Author: Bi Shui 1 Date of submission: 2005- 1-3 18:32:00

Wang Wei, the "Shi Fo" in the Tang Dynasty, is especially famous for his beautiful and distant landscape poems. Wang Wei's landscape poems advocate freehand brushwork and pursue the highest art of charm and emotion, which has the beauty of "unspeakable meaning" and the endless interest of "implication between words and unexpected taste" Wang Wei's Zen landscape poems have always been highly praised by theorists. Lu Shiyong wrote in his "General Theory of Poetry Mirror" that "the color of rubbings is clear and subtle. I had expected Xie Tao's vassal ... who can be an author after leaving the image?" Wang Wei did have a great influence on the development of China's landscape poetry. His achievements in landscape poetry are related to his evolution of the concept of Zen into his own guiding ideology for poetry creation and the introduction of some Zen enlightenment methods into poetry creation. It is also the Zen in his poems that constitutes his ethereal and elegant poetic artistic conception.

This paper tries to make a brief analysis of the combination of Zen and poetry, the influence and interaction of Zen theory of Nanzong Zen on Wang Wei's landscape poems, and the significance of the development of poetry and theory in later generations.

First, the integration of religious concept and aesthetic experience.

Wang Wei lived in the prosperous Tang Dynasty, and Buddhism in China has developed to a comprehensive and mature stage. At that time, the sects that were not close to the roof, had a complete theoretical system, and Nanchan also established a fairly mature core idea. Of course, Wang Wei has the closest relationship with Zen: Wang Wei is the only poet who enjoys the reputation of "Shi Fo" in the history of China literature. On the one hand, because his Buddhist theory is profound, few poets in history can achieve it; On the other hand, it is also because he can adhere to strict religious practice and gain the Samadhi of Zen through a thorough understanding of the wonderful methods of Zen, so that some poems have reached the position of "Zen meaning".

Of course, there are many contributing factors to the integration of Wang Wei's Zen theory and aesthetic experience.

First of all, the most important reason is the development of Southern Zen. After Dharma was introduced to China, the six ancestors were wise, which made this religious experience of "not writing" closer to the literati market than introspection. Three realms of southern Zen: one is "but how can I find his footprints among the fallen leaves piled up on the bare hillside!" " ; Second, "there is no one in the empty mountain, and flowers bloom in the water"; Third, "the sky is eternal, there is wind and moon"; The concern for the world after these feelings has changed the picturesque secular world in life, such as the color in the phase and the flower in the water, and gained a sense of freedom after being freed from secular things: Zen pays more attention to people's state of mind, and then it is related to literature on the aesthetic level, which is embodied in Wang Wei's recluse spirit. Wang Wei is also a scholar who digs deep into his heart. His reclusive culture embodies this essence. For example, Zen Buddhism's "letting go of body and mind and making it comfortable" has three influences on Wang Wei's reclusive personality: first, it treats real social life by combining active birth with passive anti-world; Second, it is a kind of emotional, tragic and "extraordinary" personality spirit; Thirdly, it pursues a kind of spiritual freedom, attaches importance to the meaning of life and is willing to be lonely and silent. Here you can quote the Peach Blossom Garden written by Wang Wei 19 years old. In this poem, Wang Wei transcends Tao Yuanming's realm of "building a house on earth" and deliberately creates another realm of "watching colorful trees, not thinking about the distance, walking in Qingxi and not seeing people" and "clearing the petals for him in the morning and fishing for him at dusk" This is already a literati's yearning for the inner Zen realm, with exquisite and elegant style and profound and lofty cultural atmosphere. Escape was originally put forward from the recluse fashion, and its transcendent, carefree, recluse and ethereal purport most naturally shows another kind of tolerance in the recluse personality spirit. The combination of seclusion culture and Zen makes Wang Wei's poetry move from the hustle and bustle of the city to the quietness and loneliness of culture, and pays more attention to raising natural beauty, humanistic beauty and spiritual beauty to the level of personality and spirit, which is undoubtedly a progress from an artistic point of view. Because of the mutual infiltration and blending with the concept of Zen, Wang Wei's pursuit of indifferent life presents a deep meditation and a carefree state of mind, which is no longer different from Tao Yuanming's "morning, waste filth, take the moon lotus home" and "naked, but not against my wishes", but to achieve "I will walk to the water to stop me, and then sit and watch the rising clouds" and "cross" On this level, Wang Wei applied the concept of Zen to landscape poems, making the ideological implication of landscape poems more mysterious.

Secondly, the reason why religious experience can be highly integrated in Wang Wei's place is not only the connotation of religious experience itself, but also related to Wang Wei's own way of liberation. He said in Brother Shishan, "I lost myself in the mountains", and in the poem Monk Migai Jinshan, he said more clearly: "When I realize silence, I am happy." Wang Wei's mother believes in Buddhism, and Wang Wei himself may have contacts with many monks. His words were written in the Buddhist classic Vimalakīrti Sutra. According to the textual research of Mr. Chen, a master of modern Chinese studies, "Vimalakīrti" means eliminating evil and reducing evil, which echoes with his landscape poems that exude a touch of Zen. Wang Wei intends to eliminate his lifelong regret and sadness in the spiritual kingdom of Buddhism and the quiet natural realm of mountains and forests. In other words, an empty mountain forest and quiet joy are the best way for him to get rid of his troubles and pains. In this way, he must achieve his goal through religious experience and aesthetic experience. Zen, a unique religious experience in China, aims to see nature clearly, while the aesthetic experience of China literati wandering around nature is often to obtain a supreme state of "harmony with heaven, which is called heavenly joy" (Zhuangzi, Heaven). Besides, Wang Wei was not very proud of his career all his life. At the age of fifteen, he left home for the capital and "wandered among nobles" in Chang 'an. With his talent, he became famous in the upper class. However, he was repeatedly excluded from the officialdom, and his heart was extremely painful. Facing the harsh reality of disillusionment, the poet is unwilling to go with the flow and feels powerless. What is the way out? He wants to seek a relief from his religious experience, and naturally there will be a sentence like "How many sad things in his life, don't sell them to an empty net" ("Sighing White Hair"). Wang Wei's aesthetic experience is perfectly combined with his Zen philosophy.

Religious experience and aesthetic experience can be integrated and unified in Wang Wei's landscape poems because they can interact with each other. Wang Wei is a Buddhist samadhi who knows that "vacuum is wonderful and there is no difference". He said: "Give priority to blocking the solid, and go to Kongning to be a guest" ("Send this poem with Hu Jushi as a teacher" Part I). Therefore, he attaches great importance to the concept of Wukong, double cover and double photos. Therefore, we can "I have learned to watch the morning glory on the mountain in peace, and Panasonic will pick the dew sunflower" ("My cabin in Wangchuan after a long rain"), "I will go our separate ways, and the beautiful scenery is all for me" ("My retreat in Zhongnanshan"). This is a religious practice experience he gained by taking care of the natural image. In many of his landscape poems, he often shows the profound and subtle thought of "color is as empty as one" through the observation of natural scenery. Such as "Mulan Chai", "Autumn Mountain gathers many photos, and birds chase their predecessors. When the color is clear, there is nowhere at dusk. " Another example is "Beituo": "Beituo Lake is in the north, and miscellaneous trees reflect Zhu Lan. Take a long walk in Nanchuan water and destroy the end of the forest. " This is a meditation on nature.

Wang Wei's landscape poems are really "deliberate, relying on artistic images to support idealistic philosophical thinking, and vivid pictures depicting natural beauty contain Zen." If Wang Wei's religious experience can only be realized by aesthetic experience, then when Wang Wei is immersed in the natural realm of mountains and rivers and enters a deep aesthetic experience, this aesthetic experience often reaches the level of religious experience or philosophical experience. Wang Wei's poems not only constitute a realm of Zen, but also form a very beautiful and profound artistic conception in the landscape, which has reached a very clear realm from the perspective of philosophy and aesthetics. At the same time, as an artist with talent for music and painting, he has a keen natural beauty beyond ordinary people. Similarly, he often uses these artistic talents to focus on the performance of natural scenery, and through the various changing colors of natural scenery in a certain situation, the Zen meaning of "color is not different from empty, empty is not different from color, color is empty, and empty is color" is vividly reflected.

Try to read a poem by Wang Wei, "Going to People's Mountain Courtyard through the Influence Temple": "Hold a bamboo stick at dusk and wait for the tiger's head. Urge guests to listen to the sound of mountains and go back to the house to chase water. Wildflowers are blooming well, and valley birds are whispering. Sitting in the empty forest at night, the wind is as straight as autumn. " This last sentence is particularly Zen, meaning "the water is boiling" and "the cloud is in the sky and the water is in the bottle". Zen not only jumped to the page, but also made readers deeply understand the author's gloomy mood at that time. Let's look at his other poem "Books Matter": "There is light rain in the pavilion, and the courtyard opens in the daytime. Sit and look at the moss and want to get dressed. " The aesthetic experience in an instant is so exquisite and profound. This is the extraordinary artistic conception of seeing eternity in an instant. As the saying goes, "Forget the New Year's Eve, and once there is a romantic", Zen is not only in an instant, but also eternal and changeable. There are wonderful things in the void, and wonderful things are void. In emptiness, you can see the flow, and in the flow, you can see emptiness. It seems that sometimes you can't tell whether it is an aesthetic experience or a religious experience, an artistic realm or a philosophical realm. This is "Zen", which is the highest artistic realm of "Shi Fo" Wang Wei's fusion of aesthetic experience and religious experience. Mr. Zong Baihua said: "Zen is extremely quiet in motion and extremely quiet in silence. It is silent and often illuminated. It is always silent. It is both dynamic and static, and it directly explores the origin of life. " Hu Yinglin said that Wang Wei's Wang Chuan's works: "Every word is fixed", which makes people "forget famous sentences and lose their hue" after reading them. Wang Shizhen said Wang Wei's five-character quatrain: "Implicit words are tantamount to the flower of Buddha and the smile of Ye Jia." Wang Wei's experience of the natural beauty of mountains and rivers entered the lonely realm of Zen, forming a profound realm of mystery. Heidegger said; "Born to die", that is to say, when people realize the impermanence of life, they realize that their nature is nothing but vanity, and the resulting attitude towards floating world is a relief. After freedom is achieved through liberation, people are completely exposed. In a clear and uncovered realm, people return to the true nature, get a clean and unpolluted nature, and grasp life. The so-called "all birth and death symbolize eternity". In Wang Wei's poems, colorful emeralds, green duckweeds, fleeting sunsets and looming lakes are all masterpieces of the poet's "doing his best to pursue the light and write the sky", which is the product of his aesthetic experience of nature and has reached the height of philosophy or religion. "In this artistic conception, reason is matter, matter is reason, and everything is like a dzi bead negotiation, which reflects and confirms each other. This is the bright reflection of life, infinite time and infinite space, and everything is highly integrated and unified in the experience of eternal beauty. The poet Wang Wei learned not only his interest in the material state of nature, but also a philosophy of life in the universe.

Second, the integration of Zen and landscape poetry

Wang Wei's landscape poems are influenced by many southern Zen. No matter from the images of his poems, the images and actions of the lyric heroes in his poems, or the emotions conveyed between the lines of his poems, even though time has passed through thousands of years, readers can deeply understand some different feelings. In fact, these unspeakable feelings have long been unable to accurately tell whether they are Zen or poetry. Poetry that is Zen in time is Zen in poetry. The combination of the two creates the temperament of another school of mountains and rivers, as if it were not fireworks.

There are all kinds of emotions in China's poems: love to the depths is "once the sea was difficult for water", pain to the heart is "Xiao Lang is a passer-by from now on", ambition is hard to lift, achievement is "never to return without breaking the Loulan", lovesickness is lingering, spring girls are still pregnant with "cherishing spring and often afraid of early flowers", and Qiu Zi is susceptible. The prodigal son's return is a "ten-year Yangzhou dream", the official frustration is "the lost corner, the harvested mulberry elm", the hatred of worrying about the country is "falling flowers like tears, lonely birds singing sad songs" ... and another emotion is light and natural, elegant and quiet, without trace, and "silent, people are as light as chrysanthemums" (poem). So there is such a poem: "Sit and watch the moss color, and want to change clothes", "No one is there, and the flowers are falling one after another", "The sunshine there enters a small forest and shines back on me from the green moss", "I look back on the lake, and the green hills roll with white clouds" ... This is the poetry of Zen, and the beauty of Wang Wei's landscape poems is also here: diluting long-lasting love. The universe is infinite, man and nature are one, and everything seems to be spiritual, but nothing is "quiet for pleasure", which coincides with Zen's "unintentional in the mirror" and "inaction", that is, everything is not worrying, not polluting and sorry. Wang Wei treats everything in the world with a Zen attitude, which gives him a quiet state of mind, and then integrates this state of mind into his poems, which makes the poems present a quiet shadow and light of Zen.

Zen into poetry has improved the realm of poetry.

First of all, judging from the images of landscape poems, these images were endowed with Zen by Wang Wei. Most of these poems describe mountains, water, clouds, rain, flowing springs and secluded rocks ... "It's too light for anyone to hear except my comrade, the bright moon" (Zhuliguan) is a perfect self-experience after meditation and enlightenment; "The city is far away from each other, and you should only see the white clouds" ("Send My Brothers in the Mountain") is a kind of quiet and leisurely living alone and detached from things; "Moonlight in the pine forest, crystal stone in the stream" ("autumn night in the mountains") is a natural picture; "Crossing the river by picking ling, the wind is urgent, and the scepter goes down to the west" (the third part of the pastoral song) is "leisure and wild interest, I want to see the people in Wangchuan Villa's paintings".

In such an artistic conception, the lyric hero in the poem often appears in the form of meditation: The Biography of Wang Wei in the Old Tang Dynasty once mentioned that Wang Wei "sat alone after retiring from the DPRK, burned incense and meditated". In Wang Wei's poems, he mentioned the pleasure of "living in seclusion" many times. For example, "Bamboo trails start from the ground, and Peng Feng leaves the Flower City. Three Chu in the window, Jiujiang in the forest. Soft grass sits down, and the long pine rings the Vatican. Living outside the Fayun, there is no life in the world. " "Denglinjue Temple") "Sitting alone and worrying, the empty hall wants two more. Wild fruits in the mountains fall in the autumn rain, and insects on the grass whisper to the lights. The white hair on the head is always difficult to turn black, and there is no panacea in alchemy. If you want to get rid of old diseases, you will learn nothing. " ("Sitting Alone in Autumn Night") "Hold a bamboo stick at dusk and wait for the tiger's head. Urge guests to listen to the sound of mountains and go back to the house to chase water. Wildflowers are blooming well, and valley birds are whispering. Sitting in the empty forest at night, the wind is as straight as autumn. " ("Zhu Influence Temple, Tan Xing Ren Shangshan Courtyard"). It was a particularly famous story, "It rains lightly in the pavilion, and the deep courtyard opens in the daytime. Sit and look at the moss and want to get dressed. " It's also about his meditation. Wang Wei's "sit-in, sit-in" generally has the purpose of meditation, but when he sat-in, he was not dead and tired, but heard, saw, felt and thought.

Of course, more often, Wang Wei's meditation is not in the form of meditation, but what southern Zen masters often say is "walking in meditation, sitting in meditation, moving in meditation", and he adopts a practice mode of "traveling alone in the mountains". In this life of "wandering in the quiet forest", the poet not only gained the feeling that "the forgetfulness of mind and law is true", such as this poem "Pan Qianpi", "Autumn is clear and love is far away from the world. Smooth sand cranes, clouds outside the mountain. The clear waves will be at dusk and the clear moon will be idle. I was alone this night, and Yi Youshu did not return. " This poem was written in Wangchuan's seclusion period, and the poet went boating alone on the lake to enjoy autumn. On this clear and open mountain lake, the poet looked at the high sky, rolling mountains and quiet white cranes, and couldn't help but wander and meditate, oblivious to it until late at night.

On the other hand, Zen requires that everything is empty. Huineng's "Six Ancestors' Tanjing" said: "The vastness of the heart is like emptiness", and the so-called "If it is like a dream, if it is like electricity, it should be viewed like this". Zen believes that if you want to see nature clearly and understand the noumenon of emptiness, you must be true. When Wang Wei had the understanding that "emptiness is constrained by martingale" and "illusion is my truth", he consciously removed all kinds of secular constraints caused by insisting on reality and falsehood, so that poets without martingale can often achieve "I will walk until I reach the water, and then sit and watch Yun Qi" in the realm of natural landscapes. He is so careless and interested in observing the clouds in nature in Yun Qi, where colorful colors are blooming and falling. He said: "Now the horizon is colorless, and the heart is empty and charming." (Collection of Buddies' Courtyard of Tanzhe Temple in Qingliang Temple) "Cold and cloudy, clear sky and autumn colors" ("See the Seven Rhymes of the Rice Monk outside the Building"). All external objective lenses are impermanent, so in the poet's pen, the truth of all natural things is the nature of all natural things. The so-called "I don't know the clouds in the building, so it rains" (Wenxing Pavilion), "I swim at the southern end of the water, and the green forest is completely destroyed" (Beituo), "Bai Niao is surprised by the jumping waves and splashing each other" (driving to the color), "The path is shaded by palace locusts, and the shade is full of moss" (. It is through this nature that the poet Wang Wei returns to nature. When he was immersed in the natural realm composed of white clouds, green forests, jumping waves and winding paths, and integrated with the truth of nature, he felt real pleasure and relief.

Wang Wei's "realm without self" is also reflected in his poems. "Quiet and often shining, quiet and often silent", the ethereal and free ethereal spirit closely fits with the natural landscape of "everything is self-satisfied when it is quiet and always happy". At the same time, I can see my nature and my realm. It is precisely because "my nature has got rid of all persistent secular delusions, so when Wang Wei, a poet who has restored his true nature, meets all natural things that are in their proper place and operate freely, he can fit the truth of the birth and death of all things with the emptiness of his own nature. At this time, the poet's heart is full of vitality, innocence, self-exposure, integration with the world, and the poet's life exists. This is the Buddhist understanding of nature, that is, what is true. The poem "A Message from Wangchuan Bieye to Pei Di" says: "The mountains are cold and blue, and the autumn waters are flowing day by day. By the door of my thatched cottage, leaning on my cane, Lin Feng was listening to the cicada. Sunset lingers at the ferry, and the smoke from supper rises from the house. Does the complex value have something to do with Yu Sao and Poems of Five Willow Poems? ".Looking at" Pan Shi ""Poor Pan Shi is near a spring, and there is a weeping Yang brushing the mirror. If the spring breeze doesn't understand, why do the flowers fall? "This poem is in rim sichuan seclusion. Write about the spring when a hundred flowers blossom, and the poet's leisure to drink water on the rock. Although the poem is short, it has a subtle Zen machine. When the poet was hidden in the mountains and rivers, carefree and completely relaxed, he reached the realm of unity of things and me, as if he had become a member of nature and had a soul mate with Yang Chunfeng. Here, the poet discovered the self in the natural state. Look at "Waiting for the Tower of Hebei" again: "On Jing Yi Yan Fu, a castle in the clouds. Standing in the high city watching the sunset, the water in the distance shows the reflection of Cangshan Mountain. There are sporadic fires on the shore, several boats stand alone on the water, and some fishermen accompany the sunset. Lonely twilight, heart and Guang Chuan idle ". It is precisely because the realm of "I" has removed all the glitz in the world, so it is as clear as the lessons of heaven and earth. Everything can move freely in this clear void, and everything can be vividly displayed. They are constantly changing but endless. It is through this aesthetic experience that Wang Wei saw the essence of things, saw the realm of things, and realized a clear, bright and unattached inner self. This realization makes his poetic style full of Zen.

In addition, when observing the scenery, Wang Wei pays special attention to the capture of the light and color of the scenery, and expresses that everything's life and death are in an instant, impermanent without me, illusory and uncertain with the wonderful scenery of flickering and unpredictable. Such as "Mulan Chai", "Autumn Mountain gathers many photos, and birds chase their predecessors. When the color is clear, there is nowhere at dusk. " Another example is "In the Mountains", "The west of Beijing is white, the weather is cold and the red leaves are sparse. It didn't rain on the mountain road and the clothes were wet. " Another example is "Xu Hu", "Blowing Xiao Ling is extremely vulgar, and seeing you off at dusk. Looking back on the lake, the green hills roll with white clouds. " Also expressing the thoughts of "color emptiness" and "impermanence" is "Flower Hill", where birds are endless and mountains are full of autumn colors. Up and down Huazigang, what a melancholy feeling. " The poet wrote about the sadness of autumn. Birds flew to the endless horizon and disappeared without a trace in an instant, leaving only a rolling mountain peak standing quietly under the autumn sky. This includes Zen's theory of disillusionment and unpaid emptiness. Commenting on this poem, Gu Lin's Comment on Tang Yin said: "It is high without adjusting the past, deep and delicious."

The deepest aesthetic experience of nature is close to religious experience. On the other hand, it can be said that Wei, a poet with consciousness, spirituality and insight, can enter the deepest level of natural beauty, go deep into the core of nature, show the most attractive theology of natural things, and get a glimpse of natural things whether it is the subjective expression of "I" or the realistic description of the appearance of "things".

Third, the influence of Zen on Wang Wei's landscape poems

Zen has three influences on Wang Wei's landscape poems, especially in Wang Chuan's poems:

The first poem directly describes the poet's meditation activities.

Such as: "Lantian Shimen Jingshe": "The sunset is good, and the ship will return to the air. If you are curious, you won't feel far away, because you are poor because of fate ... ",or" My retreat in Zhongnanshan ":"My middle-aged heart has found a way, see you later in Nanshan. Interest concentration is often unique to play and have a happy thing to enjoy self-appreciation. Sometimes go to the end of the water to seek the source, or sit and watch the ever-changing clouds rise. One day I met an old woodcutter, laughing and laughing, and never came back. "

The Zen activity of Nanzong Zen is not to practice hard at dusk and in the morning bell, nor to the ancient Buddha of Qingdeng. Even the meditation of Beichan is completely abandoned. Instead, it is nothing more than a wonderful way to chop firewood and carry water. Life in the Dojo, sitting and lying, thinks that Zen is: "willful and carefree, happy with it." The above two poems truly describe Wang Wei's meditation activities. Although the activities are different, they can all be enlightened. This shows that Wang Wei really mastered the true meaning of Nanzong Zen.

Second, directly expound Zen poetry.

For example, the title of the play "Panshi" is "Poor Panshi is near a spring, and a crying Yang is cleaning the glass. If you don't understand the spring breeze, why do you blow the flowers? " Spring water stirs stones, weeping willows blow cups, and spring flowers are all unintentional. "No one in the mountains, flowers in the water." It is a vivid Zen theory that all things in nature are born and die, and each has its place.

Thirdly, poetry permeated with Zen.

Nan Zongchan emphasized that "green bamboo is full of dharma; The gloomy yellow flowers are nothing more than prajna paramita. Conforming to nature and returning to nature means returning to the Tao. " There are flowers in spring, moons in autumn, cool breeze in summer and snow in winter. Worry when you are idle. A year is a good season. "So, wild flowers are in full bloom, birds are singing in the valley, the empty forest is silent, and the wind is like autumn, which is the best time for meditation and enlightenment.

Wang Wei's Zen is related to his special love for describing quiet and ethereal pastoral poems and depicting a quiet and peaceful state of mind.

In the bamboo house, I leaned alone in the dense bamboo forest, playing the pipa and humming a song. The voice is so low that no one can hear except my partner Mingyue. This is a famous landscape poem in Wang Chuan Bie Ji. The poet is content to be cold and lonely, and the whole poem gives people a feeling of "quietness", which is exactly the same as Zen's thought of "knowing each other and becoming a Buddha's Road".

"Wu Xinyi" "hibiscus hibiscus flowers in the bottom of the wood, red calyx in the mountains. There is no one in the stream, and flowers bloom and fall in succession. " Although it is beautiful, it is beautiful, but because it grows beside an uninhabited mountain stream, contrary to the noise of the world, there is only a natural silence, so no one knows its existence. Since the opening and falling, there is no joy of life, no sorrow of death. There is no such pain as "flowers are easy to see but hard to find", but they are beautiful and secret.

Many of Wang Wei's pastoral poems are indeed full of Zen, but the performance of this Zen is not like the previous Zen, but a kind of beauty that has Zen. Hu Yinglin in the Ming Dynasty said: "Taibai's five-character quatrains are naturally spoken by immortals, especially when they enter Zen. Such as' people idle osmanthus, the night is quiet and the mountains are empty. When the moon comes out and the spring stream sounds,' hibiscus flowers end, and red calyx in the mountains'. There is no one in the stream, and there are many falls. The life experience of reading is forgotten, and all thoughts are silent. Doesn't mean there are some wonderful interpretations in the melody. In Wang Wei's landscape poems, there is no sigh of "life is like a dream", no desolation of "things are human beings" and no exposure of "karma". This is a pure "carefree state of mind, the beauty is beyond words", and a peaceful state of mind after deeply understanding the world and life. This state of mind is selfless, such as "where the sunshine enters a small forest and shines back on me from the moss", such as "sitting and looking at the color of the moss, trying to get dressed", such as "clouds, when I look back, cling to me to see if it is not. If it is explained by Zen, it is the "middle view" of "right and wrong". However, in Zen Buddhism, "the general idea of Buddhism" is called "spring comes and grass clears itself", which is different from Wang Wei's "Do you ask me about good and evil? Listen, there is a fisherman singing on the lake! " ("Answering Deputy prefect Zhang").

Southern Zen often shows the unity of heaven and man by comparing the three realms. In Wang Wei's Farewell, the endless passage of white clouds is compared to the journey of a hermit, which can reflect freedom, loneliness and "how can I find his footprints!" . In the middle of the mountain, there is no rain on the mountain road, and clothes are wet, and in the color of chaos, Bai Niao is surprised when the waves jump and splash. It is written that the autumn rain falls from the bottom, the shallow water sprinkles, the waves jump from the egrets, the water comes out, the cold leaves are sparse, the mountain road is rainy, and the clothes are wet, etc. This should also be included in "No one in the mountain, flowers bloom in the water".

In addition, although Wang Wei's Zen landscape poems finally express the concept of "emptiness", the images and realms in these poems are also vivid and reflect the real world. To some extent, Zen's attitude of conforming to nature and life is indeed an affirmation of the real world. These poems, if not intended to be profound, can also make readers understand the true meaning of life. The "epiphany" of southern Zen is completely connected with the "wonderful enlightenment" in poetry, which has a positive impact on the aesthetic appreciation in the process of poetry creation. Readers are not Zen, so there is no need to read poems with meditation. However, Zen philosophy and Zen interest are all contained in the poem. Besides the beautiful scenery of mountains and rivers, there is also a profound artistic conception. This is why Wang Wei's landscape poems are more unique and chewy.

Wang Wei takes Zen into poetry and the scenery of mountains and forests as the objective description object, which shows the poet's lonely and quiet personality. At the same time, in the combination of Zen and poetry, he created a unique artistic conception, which fully reflected the style of diluting the ethereal. In addition, because Wang Wei is a painter, he integrated painting skills into poetry, thus making this kind of landscape poetry artistic perfection. These poems are vivid and vivid, and there are pictures in them; Or the color is dim and full of Zen machines; Or quiet, wonderful, close to nature; Or simple, concise and subtle; Or exquisite and charming; All this is unified in diluting the ethereal overall style. Diluting the ethereal spirit is most suitable for expressing Zen and Zen, which is most in line with Wang Wei's quiet and lonely personality, and is also closely related to the beauty of still painting that he intends to pursue in his poems. The predecessors praised Wang Wei's landscape poems as "beautiful", "graceful" and "quiet as the breeze", which not only affirmed their beauty, lightness and fullness, lightness and agility. "Wen Xin Diao Long Feng Gu" said: "If the words are straight, the bones will become awkward; The spirit is cool and the style is clear. " Therefore, Wang Wei's landscape poems still have distinctive styles and strict bones.

Wang Wei's landscape poems not only reflect his own personality, but also mark the high maturity of China's landscape poems. Wang Wei inherited the strengths of Tao Yuanming and Xie Lingyun, and integrated them into his own unique techniques, creating a new type of pastoral poetry combining scene and artistic conception, which laid the foundation for the formation of the pastoral poetry school in the prosperous Tang Dynasty. Headed by Wang Wei, and a large number of poets such as Meng Haoran, Chang Jian, etc., they created a major school of poetry in the Tang Dynasty, influenced the "Ten Talented Scholars in Dali Period" in the middle Tang Dynasty, especially Liu Changqing, Qian Qi, and even Wei and Liu Zongyuan, and formed a situation in which Wang and Liu were called equally, which had a far-reaching impact on the creation of pastoral poems in the past dynasties after the Song Dynasty. Wang Wei's creative practice also contributed to poetry theory. The artistic style of diluting ethereal spirit and full of Zen in poetry also led to the dilution, naturalness and implicature in Sikongtu's poems in the late Tang Dynasty, which were mainly written for landscape and pastoral poets such as Wang Wei, especially Wang Wei's experience of Zen into poetry. "Poetry Dilution" wrote that "Su Shi was silent, Miaomiao was reserved, drank too much, and was alone with cranes". Nature says: "Tao is in front of this territory, followed by Liuzhou, Wang Youcheng and Suzhou, which is full of natural interest". "Implicit" Yipin said: "Nothing is romantic ... long and empty dust, sudden and sudden sea, shallow and deep gathering and scattered, take one in ten thousand." As late as the Ming Dynasty, Hu Yinglin once commented on Wang's poems: "I forgot my life experience, and my thoughts were all silent", which even had a far-reaching impact on the establishment of Yan Yu's "Wu Miao" theory and Wang Shizhen's "verve theory" in the Qing Dynasty.

2002.05

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