Another meaning of 2.ethereal is transparency. Ancient literary critics believe that artistic conception should be completely transparent, and its exquisiteness is like a flower in a mirror. China's painting pursues the meaning beyond the image and the feeling beyond the painting, all in order to achieve infinite artistic conception through limited artistic image. In Su Shi's poems, there is a saying, "There is nothing in this pavilion, just sit and watch the scenery and never see it"; Every time Ni Yunlin painted a landscape painting in Yuan Dynasty, he always left an empty pavilion. The so-called "no one meets under the pavilion, and the setting sun shines in autumn" is always revealed from this pavilion. The blank of China's landscape painting is not a background to be filled, but a meaningful spatial organization. Therefore, what we call "ethereal" is not empty, but there are endless scenes and endless meanings flashing in it, which form a "transparent meaning". It is a kind of exquisite beauty that does not stick to facts, but is implicit and meaningful, which makes the artistic conception unique and pleasing to the eye.
3. 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, pursue the highest art of charm and emotion, and have the beauty of "saying nothing" and endless interest of "implication". 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 poems. His achievements in landscape poems are related to his evolution of the concept of Zen into the guiding ideology of his own poetry creation, and the introduction of Zen Buddhism and some ways of enlightenment into poetry creation. It is also the Zen in his poems that constitutes his ethereal and elegant poetic artistic conception.
4. There are many contributing factors to the integration of Wang Wei's Zen philosophy and aesthetic experience. (1) First of all, the most important reason is the development of Southern Zen. After Dharma introduced Zen to China, the six ancestors were wise, which made this "non-verbal" religious experience more important than introspection, closer to the literati. 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.
(2) Secondly, the reason why religious experience can be highly integrated with Wang Wei 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. "My heart is often broken, and I can't be confused." 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 with White Hair"). Wang Wei's aesthetic experience is perfectly combined with his Zen philosophy.
(3) 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.
5. 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 "Zen" realm, 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.
6. Try one of Wang Wei's poems, "Crossing the Wind Temple, Tan Xing Renshang Mountain Courtyard": "Hold the 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.
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 sun sets in the forest" (the third part of pastoral music) is "leisure and wild interest, want to see the people in the painting".
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 spirit of natural things, stick to the subjective concept of "I" or vividly describe the form of "things", so as to get a glimpse of natural images, create an ethereal and beautiful artistic conception, and integrate Zen with landscapes.
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 and wanting to wear clothes", such as "clouds, when I look back, cling to me to see if it is green. 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").