Wang Wei s poems There are paintings in the poems What kind of picture does the first and second sen

It depicts a vision. "Under the mountain" does not refer to the near mountain, but to the distant mountain, because there is a "distant village" as a companion under the mountain. It can be seen that the "distant village" implies the distant mountains.

And this mountain is adjacent to the "edge of the sky", so it can be seen even more far. Judging from the rendered atmosphere, there is no hustle and bustle of the city, only sparse villages. Although the poet does not show the activities of the characters in a positive way, he brings out the people from the ignition of the word "lonely smoke".

This shows that it is very sparsely populated. In particular, "Dushu" and "Lonely Smoke" are opposite, and "Plateau" and "Far Village" are connected, which makes it even more desolate and lonely. Here, the poet paints the distant mountains of the north, which have obvious local characteristics.

On the picture, the colors are thin. At most, you can comprehend that the lonely smoke in the distance still has a wisp of light gray, and the plateau on the horizon seems to have a layer of pale yellow. In this quiet world, there are Yaxing like Yan Hui and Tao Qian, how comfortable and free.

If you don't have the cultivation to the extreme, you can't achieve this wonderful state.

"Pastoral Music" is a group of poems composed of seven six-character quatrains, the title of which is "Six Words of Gongchuan", which was written when the poet retired to Gongchuan and said goodbye. In Wang Wei's pen, this poem is like a sparse and light ink painting.

"Lonely smoke and remote village under the mountain", wash away the strife in the world, there is no interference from the outside world, only the tranquility of nature. The poet indulges, appreciates, and revels, throws himself into the embrace of nature, and becomes one with nature. The poet's mountain, lonely smoke, distant village, skyside, lone tree, and plateau all beat the poet's pulse, echoed the poet's voice, and the poet's soul.

Thus, nature is personified. Wang Wei's depiction of nature reflects Wang Wei's diluted mood. The poet dissolves himself into nature.

This ablation means dilution. The poet is not transcendent from the outside of things, but integrated into things. What the poet pursues is this ethereal realm of selflessness, selflessness, and selflessness.

This phenomenon of giving nature the personality of a poet, this practice of turning rough nature into human nature, is the expression of Wang Wei's love for life.

The peach color contains the rain, and the willow green is more smoky.

The flowers have not been swept away, and the warblers are still sleeping.

The first and second sentences "the peach color contains the rain, and the willow green is more smoky", which depicts a picture of spring - the petals of the peach blossoms are slightly covered by overnight raindrops, making the color of spring more soft and lovely; The turquoise willow silk is wrapped in a vague morning mist, making the form of spring more charming.

It depicts a rural idyllic picture in early spring. In the smoke and rain, in the peach blossoms, this view is indeed very beautiful. Therefore, Wang Wei's poems have the beauty of painting.

The poem "Pastoral Music" by Wang Wei expresses the infinite pleasure of the poet after retiring to Gongchuan and getting close to nature, and also concentrates on the artistic environment of the author's landscape and pastoral poetry creation and the mental track after returning to nature, which fully embodies Wang Wei's poetic characteristics of "painting in poetry", which is a rare artistic treasure and an important material for future generations to study the development of Wang Wei's thought and poetry creation.

"Pastoral Music" generally refers to "Seven Songs of Pastoral Music", original text:

One. I am tired of seeing thousands of households, passing through the north and the south.

The government has a bottom, who does Kongtong distribute.

Second. Goodbye to the marquis of ten thousand households, talk about giving a pair.

Praise the coupling ploughing of the south acre, how to lie high in the east window.

Third. Cailing ferry head is in a hurry, and the cane is slanted in the west of the forest.

The fisherman by the apricot tree altar, the family in the peach blossom garden.

Fourth. The spring grass is green in autumn, and the long pine is cold in summer.

Cattle and sheep return to the village lanes, and children don't know how to dress.

Fifth. The lonely smoke is far away from the mountain, and the sky is a lonely tree plateau.

A scoop of face back to the alley, Mr. Wuliu to the door.

Sixth. The peach color contains the rain, and the willow green is more smoky.

The flowers have not been swept away, and the warblers are still sleeping.

Seventh. Drinking wine will be near the spring water, holding the piano and leaning on the long pine.

The dew sunflower in the south garden folds in the morning, and the yellow sorghum in the east valley is in the night.

There are seven poems in this group, each of which is a separate chapter, and when connected as a whole, all of them describe the beauty of nature and pastoral life. The group of poems shows the pastoral life and natural scenery of Gongchuan from different angles, and expresses the poet's life attitude and spiritual realm in a profound and euphemistic way.

Pastoral music Wang Wei.

The peach color contains the rain, and the willow green is more smoky.

The flowers have not been swept away, and the warblers are still sleeping.

Translation: The petals of the peach blossom still have last night's raindrops on them. After the rain, the willow trees are green and shrouded in morning smoke. The garden was sprinkled with petals from the rain, and the children had not yet cleaned it. The yellow warbler is crying, and the mountain guests are still asleep.

Two: The red peach petals still contain last night's raindrops, and the willow trees after the rain linger in the morning smoke. The petals that were knocked down by the rain last night have not been cleaned by the children, the yellow warblers are crying, and the mountain guests are still sleeping.

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The meaning of the poem "Pastoral Music": The red peach blossoms still contain the new rain overnight, and the green willow silk has a faint spring smoke. The children at home did not clean the petals, and the yellow warbler cried and the idle mountain guests were still asleep.

Source] "Pastoral Music" - Tang Wang Wei.

The peach color contains the rain, and the willow green is more smoky.

The flowers have not been swept away, and the warblers are still sleeping.

Tang poem "Pastoral Music" animation early education, how many parents still teach their children to learn poetry and songs.

On the petals of the peach blossoms, there are still last night's raindrops, the willow trees are green, and they are still shrouded in the morning smoke, the peach blossoms are falling all over the ground, the children have not yet gotten up to clean, the yellow warbler is crying, and the mountain guests in the mountains are still sleeping.

The petals of the peach blossoms still bear the raindrops of last night, and the willow trees are green and shrouded in the morning smoke. The rain-beaten petals are sprinkled all over the courtyard, the children have not yet gotten up to clean, the yellow warblers are chirping, and the guests living in the mountains are still sleeping.

The petals of the peach blossoms still bear the raindrops of last night, and the willow trees after the rain are green and shrouded in morning smoke. The petals that were knocked down by the rain were sprinkled all over the courtyard, the children had not yet gotten up to clean, the yellow warblers were crying, and the mountain guests were still sleeping.

"Seven Songs of Pastoral Music" is a group of six-character poems by the Tang Dynasty poet Wang Wei, which shows the infinite pleasure of the author's closeness to nature after retiring to Gongchuan.

Seven Songs of Blind Imperial Music in the Pastoral Forest is a rare artistic treasure, and it is also an important material for future generations to study the development of Wang Wei's thought and poetry creation. The inspired core of Wang Wei's poetic aesthetics is the word "quiet", and it is precisely this "quiet" that this group of poems expresses. His tranquility is not to blindly write about the tranquility of the environment, but to focus on the tranquility of the mood. This rock.

On the basis of outlining the scenery, Wang Wei has color, and the use of the two color words "red" and "green" makes the scenery bright and pleasant. The reader's eyes will be shivering before the picture is clear. The shading is followed by a further layer of glide rendering:

The dark red petals have a slight overnight raindrops, the color is softer and lovely, and the air is fresh after the rain, diffusing the fragrance of rising flowers; The turquoise willow silk cage in a hookah is even more charming.

After layers of rendering and meticulous depiction, the poetry becomes a picture of fine brushwork; Because there is a "suyu rain", there is a "flower fall". People ask about the scene of falling flowers all over the ground, which has a quiet interest. The author writes about the interest in the stillness through the combination of movement and stillness, which still gives people the feeling of fresh and bright beauty.

From the environment to love, there are paintings in the poems. is the most significant merit of this poem.

"After the new rain in the empty mountain, the weather is late in autumn. The bright moon shines among the pines, and the clear spring stone is upstream. The bamboo noise returns to the Huannu, and the lotus moves the fishing boat.

Feel free to rest in spring, and the kings and grandchildren can stay. It describes the scene after the rain in the evening of autumn in the mountains, and the first couplet "After the new rain in the empty mountain, the weather comes late in autumn" is closely related to the title of the poem, showing the picture of the autumn in the mountain dwelling. The word "emptiness" defines the environment of the quiet mountain and the state of mind that transcends the world.

Jaw and neck couplets "the bright moon and pine shine, and the clear spring stone is upstream." The bamboo noise returns to the Huannu, and the lotus moves the fishing boat. "Quiet and vibrant, like an ingenious movie shot, showing the poet's comfortable and leisurely feelings.

Specifically, it vividly depicts the scenery of the mountain dwelling in autumn: the plain moon after the rain is clear and bright; The pine forests in the mountains are sparse and high-clean; The clear spring on the stone is cool and refreshing. The words "zhao" and "flow" are endowed with dynamic scenery and constitute a tranquil, quiet, bright and smooth realm.

Laughter came from the bamboo forest, the raccoon girl returned in the moon, the lotus leaves moved, the fishing boat broke the leaves and floated down, from the scenery and people, constituting a lively and brisk, vibrant realm. This two-piece is set off with movement, quiet, sound, light, and color, and is suitable for contrast. The tail couplet "Feel free to rest in spring, Wang Sun can stay" points out the affection of following nature and staying in the mountains for a long time, and "staying" corresponds to the first sentence of "emptiness", reaching the realm of people and materialization, heart and environment.

The fresh and beautiful autumn mountain scenery and the leisurely and quiet seclusion of the whole poem are harmoniously combined, and the artistic conception is beautiful. It uses words to paint a picture of life that seems to be seen and touched, and it is a picture with sound. The opposition between movement and stillness, emotion and scenery makes the picture, sound, action and even the fragrance of flowers and plants skillfully integrated in the poem.

This is what Su Shi commented, "There are paintings in poems, and there are poems in paintings"!

In short, from Wang Wei's light and elegant brushes, one can often feel a tranquil and indifferent state of mind, giving people a philosophical association.

1.There is painting in the poem, that is, the high unity of poetry and painting, which is the most significant feature of Wang Wei's landscape idyll. In the creation of poetry, it is used to maximize the enlightenment role of language, arouse the reader's association and imagination of light, color and state, and present a painting in the brain as if it were in the purpose, so as to achieve the effect of supporting things and conveying feelings.

He is good at integrating color, line, composition and other painting techniques into poetry creation, so that the poems have distinctive color beauty, line beauty, composition beauty, as well as a strong sense of space and three-dimensionality.

2.With sound and musicality, with the best cultivation and attainments, grasp the sound of natural landscapes, with the beauty of composition, color, beauty, and dynamic beauty.

For example, after the new rain in the empty mountain in "Mountain Dwelling Autumn Twilight", the weather is late in autumn, the bright moon shines among the pines, and the clear spring stone is upstream. The bamboo noise returns to the Huannu, the lotus moves the fishing boat, and the spring is resting at will, and the king and grandson can stay.

The mountains and fruits fall in the rain, and the grass and insects chirp under the lamp. "Sitting Alone on an Autumn Night".

Ten thousand ravines and trees are towering to the sky, and thousands of mountains are ringing rhododendrons. "Sending Zizhou Li Zhijun".

3.Wang Weishi's most common words are emptiness, quietness, and Zen. Wang Wei believes in Buddhism, and his poems do not use Zen language but always have Zen principles.

The middle age of "Farewell to the South" is quite good, the late home in the south of the mountains, every time he goes alone, he knows that he is empty, he goes to the poor place of water, sits and watches the clouds rise, and occasionally values Lin Suo, and there is no return date for talking and laughing.

People are idle and osmanthus falls, and the night is quiet and the spring mountain is empty. The moonrise frightens the mountain birds, and the spring stream sings.

The realm is quiet, but not dead and silent, there is movement in the stillness, and there is sound in the silence, which contains the free and lively vitality of nature, revealing the protagonist's tranquil and leisurely emotions, thus giving people a quiet and beautiful enjoyment.

The image of the landscape and the poet's self-image are more in harmony and blended together, which is the most unique artistic attainment of Wang Wei's landscape idyll.

Wang Wei, a poet of the Tang DynastyLandscape idyllThe general characteristic is that "there are paintings in poems, and there are poems in paintings", and he writes with the eyes of a painter and the feelings of a poet, and writes about things in a natural and interesting manner, quiet and beautiful, and ethereal charm.

First of all, he can not only describe the majestic scenery in a general way, but also depict the dynamics of natural things in a detailed way, and skillfully capture various images suitable for expressing his interest in life, forming a unique artistic conception.

This kind of poetry is majestic, the artistic conception is broad, the brushwork is white, the thick lines are outlined, and the angle is full of changes. Such as "Zhongnan Mountain".

The poem starts from the main peak, sweeping the whole mountain, and writes the majestic momentum of Zhongnan Mountain, just as the contrast between the human body and the mountain is often used in landscape paintings.

Secondly, he completely integrates the beauty of nature with the beauty of the state of mind, creating a pure poetry that cannot be brought together like a mirror flower of the water and the moon. "View of the Han River".

First write about the situation of the trapped land in Chudi, and write about the river in the middle.

The vast landscape, the end of the writing lingering affection.

The thick line is outlined, the realm is stuffy and magnificent, all of which are written in white, and even do not write whether the mountains are blue or purple, thick or light, only say that if there is nothing, it is like an ink landscape painting. The poet grasps the overall impression, and uses poetic thoughts rather than images taken by the naked eye, showing the scattered perspective of Chinese painting.

artistic effects.

Thirdly, he is good at capturing the light and color of natural things in motion, and expresses a very rich sense of color and layering in his poems.

For example:

The sunset rivers and lakes are white, and the tide is blue"; "The sound of the spring swallows the dangerous stone, and the sun is cold and green pine". He is also good at capturing the moving moments of sound, color, picture, and feeling, and unifying them in the artistic conception that can best convey the emotional rhyme, and expressing them in appropriate language.

Such as the landscape poem "Birdsong Stream."

People are idle and osmanthus falls, and the night is quiet and the spring mountain is empty. The moon rises and frightens the birds, and the spring stream sings", the poet writes the movement with stillness, writes the static with the movement, and combines the movement and the static, bringing the reader to a more beautiful and profound artistic conception.