Appreciation of beautiful poems without words

1. Poetry on the Beauty of Wordlessness

Poetry about the beauty of silence 1. What are the ancient poems that embody the beauty of silence?

1. An autumn night in the mountains

The empty mountains are bathed in a new rain, and feel the early autumn at night.

The bright moon shed clear light from the cracks and cleared the fountain on the rocks.

The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe.

Spring spring might as well give it a rest, and the autumn sun can stay on the hills for a long time.

2. In the mountains

The stream of the river has been flowing for less than a day, and white stones are exposed on the riverbed. The weather is getting colder and the red leaves on the branches are becoming scarce.

There is no rain on the winding mountain road, the smoke is misty in the dense pine trees, and the water vapor is heavy, as if to flow, and then the clothes of passers-by.

3. Wu Xinyi

The branches of the topmost hibiscus flowers are full of scarlet calyx in the mountains.

The mouth of a stream is silent, without a trace. They open and fall.

4. Zhulou

I leaned alone in the dense bamboo, playing the piano and humming a song.

It's too light for anyone to hear, except my partner, Mingyue.

The above ancient poems are all from Wang Wei, and those landscape poems depicting the quiet beauty of nature have high aesthetic value.

Key words of his works' style: painting shadows and shapes, vivid and vivid, with both form and spirit. "There is a picture in the poem, and there is a poem in the picture".

With a fresh, simple and natural style, Wang Wei created the artistic conception of "painting in poetry, poetry in painting" and "Zen in poetry" and set an unshakable banner in poetry.

2. Two poetic lines

[Shaping Jiangnan] Tang. In Xia Meng, south of Jiaxu River, bamboo shoots are all woven. The air is a pavilion and the frog is an orchestra. [Shaping the Late Summer Moon in Jiangnan] Tang Dynasty. In summer in the south of Fan Deng, his body is hot and sweaty. Mosquitoes become thunder snakes, and cassocks are paddy fields. Xijiang spacewalk in yellow sand. Suddenly, the road turned to the bridge. Linjiang immortals roll the Yangtze River, and the waves wash out heroes. Success or failure is empty. The green hills are still there, and the setting sun is a few degrees red. White-haired fishing firewood is used to watching the spring breeze of autumn moon. Met with an old friend and drank a glass of wine. How many things have been paid off since ancient times? If the flowers are buried, the flowers will fly all over the sky and the red fragrance will disappear. Who has compassion? The spring pavilion floats softly, and the wild geese attach embroidered curtains lightly. The daughter in the boudoir, with a sad face, hoed the flowers out of the embroidered curtain with both hands and endured to step on the fallen flowers. Willow branches and elm pods come from wheat straw, and the peach of wheat straw floats with Li Fei, and peaches and plums can be planted again next year. Who knows in the boudoir next year? At the beginning of March, the fragrant nest was built, and the swallows in the beam were too heartless. Although we can peck flowers next year, no one can go to the empty nest in the beam. 360 days a year, the wind and the sword push each other hard, and when bright and fresh flowers can be found, they are hard to find once they float by. Bloom can easily find the victim, but he is worried about burying the flowers in front of the steps. He stole the flower hoe and wept alone, only to see blood stains on the branches above. The cuckoo is silent at dusk, and the lotus hoe returns to Tibet. Half pity for spring, half worry about spring, suddenly worry about spring, silence. Last night, I sent a sad song outside the pavilion, knowing that it was a flower soul and a bird soul? The soul of flowers and birds is always hard to stay, and birds are ashamed of flowers without words. May you have wings on this day and fly to the end with flowers. Where is Xiangshan? It's better to be clean than trapped in a ditch. Today I will die and be buried, but I don't know when I will die. The man who buried the flowers is laughing today, but who did he know when he buried them? Let's watch the residual flowers in spring gradually fall, that is, when the beauty dies of old age. There is no sad song for me, and I don't know if the flowers are dying.

3. Aesthetic thinking of wordless beauty

It is Mr. Zhu Guangqian, a modern aesthetician in China, who clearly put forward the aesthetic proposition of "beauty without words".

In "The Beauty of Wordlessness" published by 1924, he said: "Infinite meaning can be expressed in words, so there are many meanings, which are self-evident. The beauty of literature lies not only in the infinity of words, but also in the infinity of meaning. "

He put forward "the beauty without words" to express the highest aesthetic form and realm of "meaning" in the field of literature and art. Among the pre-Qin philosophers, Confucius, Laozi and Zhuangzi all said "no words" and "no words", but most of them were implemented as a strategy because they didn't fully express their meaning.

However, there are several words related to "beauty" in "Zhuangzi's Journey to the North": "There is great beauty in heaven and earth without saying anything, there is a clear law without talking from time to time, and everything is reasonable without saying anything." In other words, there is no "great beauty" of words in the world.

Zhuangzi's aesthetic view was interpreted by metaphysical scholars in Wei and Jin Dynasties, and finally accepted by writers. From the Southern Dynasties to the Tang and Song Dynasties, because of the poet and poetics, inspired by Zhong Rong's "literary talent is more than enough", coupled with the development of Zen philosophy and aesthetic thought, the charm of "wordless" beauty has been rendered, making it a supreme spiritual realm and aesthetic pursuit.

For example, it is extremely important to look at emotions, not words. (Tang Jiaoran's poetic style) What is the effect of the poet's article? Righteousness is lost, so it is difficult to do it; The environment is born outside the image, so it is good but not harmonious.

(Liu Tang Yuxi's "Fu's Wuling Collection") There is no word, it is romantic, the language is not difficult, and the pain is not worrying. (Tang Tu (poem, implication) Poets are also sentimental. Anyone who prospers in the Tang Dynasty only wants interest and nothing else; So its beauty is thorough and exquisite, and it is impossible to pool together.

..... words are endless. (Song Yu Yan's Poem on the Waves) The people who can't say anything about human feelings are the most, and all who have to say it are nephews.

..... Poetry is not wordless, but full of words. (Ming He's General Theory of Poetry and Mirror) If words are full of meaning, immortals fly around without knowing it. This poem is expensive because it ignores the facts.

Literature is the art of language, and poetry is the highest style of language art. Why is its highest aesthetic realm "silence"? This is an aesthetic proposition with dialectical consciousness in ancient China. In any poem, the poet's affection is the spiritual subject of the work, and language is the material carrier. Without a carrier, emotions cannot be output. In this sense, "talking" is absolute.

As for "silence", we should look at it from at least two aspects. On the one hand, some "meanings" can't be fully expressed by words (poets also express them consciously and endlessly), so readers can only appreciate and explore outside the existing words, and the meanings outside the words can be obtained through "silence". On the other hand, it is the poet's skill and kung fu in using language. His language is the most concise and expressive, and he can create a far-reaching realm of "ten points" with "three points", and the other "seven points" are omitted by him, which is a superb display of language art and kung fu.

Compared with "talking" and "not saying", "not saying" depends on "good words", and Lao Tzu has long had "good words" (Chapter 27 of Lao Tzu). Scholars also have the saying of "good words". Lu Shiyong in the Ming Dynasty said in "A General Theory of Poetry and Mirror": "Those who are good at lyricism will feel infinite if they want to show and hide.

Those who are good at Taoism and scenery will never describe it, but they will polish it a little, that is, the truth is obvious and the charm is elegant. The expression of a poet's kind words is that he is good at achieving the implication, the implication beyond rhyme and the implication beyond image, and this is the path to the beauty without words.

Lu Shiyong first emphasized that poets must carefully choose suggestive and enlightening language in order to be "obvious, hidden but not revealed"; The description of objects must use colorful, dynamic and expressive language in order to achieve the effect of "a little embellishment" and "obvious truth" It can be concluded that the higher the expressive force of "speaking", the more it becomes a real kind word, and the higher the beauty of "wordlessness" can be reflected.

The worse the expressive force of "speaking", the "beauty without words" will suffocate. "No words" is to obtain beyond space and time based on "words"; "Youyan" can show its charm and energy through the expansion of "Yanwu".

From the aesthetic point of view, "beauty without words" has experienced a psychological dialectical process of "negation of negation" in the aesthetic process of the appreciator. In classical Chinese and Wang Bi's two "forgetting" theories, "those who keep the words must be like their own people", and those who want to be like their own people must deny the existence of words; "It is not honorable to keep an image". To gain "meaning", we must forget or deny the existence of "image".

These two negations are completely suitable for the aesthetics of literary and artistic works. The German philosopher Kant believes that one should prove one's taste. "The key is what I saw from this appearance in my heart, not the existence of this thing.

..... people must be completely indifferent to the existence of things, but in this respect, so as to become a judge in appreciation. (Chapter 10 of Bao Sangkui's History of Aesthetics in Britain) The aesthetic experience we have gained in the practice of appreciation is indeed so. When you look at a work, if you focus your aesthetic attention on the beauty of words, you may ignore the essence of "inside the image" and "outside the image" and the far-reaching beauty of the artistic conception, and you will make the mistake of "buying calves and returning pearls".

Therefore, in aesthetics, we must deny the symbols of beauty on which the transmission and expression of beauty depend, so as to obtain the connotation of beauty without any external attachment and interference. The more thoroughly you deny it, the more fully you realize it. In a series of aesthetic activities, the connoisseur finally got the "beauty without words", and he also entered the realm of infinite pleasure of spiritual freedom and aesthetic freedom.

The reason why many poets and poetic theorists in the Tang and Song Dynasties and later praised the beauty of silence in different ways is that they already have the creative consciousness of completely returning to the standard of "chanting emotions" in their poems, completely eliminating the tangible interference of any concept on poetry and abandoning the non-poetic tendency of "exaggerating and indifferent taste". "Ignoring" is a natural expression of pleading, and "saying nothing" is a negation of the words of reasoning and discussion in poetry.

As Hegel said, "Art will take us to a place in all aspects.

4. Poems describing the beauty of mountains and rivers

He Shizhong

1. Guan Guan Luo Gui, in Hezhou. (The Book of Songs? Guan Yu ")

2. Although a country is divided, mountains and rivers remain forever, and the spring of trees and grass is back. (Du Fu: Hope in Spring)

The desert is lonely and straight, and the long river sets the yen. (Wang Wei: "Summit")

4. The mountains cover the day, and the sea drains the golden river. (Wang Zhihuan: (at the Heron Hotel))

5. Say goodbye to the Yellow River and stay in Braque Mountain. ((Mulan word))

6. There are endless tears in the mountains and rivers. Who said that heaven and earth are wide? (Xia Wanchun: Other Clouds)

7. Flying down three thousands of feet, it is suspected that the Milky Way has set for nine days. (Li Bai: "Looking at Lushan Waterfall")

8. Artemisia selengensis is covered with short reed buds, which is when the puffer fish wants to come up. (Su Shi: "Hui Chong Chunjiang Night Scene")

9. The Yellow River is far above the white clouds. It is an isolated city, Wan Ren Mountain. (Wang Zhihuan: Liangzhou Ci)

10. East of Wan Li is a sea of people, with 5,000 mountains climbing skyscrapers. (Lu You: "The Feeling of Going out of the Hedge Door to Meet the Cold in Autumn Night")

Shi Zhongjiang

1. I still miss Xiang Yu and refuse to cross Jiangdong. (Li Qingzhao: "Summer quatrains")

2. A boat, a bamboo cloak, an old man fishing in the cold Jiang Xue. (Liu Zongyuan: "Jiang Xue")

3. Wild trails and clouds are all black, and rivers and boats are bright. (Du Fu: "Delighting in Rain on a Spring Night")

4. Jiangnan is good, and the scenery was once familiar.

When spring comes, the sun rises from the river, the flowers on the river are brighter than red, and the green river is greener than the blue grass. (Bai Juyi: "Recalling Jiangnan")

5. Peach blossoms outside the bamboo are three or two, and the spring river plumbing duck prophet. (Su Shi: Title of Hui Chong, Volume 6. Say goodbye to Bai Di Caiyun and return to Jiangling one day. (Li Bai: Early Baidu City)

7. The solitary sail is far away from the blue sky, and only the Yangtze River flows in the sky. (Li Bai: "Farewell to Meng Haoran on the way to Yangzhou")

8. Frosty night, Jiang Feng, fishing and sleeping. (Zhang Ji: (Night parking near Fengqiao))

9. It's freezing and rainy, and it's already night in Wu, and it's calm to see the guests off. (Wang Changling: Breaking up with Xin Jian at Furong Inn)

10. It's the beautiful scenery in the south of the Yangtze River and the season of falling flowers. (Du Fu: (On Li Guinian in Down the River))

Shi Zhongshan

1. Hundreds of mountains have no birds, and thousands of paths have no footprints. (Liu Zongyuan: "Jiang Xue")

2. The mountains cover the day, and the sea drains the golden river. (Wang Zhihuan: At Lusu)

3. Once you climb to the top of the mountain, you will see that all the other mountains look short under the sky ... (Du Fu: Looking at Yue)

Although a country is divided, the mountains and rivers remain forever, and the spring of trees and grass is back. (Du Fu: Hope in Spring)

There seems to be no one on the empty mountain, but I think I heard a voice. (Wang Wei: Chai Lu)

6. The bright moon rises from the mountains in the sky, in the infinite haze of the sea of clouds. (Li Bai: "Guan Shanyue")

7. Never tire of seeing it, only Jingting Mountain. (Li Bai: "Sitting alone in Jingting Mountain")

8. Peas are planted in Nanshan, and the grass is full of bean seedlings. (Tao Yuanming: Return to the Garden)

9. Castle Peak cannot be covered, after all, it flows eastward. (Xin Qiji: "Bodhisattva Xia? Book Jiangxi stoma wall "))

10. I don't know the true face of Lushan Mountain, but I am only on this mountain. (Su Shi: "Title Xilin Wall")

Water in poetry

1. The so-called Iraqis are on the water side. (The Book of Songs? Jia Jian ")

Where there is water, there are mountains and islands. (Cao Cao: 3. White hair floating green water, red palm stirring clear waves. (Luo: Singing Goose)

4. Tianmen cut off the Chu River and Higashi Shimizu River. (Li Bai: Wangtianmen Mountain))

5. There is no road in the mountains and rivers, and there is another village. (Lu You: "Tour Shanxi Village")

6. Peach Blossom Pond is deeper in thousands of feet than in Wang Lun. (Li Bai: "To Wang Lun")

7. The willows in Jiang Shuiping are green, and I can hear the songs on the Langjiang River. (Liu Yuxi: "Zhi Zhu Ci")

At sunrise, the flowers in the river are better than the fire. In spring, the river is as green as blue. (Bai Juyi: "Recalling Jiangnan")

9. Spring eyes are silent and cherish the trickle, and the shade of trees shines on the water and loves softness. (Yang Wanli: "Xiaochi")

10. There are three or two peach blossoms outside the bamboo, and there are duck prophets in the spring water heating. (Su Shi: "Hui Chong {Riverside Night Scene)")