Does Wang Wei have a high position in the history of China's poetry?

Wang Wei's poems were widely circulated in the upper class when he was young, and had a direct social effect. Some poems have also been introduced into music and sung everywhere, expanding its acceptance. This spread and acceptance continued until the end of the Tang Dynasty after his death. Many poets of Wang Wei's contemporaries later studied Wang Wei's poems. Among the poets in the Tang Dynasty, only Li Bai and Bai Juyi can be compared.

Wang Wei's landscape poems serve as a link between the past and the future, pushing landscape poems from their peak to their peak, and further developing China's landscape poems. This can be confirmed by the artistic achievements and styles of Wang Wei's landscape poems.

Landscape poetry has a long history and has gone through the gestation period (pre-Qin to Western Jin Dynasty). Formation period (Eastern Jin Dynasty); Prosperity period (Southern and Northern Dynasties to Sui Dynasty); Shengshi (Tang and Five Dynasties); Extension period (Song, Yuan, Ming and Qing Dynasties).

Wang Wei is an outstanding representative in the prosperous Tang Dynasty, representing the highest level of China's landscape poems. There are more than 400 songs by Wang Wei, covering a wide range of topics. Among them, there are about 100 landscape poems with mountains and rivers, flowers and plants, birds and animals, insects and fish as their themes, which depict their vivid images, artistically reflect all kinds of natural beauty and reflect the author's aesthetic taste, accounting for a quarter of all his poems and ranking first among all other themes. In terms of artistic creativity, these more than 100 landscape poems have far surpassed their predecessors, and have had a wide and far-reaching impact on later generations.

The Tang Dynasty was a country with unprecedented unification, economic and cultural prosperity and frequent foreign exchanges in China's history. This provides a very favorable condition for the development of literature and art, and the development of landscape poetry has therefore entered an unprecedented period of prosperity.

The prosperity of Tangshan water poetry is reflected in the following aspects: First, the number of poets engaged in landscape poetry creation is amazing. According to the statistics recorded in Complete Tang Poems, during the 300 years of the Tang Dynasty, there were more than 2,200 poets and more than 48,900 poems were created, which was several times the total number of poems left over from before the Tang Dynasty 16700. Most of the mighty poets in Qian Qian have sung mountains and rivers; Although there is no accurate statistics yet, it can be roughly estimated that the total amount of landscape poems in the Tang Dynasty is probably several times that left before. What is more noteworthy is the emergence of talented superstars such as Wang Wei, Li Bai and Du Fu. Their landscape poems are not only numerous, broad in vision and rich in content, but also extraordinary in poetic context, gorgeous in art and highly innovative.

Wang Wei is an all-round writer who pushes the aesthetic value of landscape poems to the artistic peak. His artistic achievements in landscape poetry mainly include the following three aspects.

(A) the poetic beauty of "painting in poetry"

"There are paintings in poetry, and there are poems in paintings." This is the achievement that Su Shi highly praised Wang Wei's landscape poems. Wang Wei's poems and paintings are excellent, and he has always had the talents of both poets and painters. He writes poetry with artistic meaning and paints with poetic meaning, which makes landscape poetry and landscape painting penetrate each other and blend into one. His landscape poems not only reflect the beauty of composition, color and modeling, but also fully show the performance of landscape in temporal and spatial transients. With the poet's feelings, he grasped the painter's colored pen and made simple and beautiful poems show the wonderful scenery of thousands of miles of mountains and rivers at the same time. The distance, shade, density and light and shade of various landscapes are vividly handled, and even the subtle changes of movement are vividly carved. Such as "Zhong Nanshan": "Taiyi is near the ancient capital, joins a thousand mountains to the corner of the sea. Cloud, when I looked back, it was behind me. I was too young to see anything. The central mountain peaks separate the southwest, and the valleys are also different. Need a place to spend the night, I called the woodcutter on the river. "

This poem wants to express the grandeur of Mount Zhongnan, but it doesn't directly describe the natural features. Instead, it expresses its momentum with a tone of consternation and exaggeration at the beginning, and summarizes the impression from a distance. Then I wrote about the close-up I saw when climbing the mountain. I only felt that I was at the end of a blue sea of clouds surrounded by white clouds, and that strange surprise came out. Climb the main peak in hazy joy. At the moment, mountains and valleys take on various shapes due to different topography and positions, so as to set off the majestic posture of zhongfeng. At the end of the sentence, as Shen Deqian said, "Or the last two sentences are not suitable for the whole body. Today, playing with its semantics, seeing that the mountains are far away and there are few people, the extraordinary scenery is comparable. " This kind of understanding seems to be more in line with the reality of landscape writing, and it is a clever pen collection. Look at another poem:

The crisis turned to ten thousand, and there were three breaks in a few miles. See the disciples in the circle, and you will see Lin Qiu. Dripping rain, flowing stones. The silence in the deep stream, the roar on the mountain. Look at Nanshan poplar, it's already hazy. Green heights are clean, and green waters are floating. I used to hate hiding, but I was broad-minded and worried. ("Looking at Huanghuachuan from Huangniuling in forty or fifty miles, bypassing the bamboo pedal road deep in the jungle")

The poet painted a winding landscape with an inch-long stroke. The raindrops on pine trees echo with the gurgling streams and stones, cross with the deep streams and roar on the hills; Coupled with the hazy mist and the sunshine in Nanshan, it is entirely the painter's composition. Chao pointed out: "Youcheng is better than poetry, so it is better than painting." Fu Zengxu said: "In the past, people called poetry a sound painting and painting a silent poem, which is rare. You Cheng, with the title of "Kaiyuan Tianbao", won the prosperity of Tang Yin, and the painting circle was never seen again. The so-called silent poem, the picture with sound, is especially good for both. " (See the five prefaces in Appendix V of Wang Youcheng Collection).

All the above are Wang Yi's representative works of painting into poems. This is a great development of landscape poetry creation since the Six Dynasties. It incorporates the artist's ingenuity, grasps the essence of the beauty of natural landscapes, strives to be similar to the gods, and overcomes the shortcomings of being bound by complicated appearances and describing too carefully.

Wang Wei was able to break through the narrative way of landscape poets and paint into poems, which made landscape poems full of vivid poetic beauty. Specifically, the first thing is to pay attention to the contrast of natural scenery, such as "idle flowers full of rock valleys, waterfalls reflecting fir and pine." The birds suddenly went to the stream, and when they returned to the clouds, they held the peak. "("Wei Shanju ")" The national gate is near the ferry, and the village tree is connected with Xikou. Outside Baishui Tian Ming, after Bifeng came out of the mountain. " ("New Sunny Wild Hope"); Second, he is good at discovering and capturing the vitality of nature, firmly grasping the fleeting aesthetic form, and after cutting, scrutinizing and phrasing, he will make poems, such as "Thousands of trees reach the sky, and thousands of peaks cuckoo crow". Half rain in the mountains, trees are full of springs. "(Bao Zizhou made Li); The third is to pay attention to the deployment of colors. For example, "the green hills pass through the forest, and the red sun closes the ground." (Winter Tour) "Even the sky is bright and beautiful, a hundred miles away." ("Huayue") "In the moss of the ancient wall, the cold mountain is far away." These landscapes, carefully drawn by the artist's vision and aesthetic psychology, are more attractive than natural videos, because they show the natural changes and internal rhythms and write the unity of dynamic and static contradictions. This is the beauty of poetry and painting called "painting in poetry".

(B) "Similar in form and spirit" ethereal beauty

Since Wei and Jin Dynasties, landscape poetry, as an exploration and praise of nature, has aroused people's extensive concern and interest. Poets, represented by Xie Lingyun, refined landscapes from metaphysical suitability into works of art with a sense of space and aesthetic taste, which promoted the development of landscape literature in the Six Dynasties. However, under the influence of the ethos of "respecting beauty" and "emphasizing image", there is a tendency to blindly pursue form and ignore the overall unity of nature itself. Wang Wei's landscape poems not only inherited the advantages of Xie Lingyun and Xie Tiao's meticulous brushwork, but also incorporated Zen into the poems, which made the landscape poems leap from direct feeling and direct narration to fascinating ideological realm. That is, the new stage from "likeness" to "spirit likeness". Please see:

Three branches in the south reach Chu territory, and nine branches flow to Jingmen. The river crosses heaven and earth, where the colors of the mountains are yes and no. Human habitation seems to float on the ripples in the distant sky. These beautiful days in Xiangyang have fascinated my old mountain! . (Looking at the Han River)

We compare this poem with Xie Lingyun's famous work "Climbing the Pool to the Upstairs", and we can clearly see that Xie's poem is deliberately seeking merit and its shape is important. It pays great attention to the visual sequence, spreading up and down, up and down, far and near, giving people a distinct three-dimensional sense and realism. Wang Wei's Looking at the Hanjiang River is another scene. The poet does not write about the size of the city, and does not mention the river-shaped water potential. Instead, he exaggerates the connection between Hanshui River and Sanxiang Nine Schools, and combines the external rivers with seemingly absent mountains and rivers, the reflection of Tongjiang City and the waves heading for the distance, showing the vastness of Hanshui River, the beautiful posture of Xiangyang standing on the river bank and the poet's leisurely mood incisively and vividly.

Wang Wei absorbed the detachment of Zen Buddhism and observed the world from the perspective of Buddhism. "In the eyes of mountains and rivers, the world is in the dharma body." At the same time, the "emptiness" and "silence" of Buddhism are regarded as the destination of life. Therefore, his poems, especially "Collection of Wangchuan" written in his later period, present a kind of "ethereal realm", which is the symbol that his landscape poems reach the extreme and the best explanation that his landscape poems are similar in form and spirit. Therefore, his landscape poems are ethereal and diluted, elegant and long-lasting, with endless implications and eternal charm.

(C) the sound of harmony and unity beauty

Because of his special musical accomplishment, Wang Wei often feels and grasps the natural sounds of mountains and rivers more keenly than others when writing landscape poems, and expresses them vividly through concise and poetic language.

The back spine flowers are not in bloom, and the trees are deep into the clouds. Sleeping on a sunny day, the mountain bird whimpers. (Li Chu Shishanju).

Stay away from the fog and Shan Ye, and enjoy yourself on the boat. The cymbals blow on the Xijiang River, and the sky is clear in autumn. ("Send Yuwen Taishou to Xuancheng")

People are idle, osmanthus flowers fall, and the night is quiet and empty. When the moon comes out, the birds are startled, and the sound enters the spring stream. ("Birding Creek")

From the above poetry examples, we can see that the poet not only integrates musical skills into poetry, but also conveys the poet's feelings through some acoustic features, revealing the ethereal agility of man and nature. There is a saying in the Book of Rites: "Musicians, the origin of sound, its source lies in the feeling of people's hearts and things." Different emotions will produce different emotions. Wang Wei can accurately capture the nuances of nature. Ordinary acoustics are integrated into poetry to express the movement and vitality of natural ecology, and different acoustics are deliberately played on the heartstrings to express their different artistic conception. It is this combination of interdependence and myriad forms that constitutes the infinite vitality and colorful beauty of the universe. This is Wang Wei's landscape poem, which deliberately depicts the poetry and charm brought by natural sounds.

The aesthetic value of Wang Wei's landscape poems fully shows that he raised the artistic level of landscape poems in the prosperous Tang Dynasty to an unprecedented height from the comprehensive aesthetic feeling of painting and music, natural and muddy style, quiet and tranquil artistic conception and slightly delicate language. Wang Wei not only completed the confluence of landscape poetry and pastoral poetry in subject matter, but also realized the fusion of two traditional schools in art, thus pushing the art of landscape poetry to a new peak and enjoying a high reputation in the field of landscape poetry, which is a model for later landscape poets to learn and has far-reaching influence.

Historical Review gives a more accurate evaluation of the art of Wang Wei's landscape poems. "The work is like the work of the forest, the tree is slightly roasted, there are hundreds of warblers, and the palace merchants play it repeatedly. The Huangshan Zisai, Han Gong, is thousands of faces and dense, so-called sound painting. Dan Qing is not wonderful! Your words are free and fluent, and your tone is elegant and elegant. So far, people and teachers are reciting, which is a slogan. " (See Appendix 2 at the end of Wang Youcheng's notes) "Literature is an aesthetic ideology that appears in discourse." Poetry is also one of the literary forms. It also requires limited words and expressions to contain infinite things. In the early Qing Dynasty, the writer He pointed out in his poems: "Poetry is mainly about meaning, but it overflows with a strange light. Light comes from the pole, and light comes from the pole. Li, Du, Wang, Meng and Tang all have their own wonders, and they are not just amazed by their luck. "

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These are the artistic achievements of Wang Wei's landscape poems, and the styles of Wang Wei's poems are also diverse.

Poetry critics have made many comments on the style of Wang Wei's landscape poems. From the above three characteristics of landscape poetry, we can further explore its style.

The artistic style of poetry is closely related to the poet's thoughts, feelings, personality, aesthetic hobbies, artistic conception of poetry, and the expression methods and skills of artistic conception.

Tang said: "Wei Suzhou is elegant and exquisite, and his people are also." Why aren't they arrogant! " ("On Poetry with Li Sheng") He also said: "Youcheng and Suzhou are interesting, if the breeze comes out." (Comment on Poems with Wang Jia) In the Song Dynasty, Zhu Zhuang's Poems: "Xue Langzhai's diary says: When writing poems, you should look at Wei Suzhou, Liu Zihou, Meng Haoran, Wang Moshu and Jia Changjiang." Wei Qingzhi's Poet Jade Scraps Volume II: "Comment on Mi Weng's Poems: Wang Youcheng is like autumn water, smiling against the wind." In the Ming Dynasty, Wang Chang's Poems, Volume 4: "Suzhou's five words of ancient times are the best, and it entered the prosperous Tang Dynasty. They are graceful, but they speak naturally and loudly, which is slightly different from Wang and Meng. I have been to various families, and they are all light words. " The Biography of Poets, edited by Liu Daqin in Qing Dynasty, said: "Wang and Meng's poems are palace merchants, which are plain, harmonious and natural, and there is no trace to be found." And "Yang Shi Hua" Volume I: "Swim into five wonders, rush to nature, and have the highest realm in the prosperous Tang Dynasty." Based on the above viewpoints, it can be said that lightness is the most prominent artistic style of Wang Wei's poems.

This style is mainly reflected in the poet's landscape poems that reflect the interest of secluded life. Please look at the following poem:

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. Bamboo is chosen by a happy woman, while lotus moves a fishing boat. Spring spring might as well give it a rest, and the autumn sun can stay on the hills for a long time. (Mountain in Autumn)

People are idle, osmanthus flowers fall, and the night is quiet and empty. When the moon comes out, the birds are startled, and the sound enters the spring stream. ("Birding Creek")

No one can be seen in the silent valley, only the voice is heard. The shadow of the sunset shone into the depths of the forest, and the scenery on the moss was pleasant. (Chai Lu)

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. (Wu Xinyi)

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. (Bamboo House)

All the above works are true, unpretentious, unpretentious, harmonious and simple, fresh and natural.

Great poets are not just pen and ink, and the style of Wang Wei's poems is not only light and natural, but also vigorous, vigorous, magnificent, graceful, simple, elegant, beautiful and elegant.

Powerful and vigorous style, there are landscape poems related to tourism, such as Looking at the Han River;

Three branches in the south reach Chu territory, and nine branches flow to Jingmen. The river crosses heaven and earth, where the colors of the mountains are yes and no. Human habitation seems to float on the ripples in the distant sky. These beautiful days in Xiangyang have fascinated my old mountain! .

This poem was written in the 28th year of Kaiyuan, and Wang Wei passed by Xiangyang. The Hanjiang River described by the poet is magnificent and full of weather. There is also his poem Zhong Nanshan, which describes Zhong Nanshan as tall, majestic, profound, forceful and magnificent. The fifth volume of Poems of Zhang Qianyi Zhai says: "Zhong Nanshan" is a good place for keeping in good health. "When the poet walked out of downtown Chang 'an and rushed to the mountains and rivers, he was amazed and admired by the magnificent and colorful motherland and the intense frontier fortress. His vision has broadened, and his mood has become high-spirited, optimistic and heroic. This enabled the poet to create many vigorous landscape poems.

There are many landscape poems in this series of styles, so I won't give examples here. The above is a brief discussion on the artistic achievements and styles of Wang Wei's landscape poems, so as to further understand Wang Wei's landscape poems and further understand the landscape poetry school. .

The landscape poems in Tang Dynasty fully absorbed the nutrients of ancient literature, inherited the heritage of landscape literature in the Six Dynasties, and flourished in the new era. A large number of outstanding poets emerged in various stages of social development in the Tang Dynasty, who created a large number of outstanding landscape poems with strong artistic vitality. During the nearly 300-year evolution of landscape poetry in Tang Dynasty, outstanding poets such as Wang Wei far surpassed their predecessors' achievements and reached the peak of landscape poetry art, thus establishing their unshakable historical position in the history of landscape poetry.

Wang Wei's landscape poems can be described as a link between the preceding and the following, which pushed the landscape poems from their peak period to their peak period and further developed China's landscape poems. This paper briefly discusses the artistic achievements and styles of Wang Wei's landscape poems. It can be said that Wang Wei's landscape poetry is a treasure house of China's landscape poetry art, and it is also a milestone.