Briefly describe the relationship between Wang Fu s concerns and situations

On the basis of inheriting the essence of the theory of situational relations in the previous generations, Wang Fuzhi broke through the limitations of his predecessors in the static one-way analysis of scenes, abandoned the shallow concept of scene truncation, explored the connotation and unity of situational relations in the dialectical relationship between subject and object and contradictory movement, and completed the summary of the theory of situational relations. This paper will discuss the connotation and significance of Wang Fu's situational relationship theory.

1. The connotation of the theory of situational relations.

As the most important part of Wang Fu's poetry theory, the theory of situational relationship mainly includes the following two aspects: from the perspective of poetry creation, it means that the poet's inner emotions and the natural scenery of the external world, the worldly and the worldly are mutually inspired, which arouses the poet's desire to express and finally presents it in the form of poems; In terms of specific expression, it also refers to the methods and techniques of how to deal with and coordinate the relationship between the emotional thoughts that will be included in the psalm and the natural scenery and the picture of life. + Wang Fuzhi's poetry creation theory pays special attention to the creation of artistic conception, he believes that the artistic conception of poetry is composed of two major elements: love and scene, and there are three ways to combine scenes: "love in the scene", "scene in love", and "wonderful harmony", the first two are classified as "skillful poets", and the third belongs to "gods and poets", that is, the highest state of situational relations.

1) Skillful in the poet's love in the scene, the scene in the scene.

The "scene in love" in Wang Fu's theory of situational relationship refers to the fact that poetry can make readers feel the existence of scenery images in the lyrical process. This way of combining scenes is mainly to express the poet's subjective thoughts and feelings, which is actually the objectification of the subject's emotions, that is, in the creation of poetry, the poet is inspired by specific things to express strong emotions in the poems, and can touch the reader through the distinct emotional image of the subject without a single word, so that the reader can be rich in association, and can appreciate the vivid pictures in the feelings, showing the aesthetic effect of "from virtual to real", and then sublimating the subject's emotions.

"Love in the scene" refers to the fact that the poem contains feelings in the writing of the scene, which is actually the subjective manifestation of the scene, that is, the poet embodies the inner emotions in the scene, so that the scenery is colored by "me", and the inner emotions are revealed through the description of the object scene. The "scene" here is not a purely objective external object that does not depend on human consciousness, but a scene that has been taken as an aesthetic object and presented in the subject's observation. In "The Eternal Dawn of Xitang", Wang Fuzhi proposed, "If you can't be a scene language, how can you be a love language?"

The ancients sang many swan sentences, such as 'high platform and sad wind', 'Hu Die flying to the South Garden', 'pond spring grass', 'Tinggao under the leaves', 'hibiscus dew whereabouts' are all there, and the love is in it. With the psychological romance of the scene, the subtlety of the unique metaphor in the body and mind is easily revealed". Just as Wang Fuzhi praised Liu Yuxi's poem "Songzi Crossing Wangxia", "natural emotion, all from the scene, Si said that the scene hides the feelings", "the scenery hides the feelings" can not only highlight the feelings through the scenes, but also make the expression of emotions more natural and true.