Li Yushi s ideological content and artistic achievements

Li Yu is good at using white to describe the mood and psychology of characters, breaking through the tradition of five pronouns in the late Tang Dynasty and developing poems that sing about life.

Li Yu was a very well-known poet in the Southern Tang Dynasty, his style was original, created a graceful and beautiful style, and also had a profound influence on later generations.

First of all, he promoted the development of ancient poetry, and secondly, he created many excellent words, and also had a great influence on later lyricists.

Li Yu was the queen of the Southern Tang Dynasty and a very well-known poet. His talent is also very high, and he has always been writing about the helplessness of the country's ruin.

This is because he has experienced many ups and downs in his life, so his understanding of life is stronger, and he can be described through different artistic means.

Because his works allow us to see the essence through phenomena, he is a king of a dead country, and his works have lamentations about the helplessness of fate and the impermanence of life.

With heart and affection, graceful poet's heart. Writer Yang Daxia Yang Ke expressed.

Li Yuci's artistic achievements are mainly manifested in: He is good at using white drawing techniques to convey the mood and psychology of the characters, and seeing novelty in the ordinary. In terms of creating images, white drawing techniques require concise brushwork to outline vivid and perceptible artistic images, which is destined to be the language used to express these images must also be clear, simple and concise.

Such as "Waves and Sands":

Outside the window, the rain is murmuring, and the spring is beautiful. Luo Ji was impatient with the cold of the five watches, and he didn't know that he was a guest in his dream, and he was greedy for joy for a while. Alone without relying on the column, infinite rivers and mountains, it is easy to see when it is difficult to see. Flowing water and flowers go in spring, heaven and earth.

He is good at using metaphors, contrasts and other rhetorical means to transform abstract and indescribable psychological activities into concrete and perceptible images, creating an artistic conception of scene blending. For example, how sad can you be! It is like a river flowing eastward.

The writing is natural and real, and the feelings burst out like a fountain and cannot be stopped. Li Yuci not only writes sorrow and indulgence, but also expresses joy and indulgence.

The language is simple and vivid, but intriguing, reaching the perfect realm of straightforward and popular and concise image. Li Yu's use of white drawing techniques is indeed difficult to write, such as the superb skill in front of him, which is obviously different from the language used in Huajian Ci.

His contribution to the lyrics lies in breaking through the tradition of the five pronouns of the late Tang Dynasty, so that the words have developed from a singing tool for entertaining guests under the moon before the flowers to an independent lyrical style of singing about life, and a precedent for the lyrical words of the Kaiwen people. As Wang Guowei said

The words to Li Houzhu and the vision began to widen, and the emotion was deep, so he changed the words of the worker to the words of the scholar. (Words of the World).

Li Yu is versatile, good at calligraphy and painting, good at poetry, good at pronunciation and rhythm, especially the achievement of words. Li Yu's words, there are more than 30 songs in the world, in terms of content, can be divided into two periods before and after the fall of the country to the Song Dynasty: the early words mainly reflect the court life and the love between men and women, the style is beautiful and soft, although it does not take off the habits of the flowers, but in the description of the characters and scenes, it has a greater artistic generalization power than the words of the flowers, and some words also reveal heavy sorrow (such as "Qingpingle, Don't Come to the Spring and a Half"); The later words reflect the pain of the loss of the country, sad and desolate, far-reaching artistic conception, and extremely artistic.

Expands the field of expression of words. Before Li Yu, the words were mainly glamorous, even if they were destined for ambitions, most of them were used in the technique of comparison, hidden but not revealed, while most of Li Yu's works in the lyrics were straightforward and expressive, pouring out the feelings of the family and country, and the feelings were sincere, so that the words got rid of the traditional style formed in the long-term singing in front of the flowers, and became a new poetic style in which poets could speak in many ways, and the artistic technique had an impact on the later bold words.

The context of the words is beautiful, the feelings are innocent, and there is a lack of rational moderation because of innocence. After the fall of the Southern Tang Dynasty, Li Yu was captured in the Song Dynasty, "washing his face with tears day and night", Li Yu realized the sorrow of the impermanence of life's suffering, and really wrote the desolation and remorse of the country and the broken family with blood and tears; And generalized the tragic experiences he had experienced, obtained a wide range of forms and meanings, and led to the tragic experience and examination of life in the universe, so the depth and breadth of his romance surpassed that of other Southern Tang Dynasty poets.

The language is natural, concise and expressive, with a high degree of generalization. Li Yu is good at using white sketches to express his life feelings, using appropriate metaphors to visualize abstract feelings, often reflecting a certain realm of general significance in real life through concrete and perceptible personality images. Not vague, but timeless; It forms artistic characteristics that are both fresh and beautiful, and graceful and profound.

There is originality in style. The words between the flowers and the Southern Tang Dynasty are generally known for their euphemism and beauty, while Li Yu is known for their sparseness, such as the "Haotang" in "Yulou Chun", the "Stained Big Brush" in "Crying in the Dark Night", the "Xiongqi and Resentment, and the Two Males" in "Waves and Sands", and the "natural and unrestrained" of "Yu Beauty", which have both the beauty of rigidity and softness, and are unique among the five pronouns of the late Tang Dynasty. Li Yu is not only good at poetry, but also quite accomplished in calligraphy and painting.

Li Yu once researched the origin of the stirrup method, and summarized it as seven kinds of skills: "grabbing, detaining, hooking, exposing, resisting, refusing, guiding, and sending". Li Yu is good at calligraphy, mostly writing with a trembling pen, with strong lines, like cold pine and frost bamboo, known as "golden wrong knife"; He also likes to write big characters, takes the scroll as the pen, swaying the wish, and is known as the "book of the placket". Li Yu once showed the calligraphy works collected by the Southern Tang Dynasty Secret Mansion, and ordered Xu Xuan to engrave it into "Shengyuan Post", which was carefully rated as "the ancestor of the law".

On the painting, Li Yu's bamboos are hooked one by one, which is extremely small from root to tip, and is very distinctive, and is called "iron hook lock". The forests and rocks and birds he painted are also lofty in artistic conception, far beyond ordinary people.