Please compare the similarities and differences between the Preface to the Pavilion of the King of T

The beginning and turn of the structure of the article in the Preface to the Lanting Collection is excellent, and the cohesion is used perfectly. "Preface to the Pavilion of King Teng" is known for the richness and beauty of its words.

The similarity is that they all have the word "preface".

The difference is that the first three words are different.

It's all available, "Orchid Pavilion Preface".

It is also known as the "Orchid Pavilion Collection Preface".

Preface is a genre that is written in front of an article or collection of poems.

At that time, the clothes were in the south, and the Jiangnan scholars were in Huiji Mountain.

Orchid Pavilion gathering, compose poems to each other, and compile an anthology (or poetry collection), and before this episode, you need to write a preface to explain the ins and outs of this anthology (or poetry collection), the reason for the assembly, the time, the place, the people, what to do, and so on. At that time, this preface was written by Wang Xizhi.

Write an essay and write it with a pen. Later generations called this article "Orchid Pavilion Collection Preface" or "Orchid Pavilion Preface".

Wang Xizhi was revered as a book saint by later generations.

His attainment in calligraphy has never been seen before, and no one has ever come after. The "Orchid Pavilion Preface" he wrote was elegant and chic, and was highly respected by later generations. However, in fact, Wang Xizhi not only writes calligraphy well, but his articles are quite outstanding.

It's just that later generations focused on his calligraphy attainments and ignored his literary style. Later Wang Yangming of the Ming Dynasty.

He is one of the best in ancient and modern times, and his calligraphy attainments are also quite high. Later generations respected him as a saint and ignored his calligraphy. Therefore, when later generations commented on these two people, they thought that "Wang Xizhi covered his people with books, and Wang Yangming covered his books with people".

The more famous versions of "Orchid Pavilion" are as follows:

First, open the emperor's book. "Kaihuang" is the year name of Emperor Wen of Sui, one engraving is "Kaihuang 13 years", and the other is "Kaihuang 18 years". At this moment, the handwriting is bloated, because it has not been recorded by the Song people, and later generations suspect that it is a forgery.

Second, the dragon book. Because the post is printed with "Shenlong" (Tang Zhongzong Li Xian's year name) before and after the post, each half of the seal is named. Later generations have carved more copies of this post, so it has become a large system. Later, it was identified by Guo Tianxi in the Yuan Dynasty and Weng Fanggang in the Qing Dynasty as a copy of Tang Feng Chengsu, and is now in the Palace Museum.

3. Yu Shinan Linben. It is said that it was inkblot in the early Tang Dynasty and Yu Shinan. When Yuan Wenzong Zhang Jinjie slave paid tribute, and was later sealed by the emperor with "the treasure of the heavenly calendar", so it is also known as the "heavenly calendar".

There is also the "Shaoxing" year seal of Song Gaozong after the post, which was engraved in the "Lanting Eight Pillars" as the first pillar in the Qianlong period. People often admire its name as the "first pillar" and learn from it.

Fourth, Chu Suiliang Linben. It is said that in the early Tang Dynasty, Chu Suiliang was in the ink (listed as the second pillar of the "Eight Pillars of the Lanting"), and was identified as "Chu Linben" by Chen Jingzong in the Ming Dynasty. Because some of the characters resemble the Song Dynasty Mi Yuan Zhang, it is also called "Mi Linben".

Fifth, Dingwu Ben. It is a stone carving. It is said that Ouyang Xun Linben of the early Tang Dynasty, it is reported that it began to circulate from the five dynasties of Shi Jin (not called "Dingwu" at that time), and the Khitan Yelu Deguang got this from the Central Plains and carried it with Zhending.

Sixth, the jade pillow. It is said that Ouyang Xunlin is a small line of fly's head, engraved in the forbidden, which may be the predecessor of the "Dingwu book", also known as the "pocket book". There is also Jia Qiuyu abbreviated as "Dingwuben".

Seventh, Ying on the book. "Sigu Zhai Huang Ting Lan Ting" is seen in the "Chu Ben", which is said to be the best in the "Chu Ben", from Anhui Ying Shangjingzhong, also known as "Ying Jing Ben". The original missing figures, later made up, very poor.

8. Yellow silk. Also known as "Luoyang Miyaben", the "collar" in the post added "mountain", the world is called "collar word from the mountain", and it is passed as "Chu Ben" (Ming Wang Shizhen Collection). It is also said that "Huang Juanben" is different from "Lingzi from Yamamoto", but it is the same from the same ancestral book or Song people "You like this".

9. Chen Jianben. Received by Chen Jixi in the Ming Dynasty, and added a fake copy in front of it. It is said to be "Chu Ben", Chen Jixi is good at copying, and he mostly uses this stone. It has been lost for 15 years and then recovered, so it is more than a moment, and the good things are altogether.

10. Other books in the "Dingwu" system. For example, "Guoxueben" and "He's Dongyang Ben" all belong to the "Dingwu" system.

11. "Lanting Eight Pillars". Miscellaneous posts. In the 44th year of Qianlong in the Qing Dynasty (1779 AD), there were three kinds of ink blots on the stone with the copy of the "Orchid Pavilion Preface", which was divided into eight pillars.

Similarities: Both texts are poems that describe the grand banquet and impromptu poems, and the language pays attention to rhetoric and confrontation.

Differences: 1. "Lanting Collection Preface" is scattered and combined, while "Tengwang Tao Preface" pays more attention to the beauty of form, every sentence must be correct, and the rhetoric is gorgeous.

2. In terms of content, both articles start from the feast in front of them, and then touch the scene, feel sad because of the incident, express their feelings, and then gradually turn from low to high, and behave positively. Compared with the two texts, the scenery written in the "Preface to the Pavilion of King Teng" is more magnificent, more gorgeous, and richer, and the feelings expressed are more straightforward and hearty. The lyrical content of the two texts is also different, "Lanting Yu Staring Collection Preface" expresses the emotion of a short life, and "Preface to King Teng's Pavilion" expresses the resentment that he has never met.

First of all, the whole calligraphy article is beautiful, from micro to macro narration, from far to near writing, which makes people stunning. The second is that the chapter in the "Orchid Pavilion Preface" is good, and its words are all reflected and born, small or large, whatever you want, all into the law. The third point is the beauty of the pen, the whole use of the pen is also the peak, there are open front, with the front horizontal, hanging head horizontal, down the horizontal, up the horizontal, juxtaposed horizontal, etc., with the hand to adapt.

The article starts with the Lanting assembly, first using concise words to point out the time, place, reason and participants of the rally, and then using a lyrical tone to depict the elegant and beautiful mountains, water, forests, bamboos and other natural scenes, and it is these natural scenery that cause the participants to drink and have fun, and write poems on the stream. The end of the paragraph ends with the word "music", revealing the participants' interest in immersing themselves in the beautiful natural and cultural environment to get aesthetic pleasure and temporarily forget their troubles.

In the second paragraph, the author closely follows the words "leaning" and "elevating" and the words "letter and cola" above, and transcribes the changes in the world and the changes in love. Circumstance. Whether it is the quiet person who is "in the room" or the restless person who is "outside the wandering wreckage", although they are all "happy and self-sufficient" in one thing at a time, but these beautiful scenery in front of them and the joy of the world, "between the pitches, have been obsolete", happy and sad, they have to face the harsh reality:

Old age is coming", "the end is at the end", life is short. At this point, the author naturally put forward the theme of "death and life are also important". At the end of this paragraph, the word "pain" is cross-examined, which not only echoes the "joy" in the previous paragraph, but also causes readers to think deeply about "death and life", the most important issue in life.

In the third paragraph, the author grasps the issue of life and death, and further expresses his view of life and death. The author first uses the ancient theory to explain that from ancient times to the present, people have always attached importance to the issue of death and life, and he himself is no exception. Then, in view of the social atmosphere of scholars and doctors at that time, who were clean and practical, and had no economic strategy, the author denounced the Lao Zhuang doctrine of "one death and life" and "Qi Peng's death" as "illusory" and "vain", thus showing the author's positive and enterprising outlook on life and death, which is the purpose of the author's "Lanting Collection" and the purpose of the preface to it.

The first two paragraphs of the article end with "happiness" and "pain" respectively, and the last paragraph ends with the word "feeling", which shows that the author firmly believes that future readers will feel the same way from Swen (this preface): to understand the importance of the issue of life and death, and to establish a correct view of life and death.

The author of "The Preface to the Lanting Collection" is Wang Xizhi. Wang Xizhi, the word Yi is less, and his nickname is Wu Su. Born in the second year of Emperor Hui Tai'an of the Western Jin Dynasty, died in the fifth year of Emperor Mu Shengping of the Eastern Jin Dynasty, that is, in 303-361 AD, his ancestral home was Nanrenli, Duxiang Township, Langxie Linyi (now north of Linyi County, Shandong).

In the last years of the Western Jin Dynasty, he moved to Jiangnan and settled in Huiji (now Shaoxing City, Zhejiang) in his later years. Wang Xizhi's family, the Langxie Wang family, has been a well-known family of eunuchs since at least the Han Dynasty.

Calligraphy styleWang Xizhi's "Orchid Pavilion Collection Preface" has been admired by calligraphers throughout the ages and is known as "the first line of calligraphy in the world". Wang is also good at li, grass, Kai, and line, carefully studying the posture, chasing the heart and hand, collecting the strengths of others, preparing all the bodies, smelting in a furnace, getting rid of the Han and Wei pen style, becoming a family of its own, and having a far-reaching impact. His calligraphy is peaceful and natural, and his gestures are euphemistic and subtle, beautiful and beautiful.

Legend has it that Wang Xizhi practiced calligraphy hard when he was a child, and over time, the pond water used to clean the brush turned ink. Later generations commented: "Floating like a cloud, like a dragon", "The dragon jumps over the gate of heaven, the tiger lies in the Phoenix Pavilion", "The nature is natural, and the gods are covered by the gods".

There are idioms about him, such as three points into the wood, the east bed fast son-in-law, etc., Wang Xizhi's style of writing is the most obvious feature of the delicate pen, the structure is changeable.