On spring and autumn brushwork.

"Spring and Autumn brushwork" refers to an article writing method initiated by Confucius.

When Confucius wrote Spring and Autumn Annals, he didn't express the landscape on the language plane, but he could see his "subtle words and great righteousness" on the expression plane, so later generations called this technique "Spring and Autumn brushwork". The so-called "not revealing the scenery" actually means not revealing those sentences that are not suitable for explicit or unwilling to directly say the original intention. Just like the famous landscape painting, "beauty is vague, you can see it", or insinuate, or vague, or avoid, or hint, or hint, or set off from the side, or disguise, or hint up and down, in short, it does not reveal its original intention. Of course, there are also intentions involved, but they are often lenient, or vague, failing to see the true face of Lushan Mountain, or whitewashing, and turning bad words into good ones. To this end, this paper only makes a limited view on the ability that readers must have to appreciate the Spring and Autumn brushwork.

First, when the characters rendered and described in the works are getting closer and closer to the main idea, the author suddenly closes his pen, that is, "I want to say something", leaving readers room for thinking and not having to say everything. Due to the differences in world outlook, life experience and artistic accomplishment, readers' themes may be different from those of the author, and readers' themes may also be different, but people will not pursue them. It is in this conjecture, observation and taste that this language shows the beauty of "not revealing mountains and rivers". For example, "A Dream of Red Mansions" and "Ninety-eighth Back" write about Lin Daiyu as she lay dying:

"... suddenly heard that Wang called," Baoyu, Baoyu! " ! Hello ... when it comes to the word' good', I feel cold and silent. "

Some people tried to fill in the blanks of Dai Yu for the unspeakable argot behind the word "good ...", but they couldn't fill it in, and there was no need to fill it in, because before her death, Dai Yu was full of sadness and hatred, and she poured out her feelings. "Surprisingly, the smallest leisure area concentrates the most thoughts."

Second, you can win without saying a word. Spring and autumn brushwork is still like painting a dragon. Only when you see the beginning but not the end can you see the dragon. Only by "showing its importance and hiding its whole" can it show its hidden charm. Spring and autumn brushwork is like music. Come to an abrupt end, the lingering sound is endless. If everything is spilled, it will be boring. The visual image in the article is only the form of the author's expression, and its real intention is not a sentence, but the reader 9. If he wants to study thoroughly, he must "do his best" from scratch. For example, in the thirty-fifth chapter of A Dream of Red Mansions, Huang Qiao chatted with Baoyu when he tied plum blossoms.

"Inger smiled and said,' You don't know that we girls have several advantages that no one in the world has, and our looks are second to none. "

Readers can't help but be as anxious as Baoyu to know, "What are the benefits? Please elaborate." But the author just stopped here and wrote: "... just listen: outside, Baochai is coming." In fact, the benefits of Baochai have already been mentioned in the book. Here, just through Yingying's mouth, people can understand and shine at the moment without a word.

Third, in order to set off the moon, in order to write this, the main object in the work is not portrayed positively, but by rendering the people and environment around it, leaving room for readers to think. Exposing scales and claws in appropriate places provides clues for readers to walk one by one, thus making the main objects stand out clearly. For example, The West Chamber first describes the beauty of Cui Yingying, that is, it uses the spring and autumn techniques of "holding the moon in the clouds". Yingying has both the beauty and spirit of "national color" and "harmony between man and nature", so the author draws clouds to compare Yingying's beauty with the "stunning" of many monks and Zhang Sheng. Although Zhang Sheng once met thousands of beautiful women, when Yingying appeared in front of him, she was "dazzled, speechless, and unable to extricate herself for a long time". Thus, the beauty of Yingying can be imagined. Through the rendering of Zhang Sheng's stunning, Yingying's peerless beauty lives in front of readers.

Fourth, imagine illusion, write in front of your eyes with virtual reality, but imagine the future with pen and ink; What is written is reality, but what is described is an illusory world. The emptiness at the end of the pen is confusing; Virtual reality is more verve. Try reading Liu Zheng's Qin Warrior in the supplement of 1988 by Zawenjie;

The Terracotta Warriors shouted, "Stop! However, a large number of tourists, China people, foreigners, people with tourist hats and cameras, walked past the Terracotta Warriors with smiles. Thai figurines have stiff hands and cannot move; The sword is rusty and can't be pulled out; The throat is made of pottery, so you can't make any noise. However, he can tolerate people who take his orders lightly, but he still silently shouts, "Stop, or you will kill me! " "

Many years ago, Qin Shihuang ordered the production of Qin figurines to guard the mausoleum and protect the imperial tomb, to show the majesty and majestic posture of the first emperor of "Six Kings Finish, Four Seas are One", which made the great cause last forever, but it became an exhibit two thousand years later. Imagine the illusion from Qin terracotta warriors and horses, and write the vicissitudes of social change in a virtual way; There is no doubt that the terracotta warriors and horses of Qin dynasty are old-fashioned without judging the situation.

A tragedy. On one side is a neat phalanx, and on the other side is a free crowd. While they were furious, they talked and laughed, and "passing by" and "not showing the landscape" were funny and sad and unique.

5. Language is near but meaning is far away, so we often choose familiar things and scenes in people's lives in shallow works of art, overlap suspense with simple and popular language, bring readers into the world, go from shallow to deep, and create a broad artistic world outside the limited picture, thus receiving the artistic effect of * * * appealing to both refined and popular tastes. Such as Jin Changxu's "Spring Complaint":

Get rid of the oriole, get rid of all the music on the tree.

They woke her up when she dreamed that she went to meet him in Liaoxi camp.

The whole poem is colloquial Although the disgruntled wife is afraid that the dawn will be too early to relive her dream, Pu's beginning is still condensed in Drive the Orioles. Why are you fighting? This is for all the music in their trees. Ying Ge is great, why not let it sing? I am afraid of "disturbing my dreams." Huang Ying crowed at dawn and should have woken up. What dream did the dissatisfied wife have? Why are you afraid of waking up? The answer to the last sentence is: I am afraid of waking up the dream of "going to western Liaoning". The sentence has a aftertaste, and the article is meaningful: Why did she dream of "going to western Liaoning"? Who is there? Why is it there? What is "Spring Complaint" complaining about? The suspense of overlapping is left to readers to think and imagine, which is really far from the meaning, very shallow and deep.

Six, powder on the back to cover up some words in the table that seem emotional, but readers should not be fooled, because the feelings on the surface are fake, and the true feelings inside are hidden behind, such as happiness covering up sadness, praise covering up derogatory and so on. Please quote "Boudoir Love" by Li See:

Red dew greenhouse with white honey, wasps and purple butterflies are uneven.

I feel a romantic dream in the spring window, but I don't know it.

Write a beautiful flower in the first sentence. Both the greenhouse and the curtain refer to the flower heart, the red dew refers to the red dew, and the white honey refers to the white honey juice. The second sentence says that wasps and purple butterflies come here to collect honey at different times. The third issue shows that women had a romantic dream under the spring window, and the word "spring" here refers to "spring" in the Book of Songs. The last sentence said that the wife had a romantic dream in her sleep, but the husband had no idea. These are all powders on the back, which cover the deep and well-worded essence with seemingly frivolous eroticism on the surface.

Seven, spurting and jumping, using dots instead of face art pen and ink can jump, soar and spurt. As long as we point out a few distinctive and representative images, we can touch the readers' thoughts, fill in the missing gaps, and form a complete picture with scattered points. Even if the beginning is omitted, the middle part is dug out and the end is deleted, the ins and outs of things and the clues of emotional development are still faintly visible. This technique of "not revealing mountains and rivers" seems to have something in common with the rule of aligning two points and fixing a circle at three points in numbers. For example, a passage from Yu Dafu's Autumn in the Old Capital.

The locust tree in the northland is also an ornament that can remind people of Qiu Lai. Like flowers, but not flowers, they will spread all over the floor in the morning. When you step on it, there is no sound, no smell, only a slight and soft touch. After sweeping the street in the shade, the silk pattern of the broom that fell on the dust looks exquisite and leisurely, and subconsciously feels a little lonely. The ancient dream that the world knows autumn is in these depths.

The author's trick in writing the Spring and Autumn Annals is to write subtle senses of sight, hearing, smell and intention point by point with emotional tentacles, thus forming a spiritual diagram of Beijing's autumn flavor. It is not only a vivid description of the objective world, but also a dynamic reflection of the subjective world to the objective world. Mobilize the five senses, be fascinated, break through the boundaries of time and space, let thoughts and emotions gush out, melt everything into the pen, and jump between the lines with the author's inner feelings of depression, resentment, loneliness and sadness, which not only has the artistic beauty of emotional nature, but also vaguely expresses a "real" me with "personality" everywhere. In this painting, the wandering and sadness in the heart of a wandering wanderer is condensed, which is indeed a "difficult scene". At present, various opinions are endless.