Comparison of Similarities and Differences between Tang Poetry and Song Poetry

"Painting in poetry" is a high realm of poetry creation, and it is also a commonly used commendatory term in poetry criticism. The "painting" in poetry here generally includes two aspects, one is form, and the other is color. The phrase "People are thinner than yellow flowers" in Li Qingzhao's "Drunk Flowers" is not only tangible, but also vivid, depicting both a gaunt face and a delicate figure. Compared with the color of yellow flowers, the image of the young woman in Leap is gaunt, delicate and morbid. The poet combined "shape" and "color" into one, creating a seamless poetry. This paper attempts to omit the description of the form of poetry and simply comment on its color. In this way, on the one hand, we can avoid the vivid shape description in poetry from affecting our taste in color, on the other hand, we can temporarily put aside "shape" and understand the rich connotation and artistic charm of color description in poetry more deeply.

One, two colors, different styles.

Poets in Tang and Song Dynasties paid great attention to all kinds of colors in real life, and vividly showed them in their works. Unlike painters, they don't directly lay out colors in front of readers, but indirectly show moving pictures in front of readers through the description and description of colors and the imagination of readers. Generally speaking, the words describing and describing colors in poets' works can be roughly divided into two categories.

The first category is words used to describe and describe colors with clear tones. Such as: red, red, orange, blue, purple, black, white and so on. Each of these words shows a clear and fixed tone. Whether they appear alone or form other words with other words, what do these words stand for.

The hue is fixed. You don't have to judge by context.

For example:

1, "Hong Fei is full of worries." (Qin Guan's Millennium)

2. "Zhumen wine stinks." (Du Fu's "Singing 500 Words from Beijing to Fengxian")

3. "Keep your heart in your heart." (Wen Tianxiang's "Crossing the Dingding Ocean")

4. "Colorful is always spring." (Zhu's Spring Day)

5. "A line of egrets goes to heaven." (Du Fu's quatrains)

6. "Frosty yellow and blue white crane." (Du Fu's "Twilight Return")

7. "In spring, this river is as green as blue." (Bai Juyi's Memory of Jiangnan)

8. "Dark clouds crushed the city and destroyed it." (Li He's Wild Goose Gate Taishouxing)

As can be seen from the above example, the color tone of these words describing colors is constant no matter what the environment.

The second category is words used to describe and describe colors without fixed hue. The tones described by these words are different in different language environments, which should be judged according to the context. Such as: green, green, blue, pale, green and other words.

For example:

1 and "Qing" show different tones in different contexts. "A line of egrets went to heaven." (Du Fu's quatrains) Among them, blue is blue; In the "new color of green willow in guest house" (Wang Wei's "Send Yuan 20 An Xi"), green is gray-blue; In "Lotus Leaves Fold Green Money in West Yunnan" (Du Fu's "Wandering"), green is stone green; "Outside the Castle Peak Building outside the Mountain" (Lin 'an House in Lin Sheng), the green color is grayish green; In "Although the morning is dark, the night has turned into snow" (Li Bai's Into the Wine), youth is black.

2. "Bi" has different hue in different contexts. Take Poetry to the Blue Night (Liu Yuxi's Autumn Poems), Sail Alone and Crossing the Blue Sky (Li Bai's Farewell to Meng Haoran in the Yellow Crane Tower in Yangzhou), The Bright Moon Don't Return to the Blue Sea (Li Bai's Crying towards the Clear Constant), Fishing in the Bixi River at Leisure (Li Bai's Difficult to Go) and Wan Li's Clouds Roll the Blue Mountains (Li Bai's Answer to Wang Han 12) Clear water describes clear green water; Bishan refers to Qingshan; Green grass is green grass. The specific colors described by Bizi can only be understood by tasting the whole poem.

3. The word "Cui" is green in "Cui Yan Chong Men Yan Xian" (Zheng Hui's "The Wall between the Houses"), but it is thick black in "Yan Ji Cui Dai Sorrow" (Du Fu's "Two Stories of Night Rain").

4. "Cang" has a wider expression range of hue. "You should feel sorry for your fangs and print moss" (Ye Shaoweng's Going to the Garden is worthless), "Ten fingers on your temples are gray" (Bai Juyi's Selling Charcoal Weng), "The standard is high across the sky" (Du Fu's Climbing the Ci 'en Temple Tower with the Duke), "The setting sun shines far away" (Liu Changqing's Snow House Furong Mountain Master) and "The mountain is now cold and blue" (Wang Wei

Tones are different.

Generally speaking, the specific use of the above two words in poetry will obviously make people feel different color styles. The first kind of written expression

In order to define the hue, a bright and refreshing color effect is produced. Accurately, vividly and vividly expressed the poet's unique feelings and strong passion. Every word, such as red, yellow, orange, blue and purple, has soaked the poet's mood. Compared with the first kind of words, the second kind of words is tortuous and implicit, which is intriguing. In the use of words such as pale, green and clear, it leaves readers with rich imagination space. This kind of writing seems to have a certain meaning, which produces delicate, complex and subtle color effects and creates another realm of beauty with its rich rhythm.

Second, both technologies have their own advantages.

Poets in the Tang and Song Dynasties painted colors in different ways. Just as painters paint works of different styles with the same pigment, the techniques are rich and varied. Here, the typical techniques used by poets in Tang and Song Dynasties to describe colors are roughly divided into two categories and briefly analyzed.

The first is the contrast adjustment method. This is the most common technique used by poets in Tang and Song Dynasties to describe colors. The biggest feature of this technique is to emphasize the individuality of various tones in life. According to the degree of contrast between tones, we can divide this technology into three different types.

The first type: strong contrast, that is, color contrast of different tones.

Red is the antonym of green in A Thousand Miles of Ti Ying Green Reflects Red (Du Mu's poem Jiangnan), yellow is the antonym of purple in Butterfly and Hornet (February 2 by Li Shangyin), and white is a line of egrets in the sky (Du Fu's poem Jiangnan). Another example is "the lotus leaf in the sky is infinitely colorful, and the lotus flower reflects the different colors of the sun" (Yang Wanli's "Seeing the Forest in Jingci Temple"), in which the lotus leaf forms a green tone with the sky, and the lotus leaf forms a red tone with the sunset, which is in stark contrast.

. Another example is "Castle Peak and White River" (Weng Juan's "April in the Country"), in which the green of Shan Ye is in sharp contrast with the white of the river. The color contrast in "Evening Flowers Fall to the Courtyard" and "A Moment of Good Wind Makes a Green Curtain" (Yan Shu's "Huanxisha") also belongs to this category.

This contrast, the color contrast is strong, and the tone is bright. The emotions expressed are mostly joyful and lively, and the artistic conception is usually bright and full of vitality.

The second type: harmonious contrast, that is, color contrast of the same tone.

"Colorful is always spring" (Zhu's "Spring Day") "We meander along under the green hills,

Before it was green (Wang Wan's "A berth under the Beibao Mountain"), the grass in your north was as blue as jade, the mulberry here was a curved branch of moss (Li Bai's "Spring Thoughts"), and the blue sea and blue sky at night (Li Shangyin's "Chang 'e"). The purple, red and green in these poems are all in the same tone, forming a harmonious background.

The above two types are not completely separated, and in many cases they coexist and set off each other. "The whiter the birds on the river wall, the blue and white mountains are burning." (Du Fu's two quatrains) Compared with the whiteness of birds in a small area, the greener the river, the whiter the birds appear; Compared with the burning red mountain flower, the greener the mountain color, the redder the mountain flower appears. But the water surface and the green hills are in harmony and unity in the turquoise tone. In this way, the whole picture is harmonious in tone, sharp in contrast, rich in color and fresh. Another example is "the faint smoke is thicker with the moon, and the water depth is shallow." (Bai Yuchan's Early Spring) Among them, "thick" and "light", "deep" and "shallow" can be said to be sharp contrast and form a harmonious foil. Light smoke and thick moonlight enveloped the newly released plum blossoms, and their shadows moved with the moon, or were deeply immersed in water or shallowly printed on the beach. In the contrast and change of light and dark tones, a colorful picture is formed.

The third type: stippling and painting. In the process of alternately using contrast and contrast, this third kind is produced by grasping the moment when a pair of hue changes from strong contrast to harmonious contrast. Borrowing the language of painting, this technique is to disperse and narrow the strong contrast of different tones and colors. Like stipple painting, the colors are not adjusted in the palette, but the primary colors are arranged in the shape of dots on the frame, which is "adjusted" by the viewer's vision, thus achieving colorful and flying artistic effects.

For example, "as soon as plum powder removes makeup, it will be painted with new red begonia." (Wang Qi's "Little Garden in the Spring Festival Evening") The poem describes the scene that plum blossoms wither and begonia blooms after plum blossoms. The author did not write that the red of plum blossoms gradually turned into the green of plum leaves, the flowers on plum trees gradually withered, the leaves gradually flourished, and bright red appeared on begonia, creating a picture color with mixed red and green, red in the middle and red in the middle. Two contrasting colors, "I have you and you have me", make the static color come alive in the poet's pen, highlight the change of color, depict the dynamic color and render the thriving atmosphere.

Another example is "green is suitable for fat, red is suitable for thinness" (Li Qingzhao's Dream with Red and Green Apricots (Su Shi's butterfly lovers), "Red is suitable for decline" (Liu Yong's Klang Ganzhou), "Green willows are yellow and uneven" (Juyuan Yang's Early Spring in the East of the City) and "Red Frost and Half Red" (Qian Yi's)

Through the comparative analysis of the above three types, we can see that the poet is based on color contrast.

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