Ye Shengtao's White Jade and Bitter Melon Suzhou Garden

White Jade and Bitter Melon is a modern poem written by Yu Guangzhong, a poet in Taiwan Province, with short and concise language and beautiful words.

Suzhou Garden is Ye Shengtao's work.

White Jade Bitter Melon

Like waking up and sleeping, slowly in the soft light?

it seems that you have been awake for thousands of years?

a melon is slowly maturing?

a bitter gourd, not bitter?

how long does it take to get pregnant?

look at the stalks, the palms caressing?

what year's harvest is like sucking it all up?

ancient China was fed with milk?

perfect roundness and fullness?

that sense of touch, constantly expanding outward?

enrich every buttery grape?

till the tip of the melon, it's still fresh?

The vast Kyushu is only reduced to a map?

I didn't know how to fold it when I was a child?

what's endless?

as big as a memory mother, her breasts?

you crawl to that fertile land?

root rope with pedicle?

painstaking compassion is painstakingly nurtured?

unlucky or lucky for the baby?

Zhong, the love of the whole continent lies in a bitter gourd?

leather boots, horseshoes?

did the track of the heavy-duty chariot run over?

not a scratch left?

is it hard to believe that only the glass is left?

Do you still have the blessing of Houtu Yiyi?

in the strange light beyond time?

cooked, a self-sufficient universe?

a fairy fruit, full without fear of decay?

not in the fairy mountain, but in the human world?

it's long gone, your predecessor, alas, long gone?

the hand that changed the tire for you, the clever wrist?

why do you want to be extradited?

laughter is right for the soul?

white jade in circulation?

a song, singing that life was once a bitter melon?

Being extradited forever, but the fruit is sweet

Appreciation:

This is a root-seeking poem full of patriotic feelings. The poet saw an ancient cultural relic in the Palace Museum, a bitter gourd carved from white jade, which triggered inspiration and spread the wings of imagination. The first section describes bitter gourd's fullness, roundness, crystal clear, its deep sleep for thousands of years, its leisurely and comfortable maturity, all showing that it is no longer bitter, and such a beautiful and full bitter gourd is fed and cultivated by the milk of ancient China. The phrase "the sense of touch keeps expanding outward" is used brilliantly, turning the inanimate dead into the living. Such a poem is not only a dreamland-like slippery luster produced by bitter gourd in the eyes of the viewer, but also a means of personification to activate the object. The sentence "Up to the tip of the melon, the freshness of the day is still up" makes the object very clean and vivid. Although it is a thousand-year-old antique, it is not only spotless, but also the freshness of the day. The word "Qiao" infuses the vitality of life into it, giving poetry and things a fresh and strong sense of life. The second paragraph of the poem has entered a new realm. The poet personifies bitter gourd into a baby by hidden means, and the fertile soil of the motherland is the mother. The mother opened her chest, and the baby crawled on the mother's chest. He sucked the mother's milk with his pedicle and roots. Although it has gone through many hardships, barbecued by war, trampled by iron hooves, and under the weight of crawler tracks, it has grown miraculously and left no scars. Obviously, it is not just about white jade and bitter gourd, but about every Chinese descendant who was raised by the mother's milk. The poet's skill lies in writing bitter gourd instead of bitter gourd, writing symbols, but not divorced from the noumenon of things, which seems true and false, true and false, false and true, so the powerful charm of art arises spontaneously. At the end of the poem, art itself is restored. The sculptor's skillful hands have given the white jade bitter gourd the artistic soul, "being extradited forever, the achievement is sweet", which means a pun. On the one hand, it affirms the eternal value of artistic creation, and every time you appreciate such achievements, it will give people sweetness. On the other hand, it implies the motherland and raises such children, who are as grateful as mountains and will remain in history forever.

Suzhou Garden is one of the masterpieces of the famous writer Ye Shengtao. From the tourists' point of view, the author summarizes the similarities and differences of Suzhou gardens with a large number and ingenuity, and then explains them in many ways. This text is like a key that opens the door to the mystery of the beauty of Suzhou gardens.

Original text: It is said that there are more than 1 gardens in Suzhou, but I have only been to more than 1. I have also been to some gardens in other places. If you want me to talk about the general impression, I think Suzhou gardens are specimens of gardens all over China, and gardens all over China are more or less influenced by Suzhou gardens. Therefore, if anyone wants to appreciate Chinese gardens, Suzhou gardens should not be missed.

Designers and craftsmen are creative according to local conditions, and the successful gardens are of course different. However, there is a similarity between the gardens in Suzhou. It seems that designers and craftsmen are pursuing the same thing: make sure that visitors always have a perfect picture in front of them no matter where they stand. In order to achieve this goal, they pay attention to the layout of pavilions and pavilions, the coordination of rockeries and ponds, the set-off of flowers and trees, and the level of close-range vision. In short, everything must exist to form a perfect picture, and there must be no failure to hurt the beauty. They only want visitors to get the aesthetic feeling of "as in drawing", and their achievements have realized their wishes. When visitors come to the garden, there is no one who does not think about saying "as in drawing" orally.

Most buildings in China, from ancient palaces to modern houses, are symmetrical, no matter what happens on the left or on the right. Suzhou gardens can never pay attention to symmetry, as if they were deliberately avoided. There is a pavilion or a cloister in the east, and there will never be a same pavilion or a same cloister in the west. Why is this? I think, for example, using pictures, symmetrical buildings are pattern paintings, not art paintings, while gardens are art paintings. Art paintings require natural interest and do not pay attention to symmetry.

There are rockeries and ponds in Suzhou gardens. The stacking of rockeries can be said to be an art rather than just a technology. Whether it's mountains or hills with bamboo flowers and trees, it's all about designers and craftsmen's life experience and high valleys in their chests, so that visitors can forget Suzhou city when climbing and only feel that they are in the mountains. As for ponds, most of them refer to running water. Some gardens have spacious ponds, so the ponds are regarded as the center of the whole garden, and other scenery is arranged in coordination. If the water surface looks like a river, bridges are often arranged. If more than two bridges are arranged, they will be the same, never the same. There are few neat stone banks along the edge of ponds or rivers, and they are always left to their own devices. There are also a few exquisite stones arranged there, or some flowers and plants planted: this is also to achieve the effect of looking at a picture from all angles. Goldfish or carp of all colors are kept in the pond, and lotus flowers or water lilies are in bloom in summer and autumn. Visitors can see the "fish playing among lotus leaves", which is another scene of painting.

Planting and pruning trees in Suzhou gardens also focus on painting. The tall tree and the low tree are pitching. Deciduous trees and evergreen trees alternate with each other, and different kinds of flower trees alternate with each other when they bloom, so that you don't feel lonely all year round. There are no pines and cypresses trimmed like pagodas, and there are no roadside trees like parade: because from the aesthetic point of view of Chinese painting, this is not worth taking. There are ancient vines in several gardens, and the winding and rugged branches are a good painting. When the flowers bloom, the eyes are full of jewels, which makes visitors feel infinite prosperity and joy, but they can't say it.

When you visit Suzhou gardens, you will inevitably notice the flower walls and corridors. Separated by walls and bordered by porches, there are more levels, and the scenery can be seen deeply. However, there are all kinds of hollowed-out patterns made of bricks on the walls, and most of the verandahs are borderless on both sides. In fact, they are separated but not separated, and the boundaries are not, thus increasing the depth of the scenery. Several gardens have also installed a big mirror in the proper position, which has more levels, and almost doubled the whole garden.

visitors will certainly not ignore another point, that is, Suzhou gardens pay attention to the beauty of pictures in every corner. A few books with grass are planted next to the steps. The wall is covered with Parthenocissus tricuspidata or Rosewood. If the window is facing the white wall, it's too monotonous. Add some bamboo or banana. And so on, it is nothing more than that visitors can enjoy beauty even if they look at a very small range of parts.

The doors and windows in Suzhou gardens, pattern design and carving skills are all top-grade arts and crafts. Generally speaking, those doors and windows are as fine as possible and never vulgar, even if they are simple and ingenious. Four fans, eight fans and twelve fans. Taken together, everyone must admire this is a high degree of pattern beauty. Photographers like these doors and windows very much. They consider light and shadow and take satisfactory photos.

Suzhou gardens are different from those in Beijing, and painting is rarely used. Most of the beams and columns, as well as the railings of doors and windows, are painted widely, which is a non-dazzling color. The walls are white. Some indoor walls are paved with square tiles in the lower half, with light gray and white as the contrast. Roof tiles and eaves leaks are all light gray. These colors cooperate with the green of vegetation, causing people to feel quiet and leisurely. When the flowers bloom, all kinds of flowers are more bright.

of course, you can say more than that, so I won't write any more here.

first, the purpose of the article

this paper, with concise language and rigorous structure, grasps the artistic characteristics of Suzhou gardens from the angle of appreciation and makes a correct and profound introduction in detail. The author's thinking is clear. First, he explains the reasons for writing, points out the general characteristics of Suzhou gardens, and then explains them by classification according to the components of gardens. Finally, he introduces a aftermath, which makes people feel unfinished.

Second, the context of the article

The full text is ***1 paragraphs, divided into three parts.

the first part (1) is the introduction of the full text, explaining the writing motivation, highlighting the position of Suzhou gardens in garden art, and leading the full text.

in the second part (2~9), the author explains the general characteristics of the beauty of Suzhou garden pictures from all aspects of garden architecture. Can be divided into two levels.

The first floor (2) always talks about the similarities and differences of Suzhou gardens.

It seems that designers and craftsmen are pursuing the same thing: make sure that no matter where visitors stand, they always have a perfect picture in front of them. This sentence explains the general characteristics of Suzhou gardens and is also the general statement of the full text. The word "picture" runs through the whole article, from the beginning of the picture to the end of the picture is the clue to introduce Suzhou gardens.

four itemized descriptions that focus on summarizing the following paragraphs.

the second floor (3~9) introduces the characteristics of Suzhou gardens from the aspects of layout, coordination, setting off, levels, design of doors and windows, colors and so on.

one of the sub-descriptions: The layout of pavilions and pavilions is characterized by natural interest and meets the requirements of "art painting", which pays attention to the layout of buildings.

Sub-item 2: The stacking and coordination of rockeries give people a real sense of being in the mountains, and the ponds are high and low, which gives them a sense of naturalness and "painting". This care "pays attention to the coordination of rockeries and ponds".

Item 3: Coordination of flowers and trees. This care "pays attention to the setting off of flowers and trees". The first paragraph ends with "a scene in painting", and this paragraph begins with "focusing on painting". The word "painting" has become a bridge between paragraphs, which is inconvenient to omit a lot of pen and ink, and also closely connects the paragraphs.

Item 4: The flower walls and porches of Suzhou gardens pay attention to levels and depth, which is in line with the above "levels of paying attention to close-up and long-term prospects".

From the above four aspects, the "picture beauty" embodied in one aspect of Suzhou gardens is elaborated in detail.

Paragraph 7 introduces the picturesque beauty of Suzhou garden corners.

Paragraph 8 introduces that the design and carving of doors and windows in Suzhou gardens are top-grade arts and crafts.

Paragraph 9 explains that the color of the building is also a condition for the beauty of the picture.

the third part (1) leaves room at the end, which is memorable.

this paper introduces the characteristics of the beauty of Suzhou garden pictures, which shows the wisdom of garden designers and craftsmen and the superb level of Chinese garden art.

Third, writing methods

1. Rigorous structure and clear logic

The structure of expository writing is very important. Only with a rigorous and logical structure can readers leave a distinct impression. What this paper introduces is not the situation of a garden in Suzhou, but the similarities and differences of all gardens. Therefore, it is not described according to the tour route like a general exposition of a place, but on the basis of high generalization, it is described from renovation to parts, from large conspicuous things to small inconspicuous things. The structure of the full text is roughly as follows: firstly, the general outline is put forward (Suzhou gardens are specimens of gardens all over China), then the general characteristics are explained and the idea of the general outline is expounded; Then, the four design principles (layout, coordination, setting off and hierarchy) that form this overall feature are introduced in detail, and some other minor features are talked about. Finally, end the full text.

2. The language is accurate and thought-provoking

(1) The use of verbs, such as the word "make up" in "If the window is facing the white wall, it is too monotonous, make up some bamboo or banana", shows the craftsman's carefulness and is good at turning monotony into colorful.

(2) The use of adverbs, such as "most ponds and marshes use running water" and "Suzhou gardens rarely use colored paintings", in which "most" and "few" are used in a measured way, neither exaggerating nor narrowing. Another example is, "In short, everything must exist to form a perfect picture, and there must be no failure to hurt the beauty", and "the roof tiles and eaves are all pale gray", in which "everything", "never" and "uniform" express a very positive tone and play an important role in highlighting the characteristics of Suzhou gardens.

(3) Accurate use of descriptive words

Only a few descriptive words and adjectives are used in the whole text, which all show the unique features of the scenery and are difficult to be replaced by other words. For example, the word "mountains are stacked" shows that rockeries rise abruptly from the flat ground in exquisite and small gardens, and "high and low buckling" shows that there are few neatly built stone banks on the edge of the pond river, and they are always left to their natural characteristics. "Pitching posture" also describes the graceful posture of high trees and low trees planted together, facing each other from top to bottom, and depicts the meticulous arrangement of all kinds of trees. "Tortuous and rugged" describes the bending and withered branches of ancient vines, full of "jewels" and writes the elegant charm of vines, which constitutes a picture full of business.