the heart is also breathing. ""Love is like a gift and a return. "This is the inductive relationship between things and me.

What did the poet say himself?

Zhang Songjie's "Cold Tang Poetry" has a cloud: "The ambition (Du Fu) is so accumulated; The scenery in front of us is appropriate and meaningful, just in the sound of poetry. Among the six meanings, the so-called Xing Ye, Xing is touched by the scenery. This is taking things. " The spiritual harmony between Zhang Shuo and Shuo is also the heart of Du Fu's poetry. Du Fu's remarks about Xing are numerous. Here are a few examples to illustrate this point:

Sitting late opposite Qinshan, the Jianghu is quite popular. (Accompanying General He Lin)

Xing Yuhui (General Book Road Map)

The mountains lead to prosperity ("Five Poems of Autumn Wild")

Prosperity in the wild ("Sister Xiao Shu's analysis of Shebei fruit forest ...")

There is also the meaning of "improvisation", but Du Fu seems to prefer to use the word "prosperity":

Yunshan has flourished, and Yu Pei is still singing. ("Accompany Li Beihai to the Lixia Pavilion Banquet")

Create a secluded place and develop our own generation. (Zhang Wan Tan)

On the bank of Tingxi in Zheng County, the number of households is high and new. ("Tizheng County Pavilion")

The guest met an old friend and rose from the fairy. (Chunjiang Village)

Where does prosperity come from? Self? The strong dynamics of the self-sustaining word "Fa" can really show the situation that things and I are excited and mutually generated. If "touching things roundly" is suspected of moving from "I" to "things", then the word "faxing" accurately and powerfully expresses the inductive relationship between things and me. Li Bai, who is not involved in poetics, inadvertently expressed this relationship beautifully:

You look at me, I look at you, and there are only my eyes and Jingting Mountain's eyes. (Sitting alone in Jingting Mountain)

The juxtaposition of "Xiang Xing" is also a rational sublimation of this perceptual knowledge.

The reason why "Xiang" and "Xing" achieve such an independent and equal juxtaposition is that Taoism "witnessed the existence of Taoism", so there are many ways of thinking. "Zhuangzi Tian Zifang" cloud:

Luz Ri: "My son has been wanting to see Wenbo Zi Xue for a long time. Why not talk about it?" Zhong Ni Day: "If this lady witnessed all this and Tao survived, she can't keep silent!" "

Guo Qingfan notes: "The meaning has been reached, but there is nothing left in it." The presentation of things themselves can replace the interpretation of words. It is based on this understanding that Jin talents replaced the preaching of Tao with the observation of mountains and rivers, which is the so-called "thinking from the eyes". As a result, landscape poetry stood out from the vassal of metaphysics and became a big country. If we consider the "remote ancestor" of landscape poetry-the landscape sentence used to cheer up the spirit in folk songs, the relationship between landscape scenery and word meaning will be more clear. Mr. Lin Geng said:

Just as some poems can often be used in many lyrics, some landscape poems can often cause many associations ... Although landscape poems are not only rising, they are often full of inspiration.

Landscape is used for prosperity, but it is independent of prosperity; Landscape scenery is used to express Tao, but it is liberated from metaphysics. It is so complete and self-sufficient that the image of art can be distinguished from that of philosophy. At the same time, it obtains "inheritance" from "parents" who are "sexual" and "witness the existence of Tao", and has the characteristics of multiple enlightenment and extra-image directionality. Perhaps it is this character that leads to the self-sufficiency of scenery description in China's poems, which is unmatched by western poetry and is worshipped by modern western imagist poets.

This kind of "elephant" character was not perfect before the Tang Dynasty, and it was not until the flourishing of pastoral poetry in the prosperous Tang Dynasty that merit was complete. So when the melon is ripe, "Xiangxing" replaces "Jixing".

How about taking a step forward?

In The Old Legend, Wang Changling talks about poetry in terms of "poetic realm". There is a cloud: "God is in the heart, in the realm, seeing the realm in the heart, in the palm, thinking again, knowing the image of the realm, so it is similar"; "Looking for images, caring about people in the environment, and understanding things are obtained from the heart"; If you witness something, you will hit it with your heart and penetrate its territory. When you climb the top of the mountain, you will face Vientiane, such as in the palm of your hand. " "Scene" is an object and an image, but it emphasizes the overall effect of the image. It should be said that this is richer than the "image" of "towards the stars" and can better summarize the characteristics of poetry in the prosperous Tang Dynasty. This is undoubtedly a big step forward.

However, it may be that "poetic style" is originally a genre that teaches people to write poems, so it is inevitable that the definition is too clear and too firm, which makes "essence" lose its due flexibility and capacity. On the contrary, it is not as good as the gas field and ability of "the two ends are clear, and the relationship between Xing and Xiang is unclear".

"Against the movement of Tao." In order to correct the prejudice that people in the middle and late Tang Dynasty were too realistic in holding poems, Si Kongtu put forward "three views": "meaning is beyond rhyme", "image is beyond image" and "meaning is beyond taste". Today, theorists have talked a lot about this, and the author has no new explanation. He just wants to make a slight comparison between "the image outside the image" and "the image in the image".

Sun Liankui, a Qing Dynasty man, wrote in his "On Poetry": "Zhong Rong's past poetry creation is to trace the source. If Si Kongtu's poem is to imitate the gods and take pictures. " It can be said that it was an instant hit. Sikong said that "the image outside the image" is to copy the real image to get its spirit, that is, the so-called "anger far away, immortality" in the Soul of Poetry is an artistic image. The former image is reality, and the latter image is "the poet's scene". The Book of Jipu makes it very clear:

Dai Rongzhou said: "The poet's sight, such as the sunny sky in Lantian and the rich jade producing smoke, can only be expected but not placed in front of him. "Like the image outside, the scene outside, easy to pale!

How to copy the gods and take pictures? Don't make "poetic" death sentences when you are a stranger, and the cloud "surpasses the image and gets the ring", which can reach the majestic realm; "Encountering bandits is deep, that is, the rarer they are, the more likely they are to shake hands", which can dilute the environment/the only place to live and really take care of them. Controlling things from wealth, the rate is a period of time, and it can reach the wilderness. We should not focus on the method of shooting images, but on the mentality that we should have when shooting images. Therefore, it is said that "Qi is ethereal and rainbow" (Jin Jian), "True power is full and everything is nearby" (bold), "Qi is different from ancient times and indifferent" (clear gas) and so on. In Sikong's view, as long as you have a good attitude, "everything is around" ("bold"), "overlooking" ("nature") and "everything you feel is beautiful" ("reality"). As a result, Sikong took a key step towards the theory of "looking at the stars": advocating "similarity" ("description") and "ineffectiveness" ("implication"). This will lead the pursuit of "image" self-sufficiency to the pursuit of performance, that is, the pursuit of suggestion. If the image in the theory of ancient poetry comes from the parents of literature and philosophy, then the image without interest is more like her mother's literature and art, while the image outside the image is more like her father's philosophy.

This deviation is not only personal, but also contemporary. The emergence of a literary theory is bound to be related to contemporary creative practice, especially excellent literary theory. The theory of "looking at the stars" is the most mature and complete embodiment of the artistic philosophy of "witnessing the existence of Tao" and "conveying the spirit with images" since the Six Dynasties, and it is also a summary of the artistic characteristics of the blending of scenes and scenes in poetry in the prosperous Tang Dynasty. In the prosperous Tang Dynasty, people focused on the spiritual achievements of the world, even the pastoral works, also focused on the self-sufficiency of Chinese people in the "paradise on earth". This is very different from the literati's pursuit of spiritual comfort in the later feudal society. Xinghexiang is like electrodes at both ends, and poetry is an arc between two rooms. This is called "prosperity", and this is called "immortal boundless prosperity"!

In the Ming Dynasty, there was a cloud in Hu Yinglin's poem "Shi Pin":

Song people learn from Dodd's bones, not his flesh; Take its gas, not its rhyme; Understand the meaning of sound, color and death, not its image.

The same is true for later generations to learn Tang poetry. The most rare thing is that the flesh and blood of the Tang people stopped evenly and were full of blood. Too much admiration for charm will inevitably lead to emotion. From Si Kongtu's "departure" to Yan Canglang's "departure" and then to Wang Yuyang's "a little pen and ink", in all fairness, it is not without reason, but the word "elephant" is getting blurred and farther and farther. Therefore, all the kings advocated prosperous Tang Dynasty, but it was far from prosperous Tang Dynasty.

The distinction between the word "elephant" can not be careless!