Study on landscape poems in gardens of Tang Dynasty.

First, falling into the dust net by mistake and sending love to the forest farm: a spiritual oasis from active entry into the WTO to passive birth

Before the Tang Dynasty, the hereditary landlord class ruled the country's politics, economy and culture. However, since the implementation of the policy of "taking talents as the starting point", it is possible for those literati from the bottom of society to embark on the road of being officials and realize their political ideals through hard study at the cold window. Therefore, they not only have natural flesh-and-blood ties with fishermen, villagers and woodcutters, but also have political ambitions to help the emperor govern the world. Therefore, China ancient literati, whether officials or ordinary people, always wandered between "dust net" and "countryside".

China literati have always regarded "poverty" as "poverty" to show their contempt for Plutocratic family's "wealth". Compared with the rural migrant workers, they are not suffering materially, but mainly depressed and depressed mentally. Confucian doctrine of the mean makes them understand that they are not complacent when they are proud and good at masturbation when they are frustrated. So the small house garden is an oasis in the spiritual desert. In addition, the basic spirit of both Taoism and Buddhism also has a common ground: negative life. "Nature", "inaction", "emptiness" and "detachment" are places where the spirit escapes; Gardens, mountains and rivers, "poems" and "paintings" are places where reality can escape.

Ancient literati gardens, temple gardens, landscape poems and landscape paintings in China rose almost simultaneously in the Wei and Jin Dynasties. The literati garden has formed a unique style different from the royal palace garden: guarding the scenery has changed from "leaving the house as a temple" to opening up holy places in the natural landscape; Landscape poetry is a unique form of poetry. This is not an accidental coincidence, but precisely because of the social unrest during this period, the literati escaped from reality, and the cultural atmosphere in Hyunri was light. Therefore, in addition to the needs of daily life, the private gardens of literati are more important places to comfort the soul, entertain themselves and talk elegantly.

Tao Yuanming, a poet in the Eastern Jin Dynasty, wrote down the anguish of "watching birds and loving the old forest, thinking about the old garden when entering the pond" in his "Returning to the Garden": "There are more than ten acres of square houses and eight or nine straw houses. Willow trees cover the eaves, and peach trees cover Li Lieman in front of the hospital. The hope of this spiritual oasis; I wrote "Warm and Distant People Village, Yi Yi Market Smoke". "Deep alley dogs bark, mulberry crows. This picturesque rural life is very comfortable. "If you stay in a cage for a long time, you will return to nature. "The joy of liberation from the dust net. However, Yang Wanli, one of the four great masters in the Southern Song Dynasty, repeatedly criticized the government's failure. After resigning from his post and returning to his hometown, he wrote a quatrain: "Plums have weak teeth, and bananas divide the screens. Sleeping for a long time without thinking, watching children catch willow flowers. "(Sleeping in Early Summer, Taking a Nap) also reflects the leisure and troubles after retirement.

Xu Wei, a famous literati painter in Ming Dynasty, lived in the old house of Qianguan Lane in Shaoxing (1). There are only two bungalows, but the owner's management is extremely meticulous: there is a yard in the south of the bookstore, and a green vine is planted along the wall, which is old and vigorous, like a portrayal of the owner's bumpy life. There is a stone pool under the window, which Xu Wei calls a "fountain, which is unfathomable and will not dry up when it is dry." And a stone pillar in Tianchi No.1 pool is called "the mainstay", which means a lot. Although the layout of the whole bookstore is simple and simple, the artistic conception is consistent with the aesthetic pursuit of traditional gardens and poetry and painting. China's classical garden art is unique because of the participation of literati and has become a bright pearl in the world art treasure house.

Based on the requirement of getting rid of the hustle and bustle of the world, many literati like to build houses between famous mountains and rivers. For example, Zhou Dunyi built a "Lianxi" under Lushan Mountain; Lin Tong lives in the lonely mountain of West Lake, and grows plums and cranes all day long. At that time, people called him "Mei's wife crane". This kind of interest is just like the inscription in Huang's "Autumn Mountain": "Building a house is far away from the city dust, and my heart is entrusted. When she opened the door, there were shadows everywhere, hills and valleys everywhere ... "(2)

However, most literati pursue "building a house in a humanistic environment", while "the sound of no cars and horses" (Tao Yuanming's Drinking) is confined to the street, but they still don't forget to devote their interest to expanding a small garden and planting a green shrub, leaving room for their reflection and reverie. Find a kind of interest of "attracting the wind from the sky to the courtyard and attracting pheasants to play with flowers" (3). In fact, it is to create a vast space for yourself.

This just plays a role in attracting nature to communicate with people and express their feelings. Bundle of clean water, like blue waves, makes people magnanimous and "inaction": winding paths, like promenades, are fascinating, and flowers flow over the valley, making people calm and happy. It reflects an ideology that ancient China literati took nature as their teacher, followed nature, and slightly divorced from nature.

2. Leshan: the pursuit of artistic conception in literati gardens is integrated with the aesthetic style of landscape poetry and painting.

"The Analects of Confucius. "Yongye" said, "Wise people enjoy water, while benevolent people enjoy Leshan. Wise people move, benevolent people are quiet. Wise people are happy, but benevolent people live long.

China's traditional cultural psychology is far closer to mountains and rivers than that of western Europe, because a large number of paintings, sculptures and poems in Europe are people-centered and strongly reflect a humanistic color; Western European gardens, represented by French classical gardens, are mostly composed of regular geometric shapes. This is in sharp contrast with the landscape painting, the highest achievement of China literati painting. The traditional aesthetic way of ancient literati in China is a way of "wandering between gods and things" (4), and their aesthetic activities are centered around natural mountains and vegetation. Literati reveal the political ideal they yearn for by observing nature, and tangible mountains and rivers have become the best media.

After Wei, Jin, Southern and Northern Dynasties, in order to avoid repeated wars, literati led a clean life and lived in seclusion in the countryside, and their aesthetic appreciation of natural beauty also entered the stage of self-reliance from the spontaneous stage. Private gardens of literati also flourished at this time. The reason why China's tradition is that scholars make gardens is because of their participation, and their aesthetic taste in poetry and painting directly affects the composition of landscapes. It is difficult to find other theoretical works that have an influence on China's ancient gardening theory, except the book Gardening and Metallurgy compiled in Ming Dynasty. However, there are countless comments, appreciation and theoretical works about poems and paintings in ancient China, which greatly enriched the creative consciousness and techniques of gardens. Whether it is the location and layout of the garden, or the excavation of ponds and overlapping mountains, it is required to conform to the painting theory. Therefore, China's garden art is full of poetry and painting.

The literati gardens are integrated into the beauty of China's poetry and painting art, and the elegant and lofty landscape makes people feel drinking. Harmony is beauty, kindness is softness, which is a basic feature of China literati garden art, and it is also the projection of artistic conception pursuit of landscape poetry and painting in its aesthetic field. The setting sun shines on the ruins of a farmhouse by the Weihe River in Wang Wei, and cattle and sheep go home along the path. A rugged old man in a thatched door leaned against a cane and thought about his son, the shepherd boy. Tao Yuanming's Return to the Garden: "When planting beans in Shannan, the grass is full of bean seedlings. Get up early in the morning to eradicate weeds, and come back with hoes in the moonlight at night. " Wang Cone's Autumn Night in the Mountain: "after rain the empty mountain, set up an autumn night. The bright moon shed clear light from the cracks and cleared the fountain on the rocks. They are full of beautiful and far-reaching poetic meanings.

China's traditional painting and calligraphy art emphasizes the importance of "meaning". The so-called "meaning comes first" and "meaning is precious" all show the importance of artistic conception of painting and calligraphy. Zheng Banqiao said, "The management of a mountain and a valley, the rendering of a grass and a flower, also has difficulties: the big beginning, the big style of writing, and changes, depending on the artistic conception of people." "(Addendum to Zheng Banqiao Collection) So the effect is due to the creation of artistic conception, and so is the literati garden.

The ancient literati in China believed that academies and gardens were not only fantastic beauty, but also moral. Just as Lianxi College must build a lotus pond, it is intended to reflect Zhou Dunyi's "love lotus theory", so there are many mountains and stones. Zheng Banqiao called it: "There is sound in the wind and rain, shadow in the sun and moon, love in poetry and painting, and companionship in leisure and boredom. I'm not the only one who loves Zhu Shi, that is to say, Zhu Shi loves me "(Zheng Banqiao). Inscription painting ") embodies the realm of blending things with me and scenes. In China's paintings, there is not much ink, paying attention to artistic conception, being careless and impenetrable, seeking change from unity and simplicity from triviality, and creating infinite artistic pursuit in a narrow space, which is exactly the artistic conception effect that literati garden art wants to achieve.

In the creation of artistic conception, landscape is the best opportunity for artists' aesthetic psychological activities. The aesthetic ideal they pursue is concretized and visualized through these landscapes, and finally the scenery is affectionate, and the environment and significance are muddy. "Garden and Metallurgy" says: "Gao Shuang is the porch, but the window is empty: Wang Yang is a thousand hectares, which is connected with the four seasons. ... knot bamboo fences and deepen the long-term business of one faction; Obstacle Jinshan Ping, thousands of miles lush, although made by people, ten thousand ... night rain banana, like Jiao Ren's tears; Breeze willows, if you turn over a beautiful girl's slim waist. Move bamboo as a window, pear as a courtyard: dissolve the moon, whisper the wind: quietly disturb a couch piano book, move half a round of autumn water. Take a breath, feel a few seats, and every dust will stay away. (5) The scenery here is full of love stories, and the mentality follows the imagination of the scenery. But whether it is the spectacular scenery of Wang Yang or the small scenery of the four seasons, the author chooses the artistic conception of landscape poetry and painting. The ticking of the rain hitting the banana, the rustling of the wind, the bell of the temple, the hazy beauty of light and shadow, the shadow of trees, the oblique shadow in the water and the prospect of dissolving the moonlight all reflect the artistic pursuit of literati gardens.

Ancient landscape painters also attached great importance to the auxiliary role of smoke clouds in the theme scenery Guo Zeng, a painter in the Song Dynasty, once said, "Mountains and rivers take vegetation as their hair, and smoke clouds as their colors. Influenced by this painting theory, when Ji Cheng talked about borrowing scenery, he also talked about the scenery of smoke and clouds in particular: "Clouds walk outside the sill, water flows in the mirror, mountains can't be washed away, and cranes come." (6) "This kind of illusory and lingering smoke and water make the shadow, shape, sound and color complement each other, adding a hazy beauty to the quiet literati garden, and this hazy beauty is more likely to cause the aesthetic subject to associate and empathize. As the saying goes, "Jade dew is empty, flowers and bamboos are pleasant. Promote movie-watching activities to achieve the perfect realm of scene blending.

Moreover, the same Lotus Pond Bridge, Mount Li and Yiyuan Garden are not as pleasant as Humble Administrator's Garden: there are many Mount Li in the lion forest, but they are not as interesting as the small peaks in the Shilin compound. The secret lies in the creation of artistic conception. Therefore, whether it is landscape design, pavilion design, flower planting and couplets, we should pay attention to emotional narration: "cold shape and eye plan, sound and ear plan, leisure and empty people and magic plan, but quiet people and calculation." (Liu Zongyuan's "Cobalt Hutang Xishan") This is the so-called "the deeper you look, the deeper the scenery".

Third, I am humble, but I am virtuous and sincere: personality and indifferent aesthetic taste.

Ancient China literati were proud of their poverty and aloofness, and their aesthetic pursuit of art was all mixed with strong social and ideal emotional content. In their rich emotional world, their concept of elegance and vulgarity is very clear, as the saying goes, "success is not honorable, failure is a long time to return home." (Zuo Si "Ode to History") "Since ancient times, sages have been poor and humble, and my generation has been lonely and straight." (Bao Zhao's "Difficult Code") not only reflects the dissatisfaction of poor literati students with official families, but also shows their noble character and frank mind.

Ji Xiang Xuan, written by Gui Youguang, an essayist in the Ming Dynasty, is only "enough for one person" and "far to the north, and fainted in the afternoon". If it rains, it is "muddy and hard to gamble". So embarrassing, but always vulgar and happy, "hold back singing, sit quietly, everything is noisy", appreciate "the moon is half, the laurel shadow is mottled, the wind is moving. Although Xuan is small, he still doesn't forget to plant orchids, osmanthus trees and bamboo in his yard. It can be said: "A half-acre garden contains a master's high wind: a seven-foot humble room reveals students' Ming Festival. "No wonder Liu Yuxi, a scholar in the Tang Dynasty, wrote an inscription for his humble room:" The mountain is not high, but the immortal is not famous. "The water is not deep, the dragon is the spirit. I am a humble room, but I am virtuous. The moss marks on the upper steps are green, and the grass is green. There is no Ding Bai who laughs and has a university. You can tune the pipa and read Jin Dian. There is no confusion, and there is no complicated form. Zhuge Lu in Nanyang and Ting Yun Pavilion in West Shu. Confucius said, "What is so ugly?" (Liu Yuxi's "Humble Room Inscription") The same style as this humble room is a happy little garden. Scholars often show off their small gardens to distinguish them from the royal gardens. Implication: Although the garden is small, it is extremely elegant: although people are poor, their integrity is extremely high. Xie Lingyun, the first landscape poet in ancient China, called his home garden a "middle garden", and in Gengwen, Northern Zhou Dynasty, he put forward the idea of building a small garden, so the well-behaved, exquisite and small garden gradually rose and became the mainstream of private gardens of literati and painters. Such as three mu garden, one mu garden, half mu garden, spoon garden, mustard seed garden and so on. "Less but more, more and more elegant" (7) is another embodiment of China's dialectical artistic thought. "Elegance" is a unique category in China's traditional aesthetics, which means tranquility, naturalness, fresh charm, simplicity and indifference, and is closely related to "frugality"-less wins more and simplicity wins more. "Half a room and one living room, natural elegance" is not less, but less for natural elegance. " Travel around the world in three or five days: six or seven men will meet 10 thousand teachers. (8) Although this is an image description of the classical drama art, "take one as ten". However, gardens should show the natural world in a small scale and pay more attention to the artistic principle of "taking one as ten". Every flower, grass, tree and stone in the garden must be spiritual, so as to receive the artistic effect of "the less pens are used, the stronger the spirit is and the more concise the scenery is". "

Among the flowers and trees planted in the garden, bamboo is very popular. Bamboo is tall and straight, handsome and full of vitality, which is consistent with the upright and upright sentiment advocated by scholars. Su Shi had the feeling that "you can eat without meat, but you can't help eating bamboo"; One of Zheng Banqiao's poems ("The Bamboo Map of Weixian County" has many inheritors) said: "Yazhai is listening to Xiao Xiaozhu, and it is suspected that it is the voice of the people's sufferings: some small Miao county officials, one branch and one leaf, are always concerned about their feelings." "This is the infinite feeling for the rustling bamboo sound. Where there are many scholars, it is better to divide the water into three parts, the bamboo into two parts and the house into one part. The Canglang Pavilion in Su Shunqin is "bamboo in front, water behind, and bamboo in the water is infinite. Wang Xizhi's Preface to Lanting Collection also called Maolin Xiuzhu elegant. Liu Zongyuan's Xiaoshichi is characterized by "surrounded by bamboo forests" to describe its elegant and lovely scenery. In the inherent concepts of these literati painters, bamboo is an unusual kind of bamboo, but a sustenance of thoughts and ideals. Therefore, painting bamboo is not called painting, and using "writing" is really like freehand brushwork.

Scholars are also addicted to Mei, a character characterized by "purity" and "coldness". Jin Nong, one of the eight eccentrics in Yangzhou, and Zhenwu, one of the four great masters in Yuan Dynasty, planted plum trees in front of and behind the house. Zhenwu also named himself Plum Blossom Fall after Bao Zhao, which is a plum blossom poem "Flowers can be made in the frost, flowers can be made in the dew, and the spring breeze can be charming": Yongmei, the diviner of Lu You, took Bao Zhao as a model and appropriately expressed the metaphor of plum blossom. At dusk alone, it's windy and rainy ... "Tao Yuanming, a hermit in the Jin Dynasty, loved flowers alone. However, in the Northern Song Dynasty, Zhou Dunyi said, "Love lotus is not stained with mud, clear but not evil, straight through the outside, not crawling, and the fragrance is far and clear ..." It seems that there are indispensable autumn chrysanthemums standing in the cold and lotus flowers that can be viewed from a distance.

Tang, a painter in the Ming Dynasty, once expressed his feelings by saying that "the nature of mountains is my nature, and the love of water is my love". Similarly, gardeners must idealize their emotions into their own artistic conception, and carefully ponder and taste the feelings of mountains and rivers in order to create a good garden. This tradition of empathizing with things and endowing natural things with humanity was perfectly understood by ancient China literati. They believe that only by understanding the scenery in the garden with emotion will they feel particularly special: there are many feelings, and touching the scenery is wonderful.

At this point, private gardens have become an environment for literati students to avoid realistic contradictions, comfort their scarred state of mind, and learn enough courage to bear realistic pressure. This particular cultural atmosphere is also the result of Confucianism's active accession to the WTO, Taoism's freedom and detachment, Zen's liberation of the individual's inner world, and then passive birth-relying on the elderly to escape from Zen. In addition, garden art, like landscape poetry and painting, emphasizes that "nature is created by foreign teachers and the heart comes from China." Therefore, it is very natural for the aesthetic pursuit of landscape poetry and painting to cut into the vocabulary of literati garden art.

The literati's "love of nymphs" (9) is a historical necessity, but whether it is the spiritual oasis of literati gardens or the quiet and distant and unique landscape poems and paintings, it has undoubtedly laid a natural aesthetic style for modern cultural buildings, and its aesthetic realm of "made by people and made naturally" is bound to be attached to the present and future of China's residual culture.