Appreciation of Shu Ting's Photographic Works

Gu Cheng

The night gave me black eyes,

I use it to find the light.

The whole poem is just one sentence. There is nothing to say. This little poem, with only two lines, shook the whole poetry circle after the publication of the third issue of 1980 Star. No matter who holds a positive or negative attitude towards this poem of Romon, it has been unanimously praised.

It is brand-new in aesthetic principle. It avoids the direct expression of emotion and abandons the real narration of the scene. It does not deliberately construct a complete artistic conception, but highlights an unusual pair of "black eyes" (a symbol of a generation's awakening) on a thick black background by metaphor. It seems that you can see a beam of white light coming out of a gap in the dark clouds. The whole poem is like a three-dimensional print.

"Night" and "light" form a sharp contrast between dark and bright colors, and "black eyes" are deformed intentions and permeated with strong emotional colors. This artistic expression has aroused readers' imagination, so the suffocating times appear on the screen of imagination, distorting the younger generation who grew up in absurd reality, and the tenacious spirit of seeking broke out from the potential buried in their hearts. This is a statue of a whole generation.

A set of simple intentions of "night-eyes-light" constitute an open space-time. ............................................................................................................................... It is a unique law of poetry that ....................... expresses infinity in finiteness and profundity in simplicity. The pioneers of the new poetry tide are pursuing the return of human nature and the return of poetry itself.

This little poem embodies a style of modern beauty. It breaks the traditional harmonious composition, creates a shocking artistic effect with a disharmonious image combination, and forces people to reflect on history.

Brief introduction of Gu Cheng

Gu Cheng, male, 1956, was born in Beijing. /kloc-dropping out of school at the age of 0/2 to release pigs. I started writing during the Cultural Revolution. 1973 began to learn painting, and returned to Beijing the following year to work as a carpenter in Factory Bridge Street. 1977 started writing again. And became the main representative of the misty poetry school. At the beginning of 1980, my unit disintegrated and became unemployed, and since then I have lived a wandering life. 65438-0985 Join the Chinese Writers Association. 1987 was invited to visit Europe and America for cultural exchanges and lectures. 1988 went to New Zealand to teach China classical literature, and was employed as a researcher in the Department of Asian Languages, University of Auckland. After his resignation, he lived in seclusion on Rapids Island. 1992 won the German DAAD Creative Annuity, written in Germany. 1993 10 died in an apartment in new Zealand on 10. Leave a lot of poems, essays, calligraphy, paintings and other works.

Gu Cheng is the main author of the misty poetry school, and he has written poems such as Moon in the daytime, Selected Lyrics of Shu Ting Gu Cheng, Lonely Song of the North, Iron Bell, Black Eyes, Poems of Gu Cheng in the North Island, Poems of Fairy Tales and Fables of Gu Cheng, and New Poems of Gu Cheng, etc. After his death, his father Gu Gong edited and published The Complete Works of Gu Cheng. In addition, he co-authored the novel Ying Er with Xie Ye. Gu Cheng's Poetry 1998 was published by Folk Literature Publishing House. Poetry collection "The Moon in the Day".

Gu Cheng is a representative figure of China's misty poetry school in the new period, and is known as a "fairy tale poet" who sees the world with a childlike innocence. Compared with Shu Ting's elegance, charm, beauty and sadness, Gu Cheng's poems are naive. However, in Gu Cheng's poems full of dreams and childishness, there is an adult sadness. Although this sadness is faint, it is as heavy as lead. Because this is not only the poet's personal sorrow, but also the sorrow of a generation after awakening, and the sorrow of an awakened generation to see the reality in front of them.

About Gu Cheng

Gu Cheng's "self-destruction and destruction" is cruel. Although he has completed his self-judgment, right and wrong are gone with the sails of life. The tragedy he left behind is enormous, and we should reflect rationally. Gu Cheng killed his wife and then committed suicide. There are many reasons, such as emotional conflict and entanglement. However, at this moment, Mr. Zhuang Zhou, like an independent prosecutor, has just recovered a series of hard evidence from Gu Cheng's poems and exposed Gu Cheng's motive for killing. That is to say, Gu Cheng began to write "I am a wayward child" at the age of 25 (198 1), which paved the way for murder. It was not until 1993, 10, that is, waiting for 12 years, that the dream of "self-destruction" was realized. This is really an amazing discovery, Goldbach conjecture in the history of poetry. Under Mr. Zhuang Zhou's pen, Gu Cheng talked for a while a few years ago. Today, it is not only "don't look hazy", but also an obvious confession of a murderer! Unfortunately, "literary inquisition" is out of fashion now, but with Mr. Zhuang Zhou's intelligence, he can do a lot. Now mark the "evidence" quoted by Mr. Zhuang Zhou with "*" and restore the original poem as follows:

I hope and think, but I don't know why I didn't get crayons and a colorful moment * I only have me * My fingers and pain * I only have to tear up those beloved white papers * Let them find butterflies * Let them disappear from today.

I am a child * spoiled by my imaginary mother * I am willful "I am a willful child" (198 1 year).

* Great, I'm waiting * waiting * It's time, the clock is ringing * I'm going to throw everything out in the tremor * I'm going to enjoy the splash * I'm going to leave the beautiful and dangerous fragments to the red eyes and the bosses to slowly clean up "Sometimes I really want to" (1982). When you left, I thought on the road as if you would go first, according to the ancient custom. Because habit is an abstract line * I just hate it deeply. All your classmates are afraid of me. They only dare to stamp their feet outside the door * I hate their blue legs and they call you away * You are dancing in the Woods. I am thinking of a vicious plan. Finally, I always wear white lime and slowly leave the night.

(The word "evil" in "Complete Works of Gu Cheng" means "making trouble") Iron Bell-Dedicated to my sister who left home in autumn (1983)

According to my shallow experience in reading poetry, I am a wayward child truly shows the sense of loss of teenagers in that era. "I didn't get colorful moments", only fingers and pain without crayons. Children spoiled by fantasy mothers, that is, children who love fantasy, can't describe a "butterfly"-like dream world on the beloved white paper, so they have to tear up the lost days one by one, but the teenager still thinks that tomorrow must be a colorful moment. The subtitle of the poem Sometimes I Really Want is "A foreign waiter talking to himself". Tired of the tyranny of the boss, the author's virtual waiter broke the bottle in the imaginary confrontation and let the boss clean it himself, expressing the author's response and joy to the "bell" of the new era. The Iron Bell —— Dedicated to my sister who left home in autumn is a poem that misses her loved ones. "I" recalled many details of my childhood and my sister's life, and my affection was touching and vivid. The fourth paragraph of the written record is about my sister and female classmates playing in the Woods without my troubled brother "I". "I" was very angry with them for leaving "I" and thought of throwing them away with white lime as a baggage. The author moderately uses exaggeration and line drawing. But I don't know why Mr. Zhuang Zhou saw Gu Cheng's ulterior motives and sinister steps at a glance, and inferred that Gu Cheng's plot to destroy himself and others was predicted in the poem.

Mr. Zhuang Zhou simply and rudely associated the words "splash", "malice", "hate", "spoil", "willfulness" and "tear up" with what Gu Cheng did in his later period, and what kind of intention and spirit did it contain?

Gu Cheng's death is not unreasonable, but as one of the representatives of obscure poetry, Gu Cheng has made quite special contributions in the field of poetry. "Night gave me black eyes/but I found light with them", and the voice of that era will never be erased by memory. I can't help asking Mr. Zhuang Zhou: If you wrote On Qi Characters before 1993, would your evaluation of Gu Cheng be so conclusive?

On the Artistic Features of Gu Cheng's Poems

Zhang Hong

Abstract: This paper holds that the image world in Gu Cheng's poems is usually represented by symbolic metaphor. The second is abstract deformation method; The third is synaesthesia; The fourth is the object-image superposition method; Fifth, the transformation method between things and people; Sixth, the method of taking images by will; The seventh is to omit the jump method.

Keywords: Gu Cheng; Poetry; Fine arts; picture

Every time I read Gu Cheng's poems, I feel different. The night gave me black eyes, but I used them to look for light. Just like this "generation", just two lines of poetry clearly outline the firm image of a group of explorers. I lamented the poet's unique imagination. Only a dozen words appeared in front of us, but there were seemingly simple but complex images between the lines. In Gu Cheng's poems, people can always find a unique feeling.

The greatest feature of Gu Cheng's poems is the presentation of images. Symbolic metaphor is the most commonly used expression method of the image world in Gu Cheng's poetry, which is also the center of the new art of poetry. It breaks the traditional real description and direct expression of the soul, and shifts the poet's lyric angle. On the surface, the symbols in the poem seem to have nothing to do with each other, but in the deep, they have infinite meanings, and this is the appeal of the poem. Malamei, an early master of symbolism, repeatedly emphasized (2) "Poetry can only be implied, such as direct call." Yes, the charm of poetry is not reflected in the intuitive and true description, nor does it prove anything. It always implies something, and symbolic enlightenment is also an important feature of modern poetry. Symbolism is very similar to the metaphors of "from here to there" and "from here to there" in classical poetry. Fundamentally speaking, symbolism is also a metaphor, or metaphor is an expression of symbolism. Bixing is the visualization of poetry, and Xing is the implication of poetry. The difference is that symbolism often subtly hides the things being compared, and the theme of poetry is also vague. For example, the initial generation of poetry is an image combination composed of perceptual images such as "night", "me" and "black eyes". They have their own objective meaning, and the inherent meaning they represent is beyond the inherent objective meaning of these words. Together with the explanation of the title, they have a strong symbolic significance, that is, "night" symbolizes the shadow placed on the hearts of that generation, and "eyes" symbolizes that generation. It can be seen that the aesthetic characteristics of poetic symbols are actually the inherent aesthetic characteristics of images.

The metaphorical expression in the image world of Gu Cheng's poems is as suggestive as a symbol, which concretizes feelings or feelings through an indirect metaphor. The image created by metaphor often hides the poet's feelings deeply. We first come into contact with the intuitive world of images, and it takes a long way to further understand the spiritual world behind the scenes. For example, in Fantasia for Life, he wrote: Let the waterfall of sunshine/wash my skin black/…/The sun is my tracker/It pulls me/Use the rope of strong light/… In the previous section, the waterfall was used to compare "sunshine", and then the waterfall was used to wash people's skin black, implying that the sun tanned my skin, and the skin was tanned, which was originally a sign of health and beauty. Indeed, it implies more subtly that the poet longs for his life to be stronger in the bright world. In the last section, the "tracker" is used as a metaphor for the "sun", the "rope" is used as a metaphor for the "bright light", and the tracker carries the rope while I swim against the current, which means that this high-spirited spirit and bright belief inspire life and make him struggle forward in any sinister predicament.

The second expression of Gu Cheng's poetic image is abstract deformation.

With the progress of modern life, people's appreciation tastes are constantly shifting, the appreciation cycle is also constantly shortening, and more and more attention is paid to artistic deformation. In a sense, there is no art without deformation. The artistic program of western modernism claims that "accurate description is not necessarily true", which really coincides with Si Kongtu's saying that "it seems to be out of form". However, the image creation in the new poetry tide is often divorced from the exaggeration of classicism and devoted to "deformation". Intuition, illusion and illusion can easily lead to impression deformation in an instant, and the key to deformation lies in how the opposition between the author's subjective feeling and objective truth can be skillfully transformed into "unreasonable rationality".

For example, the fallen leaves in the poet's eyes can reveal dry internal organs, and the beautiful flowers in the poet's eyes are actually bloody. Poets can also externalize their feelings and change the description of the original state of things, such as: the sun is tilted like wood pulp,/immersed in cool dreams. The deformation of the poet's image is actually the embodiment of the poet's mentality and the expression of emotion. As far as Gu Cheng is concerned, his childhood was full of dreams, but in his youth, his dreams were shattered by reality, and naive teenagers suppressed themselves. Facing the atrocities, agitation and bloody smell in the Red Sea during the Cultural Revolution, his sensitive heart became fearful and even deformed. He longs for pure blue sky, pure white clouds, pure life and love, but the pollution and cruelty of reality have increasingly led to his inner desolation and sadness. The world he wrote is often pure at first, and it is a "paradise" built with the sound and color of "sterling silver", but in the end it all belongs to a gloomy world in the gray line of sight under sadness. The poet's mind is distorted, and the poet's line of sight is also distorted, so everything in the vision has changed its original form. In his world, ordinary logic was silent, the world defined by rational laws began to disintegrate, the boundaries of color, sound and image disappeared, time and space were surpassed, and the world began to recombine, thus producing deformation, unlike a mirror, in which people and the world were simply and rudely distorted. The poet's subjective consciousness is like all kinds of convex and concave mirrors, which produces the effect of approaching photography different from tradition and classicism. Its effect is a distorted inner truth, extremely exciting and charming.

The third way of image expression is emotional communication, which is what we often call synaesthesia.

Synaesthesia has been used in China's classical poems for a long time. Our ancestors have long been familiar with the "listening type". For example, a sad word can be long and short, "One drop of water makes Wan Li long", and the voice can smell, "The wind makes the birds sing sweet". Pound thinks that the synaesthesia of modern poetry comes from China's classical poetry, which makes sense. However, the scope of synaesthesia in modern poetics greatly exceeds that of classical poetry, and the content of poetry suddenly increases. Because the five senses are interlinked, the associative space of poetry has been developed. The comprehensive effect produced by the mutual "transmission" of listening, smelling and touching feelings supports and strengthens the subjectivity of poetry. It can be predicted that a three-dimensional poem with heavy texture is expected to compete with a flat "small emotional painting".

Synaesthesia is widely used in Gu Cheng's poems. For example, in Love Me, the Sea, Gu Cheng has such an image: the sound is covered with scratches from the glacier, where the sound is invisible, while the voice written by the poet is a tangible body, covered with scars from the scratches of the glacier, and the silent auditory image is manifested as a tangible visual image, that is, vision and hearing are interrelated.

For example, the buildings in the poet's image world are fresh and plain, the dreams written by the poet are dark red, the nights are light green, and so on.

The application of synaesthesia enriches the objective world at once, and the exchange of things and feelings creates a vast world in poetry.

The fourth way of expressing poetic images is the superposition of objects and images: that is, different objects are superimposed after injecting the author's subjective feelings, and then become another way of expressing objects. This technique is often produced by the poet's inner feelings infiltrating into the object. For example, Gu Cheng wrote in his poem Blink: Rainbow,/swimming in the fountain,/looking at pedestrians gently,/I blinked-/turned into a snake shadow. Here, rainbow and snake shadow are two completely different images of beauty and ugliness. In a blink of an eye, the rainbow becomes a snake shadow, and the snake shadow and the rainbow overlap, and the two interact and communicate, which invisibly reflects another image, that is, the poet's invisible spiritual world. In his mind, he advocates beauty and longs for beauty, but often beautiful things will be destroyed and become ugly in an instant. This superposition of objects and images is actually the superposition of different emotions of poets. Emotion is revealed through objects, and objects truly reflect inner feelings. They depend on each other and form a field where images are skillfully combined in eyes and thoughts.

The fifth method of image expression is the transformation between things and people: that is, the poet's subjective feelings are completely devoted to objective images, expressing people's goals through things and expressing them by anthropomorphic methods. It is somewhat similar to personification in traditional poetry, but it gives objects more subjective feelings than traditional poetry, making them have deeper significance and broader humanity. For example, there are some lines in "I am a wayward child": at the end of the paper/I still want to draw myself/draw a koala/he is sitting in the dark jungle of Victoria/sitting on a quiet branch/in a daze/he has no home/no heart to stay far away/he only has many, many/berry-like dreams/and big and big eyes/... The poet passes by koalas. Koalas have no home. They sit on branches and don't know where to go. There are only many sweet dreams and a pair of eyes eager for the light of happiness. The author personifies the koala, which is actually the shadow of the poet. It is more attractive to indirectly express the poet's feelings through the transformation of things and people than to directly tell his own feelings, and the suggestibility of poetry is once again reflected.

The sixth method of expression is intentional image-taking, that is, using imagination, that is, the role of perception and representation, and then using hallucinations or illusions to feel the representation in these perceptions, completely abandoning objective images as objective reality. For example, in Gu Cheng's poem "I don't know how to love you", I wrote: I'm still screaming/echoing/scales shining in soft soil/wind sighing in coarse soil/flat snails can't make people hear and see such an objective image in tears licking poems. In poetry, the poet makes the aesthetic image vain and illusory in the process of "blending scenes", "taking images with ideas" and "creative imagination". The use of this image formation method expands the scope of image acquisition in poetry, and the poet gains greater initiative and creativity by reducing the limitation of objects. He can put his complex and subtle aesthetic feelings into his mind, which is difficult to directly resort to practical normative language, and appeal to intuition through this novel and vivid perceptual picture, and receive more positive image effects.

The seventh method of image expression is ellipsis and jumping. That is to say, there seems to be no connection between the front and back of the poem, and completely unrelated images are just so juxtaposed, completely jumping between different images, omitting the transition or some related words. For example, the lonely line: birds turn to teenagers to pick up in the high wind/the vines with a penny stretch out because of fantasy/the back of the contact wave rises because of retreat/here four groups of unrelated images are juxtaposed, and the juxtaposition is based on the "arc" shared by these four groups of images. This juxtaposition is somewhat similar to montage in movies. Image is also a combination of local images saturated with the poet's thoughts and feelings into a touching and complete image. Therefore, the image superimposed in the arc can be called the montage of poetry, which is a grammar about the combination of poetry pictures. It's just not taken with a camera, but expressed in words. However, this kind of language is not plain and meticulous, but a paradoxical language that omits jumps, so that the picture transformed from language cannot be directly presented to people, but emerges in people's suspense.

In short, the image itself is a language, which transcends the formulaic language. The images in Gu Cheng's poems form the poet's unique artistic style.

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Answer: I love clean-magician level 412-2012:13.

References:

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