Briefly answer and summarize the artistic features of The Book of Songs Cai Wei.

Wang Wei, a poet in the Tang Dynasty, well reflected his artistic conception of the unity of poetry and painting in his poetry creation. "Painting in Poetry" is the artistic feature of Wang Wei's poetry works, which is naturally reflected in all important creative links. This paper only appreciates it from three aspects: structure, refined materials and language. (1) structure. Wang Wei's poems are often written in the form of group poems, and each poem can form a picture and combine into a harmonious panorama. (2) refining materials. Wang's poems are good at capturing and creating images, which embodies the characteristics of painting. (3) language. Wang's poems are good at describing the sound, color, light and state of images with words. Of course, the above statement is only for the convenience of discussion, but in fact these three aspects are integrated and unified in his poems.

Wang Wei, a poet in the Tang Dynasty, was both a poet and a painter. He integrated the art of poetry and painting, leaving behind famous poems and paintings handed down from generation to generation, which gave people emotional infection and beautiful enjoyment.

"The poem of interest is fascinating, and there are pictures in the poem; Look at the picture, there are poems in the picture. " This is Su Shi's praise for Wang Wei's poems (see Dongpo Zhi Lin). Since the Song Dynasty, countless people have praised other poets or painters with similar words, which shows that poetry and painting, as sister arts, often create the same artistic realm and have a close influence on each other. However, when we mention the realm of "painting in poetry" or "painting in poetry", we will naturally think of Wang Wei's name and think that only he is suitable as the representative of this artistic realm. This shows that Dongpo's comments are penetrating, which means that the depth and breadth of this artistic realm reflected in Wang Wei's works should be more prominent than that of ordinary poets and painters, and it is worth exploring.

This paper only puts forward some views on the problem of "painting in poetry", which may help to explain the artistic characteristics of Wang Wei's poems.

Although poetry and painting are sister arts, they have their own characteristics and limitations because of the different tools and materials used. The saying that "there is painting in poetry" should take poetry as the main body, absorb some factors of painting and blend into the realm of poetry, thus reflecting the aesthetic feeling that ordinary poetry can't achieve. At the same time, we say that a writer's "painting in poetry" should be based on the artistic characteristics of all his works. This requires the author to have high skills in all aspects of poetry and painting creation, especially in conception, in order to achieve mutual infiltration and natural blending. To do this, the ideal writer should be both a great poet and a great painter. Wang Wei can be said to be the representative of ancient poets with this condition. Therefore, "painting in poetry" can reflect the artistic characteristics of all Wang Wei's works, not only in the image description of mountains and rivers, but also in the language combination of sound, light, color and posture, and even in some non-landscape scenery creation links.

"Poetic and picturesque" is a saying. From its meaning, we can see the close relationship between poetry and painting, and we can also see that poetry is based on emotion and painting is based on meaning. As far as poetry is concerned, all effective methods of expression should be to make the mood of poetry more specific, more acceptable to readers and more infectious to readers, even the most ethereal methods of expression. Only by understanding this point can we make a reasonable explanation of the artistic characteristics of Wang Wei's poems.

The above explanation: (1) "painting in poetry" should be examined from the artistic characteristics of all the works of a writer; (2) "Painting in Poetry" is impossible without the effect of expression. These are two basic points for us to understand "painting in poetry" and correctly evaluate the artistic characteristics of Wang Wei's poems. The following is a demonstration of Wang Wei's works.

Since "painting in poetry" is the artistic feature of all Wang Wei's poems, it is naturally reflected in all important creative links. For convenience, we appreciate it from three aspects: structure, refinement and language. At the same time, this feature is more obvious in the sentences of scenic landscapes, but more subtle in the sentences of non-scenic landscapes. Therefore, when we give examples, we will change from explicit to implicit, so as to infer.

1. structure: "quotient position" is one of the six methods of painting and the basic skill of a painter. Painters are good at combining many individual symbols into a whole through quotient positions, and Wang Wei's poems have absorbed this feature. For example, a farmhouse on the Wei River:

In the countryside where the sun is setting, cattle and sheep go home along the path.

There is also a rough old man at the door of the thatched cottage, leaning against the Hou.

There are whistling pheasants? Full ears of wheat, sleeping silkworms and peeled mulberry leaves.

The farmers who came back with hoes greeted each other cordially.

No wonder I long for a simple life and sigh the old song, oh, back to the past! .

"No wonder I long for a simple life, sighing old songs, oh, go back! "These two sentences are the main theme of this poem, and the author describes the leisure in the countryside vigorously, which clearly shows his dislike of official life. In the first eight sentences, the author listed many personal signs of rural life. The ninth sentence only uses the word "leisure", which penetrates the symbols of those individuals and forms a very harmonious, concrete and vivid picture. The characteristic of this hard-working position is painting.

This structure with painting characteristics is also reflected in the poems of Wangchuan Collection. There are * * * 20 poems in Wangchuan Collection, and each capital has a small topic describing the beauty of the scenery of Wangchuan Villa. The forms adopted are all five-character quatrains, and the characteristics of poetry are remarkable.

The analysis of a poet and his works is inseparable from the author's experience and thoughts and feelings. Generally speaking, Wang Wei lived a semi-official and semi-secluded life in Wangchuan Villa, with the early years of Tianbao as the upper limit. Wang Wei's life experience is usually divided into two periods: morning and evening, and Zhang Jiuling's relegation is the turning point. Then, Wang Jichuan should belong to Wang Wei's later works. During this period, the villains such as Li, Li, Li and Li were autocratic and their politics became increasingly dark. Wang Wei gradually changed from unwilling to collude with others to semi-official and semi-secluded. As far as the historical situation at that time was concerned, Wang Wei was a scholar with a sense of justice and great weakness, which was the basic point for generally evaluating Wang Wei's later life and understanding Wang's thoughts and feelings. The overall structure of The King is to reflect the author's seclusion feelings through the description of mountains and rivers.

We can divide these twenty poems into three categories: Liulang and Qiyuan, which clearly shows the author's aversion to racing and the ever-changing official life, and it also shows that the author's seclusion is rooted in his dissatisfaction with reality. Wen, Cen, Mulan Zhai and Pavilion belong to the same category, basically depicting beautiful scenery and having a healthy living atmosphere. This is because the author's seclusion has a happy side from the perspective of getting rid of official life. At the same time, because Wang Wei grew up in the long-term prosperity of the Tang Dynasty, he had a positive and enterprising spirit in his early days. Although the dark reality in his later years disappointed him, it was impossible to completely destroy his enthusiasm for life. When his cheerful side has the upper hand, a healthier living atmosphere is easy to express. Mengcheng 'ao, Huazigang, Chai Lu, Gonghuaibai and Zhuliguan. Belong to a class, some write lonely feelings, some write cold scenery, some express their yearning for immortals, and some involve the illusory sentimentality of life. In short, the negative color is very strong. This is because the author's seclusion is to escape from reality, but it is not voluntary, so there is also a depressed side. When the author feels depressed and can't get rid of it, the color of negative sadness will naturally appear, which just shows that the author's attitude towards reality is very weak. In these weak performances, we can still see the author's right and wrong, which is the confession of the author's uncooperative mood.

The above three kinds of poems have close internal relations. Structurally, the first kind of poems is the clue, and the second and third kinds of poems run through each other, forming a complete group of poems. Each poem can be composed of a painting alone, and then combined into a harmonious panorama. According to records, Wang Wei also painted a portrait of Wangchuan Villa on the content of the poem "Wangchuan Collection", which shows that the poem "Wangchuan Collection" has the characteristics of painting in structure.

The structural painting characteristics of Wang Wei's poems are also manifested in the non-scenic landscape works. For example, a rider in a feather grove.

Second, refining materials: this is about the combination of material selection and refining ideas. It refers to selecting some distinctive things and combining them. It means to show an attractive artistic conception, thus deepening the expression of the theme.

Wang Wei's poems are good at capturing and creating images.

For example:

The desert is lonely and straight,

Long rivers set the yen. -"successful summit"

Only ten words have captured the characteristics of the scenery beyond the Great Wall and outlined a vast and desolate picture, which has played a powerful role in setting off the heroic atmosphere of the whole poem. Among them, "Lonely Smoke Straight" can be seen in detail, and "Sunset Yuan" can be seen in depth. The sunset is always round, which seems to be common sense, and there is nothing worth writing about; But in the desert and long river environment, nothing can be seen, only the yellow sand rolled up by the cyclone and the sun shadow reflected in the long river. "Sunset" is the most prominent scenery here, so it feels particularly "round". This observation and experience is closely related to the profound painting accomplishment.

For example:

When it gets dark,

Fish-eye shooting wave red. -"Send Minister Chao Jian to Japan"

The author has no experience of living at sea, but he can imagine what he knows and combine legends to write a kind of scenery suitable for heroes to travel at sea, which is fantastic and full of painting color.

For example:

Bamboo whispered to the washerwoman who came home,

The lotus leaf gave in before the fishing boat. -"An autumn night in the mountains"

Observing the dynamics of rural life very carefully can be expressed according to the sequence characteristics of dynamic appearance.

For example:

Water town, boat city,

Overseas Chinese in mountainous areas are walking on trees. -"Little Star Bashu"

This is a custom picture with outstanding local color.

For example:

Guided by trees in the distance,

The setting sun shines on a distant town. -"farewell"

The above examples of landscape writing can all be regarded as "a landscape that is difficult to write, such as in front of us". Although such famous sentences can also be found in the collections of other poets, it is difficult to treat them equally in terms of quantity, breadth, fine description and rich colors. Moreover, the characteristics of Wang Wei's paintings in fine materials are also manifested in non-scenic landscape works. For example: Youth Travel

Xinfeng wine fights a thousand pounds, Xianyang ranger for many years.

When we met, people drank to the spirit of the king, and the horse was tied under the weeping willow in the restaurant.

The first sentence points to "wine", the second paragraph points to "teenager", and the third sentence takes "spirit" as a link, which naturally combines "wine" with "teenager". The "spirit" comes from the "ranger" in the second sentence, which enables readers to imagine. At this point, the whole poem can be said that the skeleton has been formed and the affection has been expressed. The problem lies in how to make the skeleton of the whole poem alive and how to make the emotional expression of the whole poem full and prominent. This task falls entirely on the fourth sentence. The author chooses to describe the dynamics of "tying a horse", saying that "tying a horse" can already glimpse the expressions of several teenagers hitting it off when they meet, and the connection between "horse" and "ranger" not only shows the handsome of teenagers, but also strengthens the realization of "ghost" imagination. The "weeping willow tower" is the place where horses are tied, and the "tower" should refer to the hotel, and the place where "drinking for the king" is pointed out, which enhances the sense of reality. The charm of weeping willows and the dynamics of tying a horse to a ranger are even more vigorous, and the whole poem is "alive" with it. This kind of writing not only gives readers a real feeling, but also guides readers to imagine and appreciate on the basis of real feelings. It is also a combination of reality and reality, which has a vivid effect. Poetry that gives full play to the role of painting in refining materials like this is difficult for people without painting practice to reach this realm.

3. Language: Language is the basic material of poetry, and an excellent poet must also be a master of language. Language in their works is handy, but in contrast, it has its own characteristics.

Yu Xie, a poet, quoted "Comments on Jia Weng's Poems": "Wang Youcheng is like a hibiscus in autumn water, smiling against the wind." Inferred from the language style, it is closely related to the painter's "flawless pen and clever ink" (see Sleeping on the Western Hills by Shan Dashi). On the Poem Cloud compiled by Yin Pan in Wang Wei's Heroes Crossing the River: "Uygur poems are elegant and elegant, innovative and innovative." Pearl in spring, painting on the wall. Every word is different. It can be seen that the painting features in Wang Wei's poetic language have long been discovered by his contemporary poetry critics.

The above examples in the two parts of structure and refined materials can all be used as illustrations of the painting nature of Wang Wei's poetic language. Here are just a few examples to illustrate how to absorb and integrate the sound, light, color and state of things in Wang Wei's poems. For example:

The wind blew the horn,

The general hunted Weicheng. -"Hunting"

How tightly the word "Jin" and the word "Ming" are buckled shows both the "wind strength" from "Gong Ming" and the bow strength from "wind strength", thus showing the momentum of hunting. However, the second sentence points out that the general is really a voice, which attracts readers to the immersive atmosphere from the beginning. Painting can't transmit sound, but it can be properly expressed from the artistic conception of composition, so we often say "painting, shadow and sound", which shows that that technique is extremely clever, and the effect is more and more obvious when it is applied to poetry and combined with the role of literature.

Another example is:

The grass in the rain is green,

Peach blossoms are red on the water. -"Wangchuan Bie Ye"

These two sentences describe "green" and "red", and describe the fusion of color, state and light. Among them, "color" is the most easily seen, which is reflected in the words "green" and "red"; "State" can also be seen vaguely, reflected in the words "dye" and "nature", while "light" is more difficult to see and the most important, reflected in the combination of these six words and the words "in the rain" and "on the water". Only when you see "light" can you show interesting "state" and "color" will be more vivid. "Light" is the painter's expressive skill in using color, and these two poems just absorb the characteristics of painting.

Another example is:

The sunset is white,

The tide is high and the sky is blue. -"Xing Guizhou"

These two sentences also describe the fusion of color, light and state, of which only "color" is easier to see, which is reflected in the words "white" and "green"; "Light" and "state" are hard to see. The "light" shown here is inseparable from the author's careful observation of things. When the sun shines on rivers and lakes, the water surface reflects the pigment of the sun, so it can't show the true colors of rivers and lakes. Only at sunset does it look whiter than ever. When the lake comes, it's like an avalanche. On the undulating tidal surface, the pigment of the sun greatly reduces its protective effect, and even the brightness of the sun seems to have decreased a lot. I only feel a tidal green light covering the whole world. By clarifying the description of light in these two sentences, the state of calm and open rivers and lakes, the state of surging tide, the state of releasing green light and covering the world will be revealed. Moreover, only by analyzing to this extent can we accurately reflect the reasons for the color "white" and "green". It is difficult for a poet to be so sensitive to the change of "light" and observe it in detail without the quality of a painter.

As mentioned above, from the perspective of "painting in poetry", Wang Wei's works can be clearly confirmed in terms of structure, refined materials and language. Because these three parts are combined with each other and expressed in the same poem, they are discussed separately just for the convenience of explanation; Therefore, some arguments and analysis of each part can often complement each other.

Finally, it should be explained that "painting in poetry" has absorbed some performance factors of painting, but it is still the performance of poetry, and it is still not and cannot go beyond the scope of poetry. As far as the expression of poetry is concerned, it is possible for ordinary writers to have a certain degree of contact on individual themes. The difference is that they didn't and can't develop this feature of poetry to the depth and breadth that Wang Wei, who has profound painting accomplishment, has reached. It is in this sense that Wang Wei's artistic feature of "painting in poetry" shows his creative achievements and makes outstanding contributions to the art of classical poetry.

Thank you!