Aesthetics of Moonlit Night on the Spring River
There is often a phenomenon in the history of literature: some writers and poets are named after only one or two poems or one or two works; The name of this unique poem and work is not because it has strong social significance, but because it uniquely depicts a certain image, depicts a certain artistic conception and expresses a certain emotion. This is the case with Zhang in the early Tang Dynasty. Moonlit Night on a Spring River established his position in the history of literature. What this poem provides us with today is not the content, but the skillful artistic skills and unique aesthetic achievements.
Wang Guowei said: "Realm is the most important word. If there is a realm, it is self-contained, with its own artistic conception, the unity of meaning and context, the harmony of emotion and scenery, and the world of artistic images created by poets. Therefore, the author of poetry is always pursuing new creation. As for how to create artistic conception, each poet has both similarities and characteristics. It is enlightening for us to discuss the experience of "A Moonlit Night on a Spring River".
Describing the context and image of poetry must be based on the image characteristics of the object. Only when the observation is accurate can the description be true. The poet Zhang accurately described the basic characteristics of the image he wanted to describe. This is not Leng Yue on a winter night, but the bright moon by the river. The poet uniquely captures the characteristics of the bright moon in spring and the flourishing spring tide, and depicts it with artistic brushstrokes.
At the beginning of the poem, it began to spread: "The spring tide is even with the sea level."
The poet is free, put down his overview and try his best to adjust the spring tide to the pen. The rolling river tide is connected with the vast waves, which makes the river and the sea indistinguishable. The scene before us highlights the spring tide. The next sentence, "The bright moon on the sea is born in the tide", emphasizes again, deduces the characteristics of the scenery and continues to describe it. The moon is in the east, just in time for the high tide. This full moon seems to emerge from the high tide. The illusion of this feeling contrasts with the surge of spring tides. The poet does not write the spring tide with pen and ink, but highlights it with turbulent sea water and holds it up with a full moon. In this way, the rolling picture of spring is displayed in front of people; In this way, the characteristics of the prosperity of spring water and riverside will be clearly touched. At the same time, the poet wrote a sentence and wrote both the river and the moon. The bright moon and spring water are intertwined, which shows his creative intention of combining "river" with "moon". Later, the poet stretched the lens and greatly expanded it. "I drift thousands of miles", the wind shines on the moon, and Yue Hui interweaves. The full moon is getting higher and higher, and the moonlight rushes forward with the river waves, shining thousands of miles in Wan Li. This is a magnificent realm, magnificent scenery. At this point, the poet was so excited that he poured a sentence on the paper: "
Where there is no moonlight by the river, the picture suddenly widened. There is also the river moon, which is a blend of the river and the moon. Following the artistic conception of the blending of the river and the moon, the poet's artistic tentacles stretched out. Continue to spread ink and explore the artistic expression world of poetry. From time to time, I set my eyes on the "Fangdian", and the river flows around. Sometimes I look at the "flower forest", and the moon shines on the flower forest, dancing like snow beads. Sometimes the camera turns to Tingzhou, and the moonlight pours, like frost, covering white sand. Sometimes the camera is far away from "Jiangtian", and Wan Li has no clouds and fine smoke, just watching the lonely moon and spitting out brilliance. When describing all this, the poet still revolves around the center of the bright moon-a flower forest like graupel, describing the cleanliness of the moonlight; Covered with white sand, it shows the intensity of moonlight and describes its brightness. Gorgeous pen and ink wrote the beauty of moonlight on the riverside. It can be seen that the poet grasps the word "life" when writing on the Spring River, and deducts the word "Ming" when writing on the Spring Moon. Grasp the characteristics of the image to describe the realm and picture, so that the description has distinctiveness and characteristics.
The description of the realm and image of poetry must also be based on the formation of a complete art country. When a poet thinks in images, he takes concrete sexual materials as the basic unit of thinking. The poem produced by the thinking result of image thinking is to create a complete artistic image, which is an image world with a sense of wholeness, and is by no means a fragmented picture. Moonlit Night on a Spring River is quite skillful in creating this complete artistic world. First, the poet took time as the line, from the rise of the moon to the setting of the moon, and drew a moonlit map. It was stated that the month was born in spring and the month was born in the east. Then, as the waves gushed out, the moonlight poured down, and the river was bright and flashing everywhere. Then, the moon is in the middle of the sky, hanging above the river and shining high on the balcony. After that, the moon went west, and finally, the moon sank into the river. It begins with the moon rising and ends with the moon setting. Poems such as Youlong and Shu Qi are reflected from beginning to end. As time goes by, this picture shows a picture. Secondly, the poet wrote a panoramic view of the riverside with Jiangyue as the center. Chunjiang River shines because of the bright moon, and the bright moon adds color to Chunjiang River, and the two blend organically. Although the poet looks at the four poles and thousands of miles, the images of the square, purple sand, river sky, ships and tall buildings are colorful, but these images are skillfully woven into an inseparable tapestry on the riverside map by the poet. In the poet's works, Fang Dian and other images are not warts because the poet associates this image with Jiang and Yue. "The river?
Flowers are like clouds and the moon is like water. These images are closely related to rivers and the moon, so they are not isolated; Jiang Yue is closely related to these images, so it is not monotonous. These numerous natural images enrich the moonlit night on the riverside, forming the stunning beauty of the riverside map and greatly increasing the fullness of the images.
The poet takes time as the classics and writes that the moon rises and sets; Taking Jiangyue as latitude, a moonlit map of Chunjiang River with various latitudes and longitudes is interwoven vertically and horizontally. The poet tried his best to render the splendor of the Chunjiang River and repeatedly sang the bright moon in spring; "Hongyan flies too long", Hongyan flutters its wings and flies to the distant sky, but it can't escape the moon. "Fish and dragons dive to write", fish and dragons dive deeply, lie in ambush at the bottom of the river, and finally jump up and ripple in the moonlight. The first sentence is that the moonlight shines far, and the second sentence is that the moonlight shines deep. There is both a sense of openness and a sense of depth, which depicts the whole moonlight on the riverside as a beautiful, quiet and profound poetic realm.
If the artistic conception of poetry is only satisfied with the description of natural scenery, it is not enough. On the same theme, the bright moon in Lu is also covered with moonlight, but it is far less than the moonlight night on the riverside, because the latter is not only beautiful, but also affectionate. Not only emotion, but also the fusion of scene and artistic conception. This is "chess is better than others", and the poem won. Now let's analyze it in detail.
Circumstances give birth to feelings and get to the point. Jiao Ran said: "Poetry is born in the environment", and poetry, as a subjective feeling, is triggered by objective things. Poets have feelings for things, and foreign things pluck the strings of their feelings, ignite the torch of poetic inspiration, and sublimate the subjective experience of understanding things. But the further requirement for the poet is that the feelings aroused must be realistic. In other words, feelings must be suitable for a specific environment and a specific situation. Generally speaking, a long river is easy to touch distant feelings and arouse homesickness. This is the case with Zhang, who grasped the connection between them. Therefore, when the poet laid out the night view of Chunjiang Moon, he jumped out of these two affectionate poems: "Whose ship is going to set sail tonight?" Where do you miss Yue Ming Building? "This seems to be natural and logical." Scenery is the medium of poetry, and emotion is the embryo of poetry. "The whole poem successfully integrates emotion into scenery and captures emotion in poetry. The poet draws ideas from this unique night scene of the river and the moon, and then uses this feeling to infect the dyed landscape. Love matches the scenery, and naturally the two fit together.
The feeling of parting runs through a thread. The emotion to be expressed in the whole poem is parting. However, when the poet expresses his feelings, he has a unique way, that is, he chooses a unique angle to express his feelings. The feelings of the whole poem are written through the confusion of women's thinking. When the poet finds the focus of this thought, he can express his feelings and make people suffer from the existence of lyric subject image. The expression of female thinking runs through the whole poem as a clue. The gurgling spring flow of feelings sometimes turns around and sometimes becomes a slight overflow. "White clouds have gone, and Qingfeng is too sad." White clouds floating away from Qingfeng Pu symbolize the differences between people. Ink contains distant feelings, and the poet began to describe the feelings of missing women.
If it is still subtle here, then the following is revealed from the hidden surface, "Whose boat is tonight?" "Where to miss the bright moon building" points out the emotional parting. When the feelings expressed by the author are directly exposed, the poet turns to express them and wedges them into the depths. "Poor people wander upstairs and on the moon, so they should take their eyes off the dresser." The moon hovering symbolizes people's lingering feelings. At this time, I don't know each other yet. I hope I can shine on you every month. Until the end, "I don't know how many people return home every month, and the trees are full of rivers." The whole emotional development has formed such a level: the moon shines on the edge of the building, leaving people thousands of miles away, the moon shines on her husband's wishes, the beauty's melancholy in her later years, the wishful thinking of the moon's return, and the feelings of the moon sinking into the river. Needless to say, the feelings of the whole poem are sad, but the way the poet arranges and pours out his feelings is unique. When a line runs through, feelings are continuous. If water flows from the source, it will flow forever. However, ups and downs, feelings are layered, such as the sea making waves, moving. Feelings change obviously in the same, and the little three are uneven and swaying.
The scene is harmonious and unified the whole article. There is a striking phenomenon in this poem, that is, the lyrical object of the poem rises from the moon to the setting of the moon, as if time is a line, and the lyrical subject is gradually saturated from emotion to emotion. This is another line element. The two clues are not parallel in the poem, but intertwined in the realm of scene blending and harmony between subject and object. The poet has a whole article on his chest, his eyes are everywhere, and pens are everywhere from the moon. Of course, his feelings are born with the moon, and more importantly, his feelings fluctuate with the rise, height, inclination and setting of the moon. Everything revolves around the center of the moon, born around the moon, and spread around the moon. With the help of the bright moon, the poet expresses and expresses the harmony of multi-disciplinary emotional scenes. "The jade curtain cannot be rolled, but can be brushed back on the anvil", which is vivid and vivid, and can be called a vivid pen. The poet personifies the lifeless moonlight and gives it fresh life, as if the moonlight is deeply touching. Curtains can't be rolled up and waved away. It is so deep and lingering that it becomes an emotional channel between missing women and leaving people, an attachment to missing women, and a sustenance for pinning women's wishes. Here, you can't tell what love is and what scenery is. The language of scenery is the language of love. It is very important for poets to write the bright moon as a sentient body, know people's intentions, understand people's hearts and convey people's feelings. "the falling moon shakes the trees all over the river." Although the moon is gradually setting, it still has a deep attachment to people. It left the last afterglow wine on the river tree, which was covered with the afterglow of the falling moon. This is "shaking feelings" or affecting people's feelings. In this way, although the poet endowed it with a kind of natural scenery, the falling moon and the river trees have been immersed in the dye vat of emotions, becoming sentimental scenery and meaningful realm, and we can feel rich feelings from the scenery. Here, although the pen is exhausted, the feelings are not exhausted, giving people a farther reverie and a deeper taste.
The blending of scenes in this poem is not only manifested in the emotions in the scene, but also in the beauty of moonlight and the tenderness of feelings, and the unity of the length of the river and the profound thoughts. Parting is a special feeling. Constant cutting and confusion, especially the lingering embarrassment in my heart, have become the performance characteristics of this feeling. According to this feature, the tone of the poem was laid. Around this tone, the poet described a profound realm and a beautiful artistic atmosphere, which achieved a combination of the two. The scenery written in this way not only did not destroy the unified thought and complete emotional appeal of the whole poem, but also played a role in strengthening the emotional theme of the whole poem. Aesthetic theory attaches great importance to harmonious beauty, which not only refers to the neatness and unity of artistic forms, but also refers to the mutual harmony and unity of meaning and environment, emotion and scenery. This unity, like calling it sucking, is closely linked; Just like blood and meat, they are connected by a blood vessel. They are internal fusion, and this artistic harmony can certainly give readers a high aesthetic enjoyment.
The theme of this poem is a traditional theme in the history of literature. The title of this poem is the palace style used by emperors Chen Houzhu and Yang Di. However, the fundamental reason why it broke through this barrier and became a leader at that time was that it paid attention to the profound and complete description of artistic conception and scene. As for the beautiful and fluent language, the mellow and clear voice is the second.