1. How did the ancients appreciate ancient paintings
1. Paper and silk identification
The materials silk and paper used in calligraphy and painting play a certain role in the dating of calligraphy and painting. The identification of silk and paper is another way to identify calligraphy and painting. The late Zhou Dynasty silk paintings, the Chu tomb silk paintings of the Warring States period, and the later Mawangjiao Han tomb silk paintings were all made of finer single silk. So far, no double silk silk has been used (that is, the warp is double silk and the weft is double silk). It is made from monofilament woven into silk).
From the surface, the silk from the Five Dynasties to the Southern Song Dynasty appeared in the form of double silk silk in addition to single silk silk. Generally speaking, the silk of the Yuan Dynasty is thicker than the silk of the Song Dynasty. It is not as fine and white as the silk of the Song Dynasty, and it is also loose. Silk from the Ming Dynasty generally seems to be relatively rough.
In the early and mid-Ming Dynasty, there was a kind of lower quality and thinner silk. Because this kind of silk was too thin and difficult for ink to fall off, calligraphers and painters often put it on paper before creating calligraphy and painting. Paper from the Han and Jin Dynasties is mostly made of linen, mostly recycled from waste materials such as linen cloth, sacks, hemp shoes, and fishing nets. Raw hemp is also used - hemp is used in the north and ramie is used in the south.
2. Seal identification
The characteristics and atmosphere of the seal's era are also evidence for the identification of calligraphy and painting. The atmosphere of the times of a seal can be seen in its shape, seal characters, engraving method, texture, printing color, etc. The seals of the Song Dynasty were mostly made of copper and jade, with a small amount of other materials. Since Wang Mian of the Yuan Dynasty began to use stone for engraving, more and more people have used stone for engraving.
In the early Ming Dynasty, seals made of various stones were quite common, and the seal carving method also had new changes. The stop of each character in the seal script was slightly thicker than the original stroke, but it appeared lighter and Slightly yellow, the printing color is somewhat different from that of the Yuan Dynasty. Most of the seals in the middle and late Ming Dynasty were made of stone, with others such as crystal, agate, copper, jade, etc.
In the early Qing Dynasty, the seal characters used by calligraphers and painters did not change much, but the seal shapes and fonts had a trend of diversification. In the middle and late Qing Dynasty, seals and seal carvings had various specifications, such as Zhejiang School, Anhui School and other schools, most of which took "Shuowen Jiezi" as the main body.
3. Identification of inscriptions and postscripts
Inscriptions and postscripts can be divided into three categories: those of the author, those of contemporaries, and those of descendants. It is common for genuine ancient paintings to be paired with fake postscripts that identify people, or fake ancient paintings to be paired with authentic postscripts that identify people. If there is an inscription or postscript from a contemporary of the author on the painting, the relationship between him and the author should be made clear. This aspect of the situation cannot necessarily be known from the calligraphy and painting itself, but must be explored from some inscriptions and postscripts.
How much role the inscriptions and postscripts of later generations can play in the appraisal of calligraphy and painting must be analyzed based on the specific circumstances. For example, if this happens on calligraphy and painting or inscriptions and postscripts, especially inscriptions on calligraphy and painting, it is considered to be the fault of the forger. taboo.
In the era of feudal emperors, it was necessary to avoid taboos in writing, that is, when writing the same character as the name of the emperor of the dynasty, one should write one less stroke. This is called taboo, commonly known as missing pen. In calligraphy and painting, if you see missing characters, which emperor's taboo is the taboo, you can conclude that the creation period of the calligraphy and painting cannot be earlier than the emperor's period of taboo, otherwise it will be a loophole for forgery.
Extended information:
In the art field of the Chinese nation, especially the various arts centered on Han culture, there is an interrelated phenomenon. Although their appearance and The uses are different, the methods of expression and the tools used are also different, but the artistic flavor and interest of those different categories of art, that is, the characteristics of the national character they express, have something in common in their essence.
For example, architecture and clothing are all based on broadness and solemnity; the furnishings of tables and chairs are all based on squareness and symmetry; even in literary language, there are four or six rows of couples that have never been seen in any language in the world. Large works and so on, this is the beauty of symmetry that is particularly emphasized in Han national culture. Therefore, the requirement of symmetry pervades most of this culture and art. When it comes to calligraphy and painting, there are some unique intrinsic connections.
Only single lines are used to depict characters without shadows. A few lines are added to the cheeks to make the character stand out. This is called "expressiveness".
The word "lively" does not specifically refer to portraits in the field of painting. It is also often used in painting other objects, such as "to convey the spirit of landscapes", "to convey the spirit of flowers and birds", etc.
Using this word mainly means to get rid of all the details of the objects and images, but to grasp their overall points. Therefore, many "freehand" figures are not mistaken by viewers for cats and dogs; a touch of distant mountains is not mistaken by viewers for wet marks on paper. Particular attention should be paid to painting tree trunks, flower heads, mountains, and folds of clothing. We would rather allow them to be different, but do not allow their brushstrokes to become limp.
Sogou Encyclopedia - Ancient Painting Appraisal 2. Words to describe ancient paintings
The idioms and explanations about painting are as follows: Spring breeze under the brush: describes paintings and poems as vivid as the spring breeze coming pen.
The pen is exquisite and the ink is exquisite: the brushstrokes are precise and the ink is clever. Describes the ingenious techniques and subtle meaning of calligraphy, painting, poetry, etc.
Spring breeze under the pen: describes paintings and compositions as lifelike, like the spring breeze coming under the pen. It is also a metaphor for words that can benefit people.
Miserable management: ① It originally refers to using light colors to outline the outline before painting, painstakingly conceiving, and managing the location. The "Ancient Paintings Record" written by Qi Xiehe in the Southern Dynasties listed business location as one of the six methods of painting.
②The extended meaning is to plan and engage in something painstakingly. Also known as "dismal management". Rough branches and leaves: painting, painting trees with rough branches and leaves, without using fine brushwork.
It is a metaphor for rough work and not careful and meticulous work. Danqing is unswerving: Dan, Qing: Dansha and Qingye are two pigments commonly used in ancient paintings, which are not easy to fade.
Always unswerving, the light is obvious. Danqing is too real: Danqing: red and cyan pigments, also refers to painting.
The beauty of the painted scenery exceeds the actual scenery. Describes superb painting skills.
Click on the screen to become a fly: screen: screen. Draw the stains on the screen as flies.
Describes the painting technique as very superb. Carving on ice and painting on grease: carving on ice and painting on solidified grease.
It is a metaphor for wasting effort and working without success. Scribbling here and there: It is a metaphor for writing and drawing with a pen.
Later used as a modest word for one's own writing or painting. Same as "painting here and there".
Angle tracing: Deliberate depiction to make the outline or image clear. It mostly refers to the deliberate imitation of painting or writing without any new ideas.
Painting fat and engraving ice: engraving: carving. Painting in grease, carving in ice.
It is a metaphor for working hard without success. Integrated: blended together.
Integrated into a whole, indivisible. It also describes articles and paintings, which are neatly arranged and rigorously structured.
Mixed together: mixed together. Fusion into a whole, indivisible.
It also describes articles and paintings, which are neatly arranged and rigorously structured. Pheasant: Pheasant: Pheasant.
The original intention is that Jin Gengyi compared his calligraphy to a domestic chicken and Wang Xizhi's calligraphy to a pheasant, to show that he despises those who are near and values ??those who are far away. It also refers to calligraphy and painting with different styles.
江山之help: 江山: landscape; assist: help. Natural scenery helps.
Poems and paintings that describe elegance and elegance are all inspired by natural landscapes. Opening the Buddha's Light: Refers to sculpture or painting of Buddha statues, and finally lighting the eyes.
Picturesque: The description is clear and vivid, just like a painting. Lili as a painting: The description is clear and vivid, just like a painting.
To turn a pen into a fly: to draw the stains on the screen caused by a mistake in writing into flies. Describes the painting technique as very superb.
Miaoshou Danqing: Miaoshou: a person with superb skills; Danqing: the pigment of painting, a metaphor for the art of painting. Refers to an excellent painter.
To do something: take a pen. To refer to writing or painting.
Qin, chess, calligraphy and painting: playing the piano, playing chess, writing, and painting. Often used to express personal cultural literacy.
Miraculous workmanship: describes buildings, paintings, etc. that are so exquisitely conceived that they cannot be done by human beings. lick the ink on the brush: lick the tip of the brush with your tongue; suck the ink on the brush with your mouth.
Refers to writing poetry, composition or painting, etc.
Density has its own meaning: sparse: sparse; dense: dense; resulting: interesting.
It refers to the layout of the garden or painting, which has sparse and light areas, as well as dense and dense areas, which is very interesting. Sucking ink: sucking the ink on the brush with your mouth; licking the tip of the brush with your tongue.
Refers to writing poetry, composition or painting, etc. Tang Lin Jin Tie: Lin: imitation of calligraphy and painting; Tie: model of calligraphy and painting.
Tang people’s calligraphy mostly copied Jin people’s models and evolved from them. It is a metaphor for someone who is good at copying but rarely original.
Falcon: Falcon: a bird of prey such as an eagle used for hunting. As soon as the rabbit jumped up, the falcon swooped down.
A metaphor for quick action. It also refers to painting or writing articles quickly and smoothly.
The rabbit walks and the falcon falls: a metaphor for quick action. It also refers to painting or writing articles quickly and smoothly.
See "The rabbit rises and the falcon falls". A mistake in writing turns into a fly: The stains on the screen caused by a mistake in writing are painted into flies.
Describes the painting technique as very superb. Writing with wind and thunder: describing calligraphy or painting where the brushstrokes are rapid and powerful.
Chest times Qiu gully: Qiu: hill; gully: ravine. When it comes to painting and composing, I have already grasped the profound artistic conception in my mind.
It also means that one’s judgment and handling of things have their own merits. There are hills and valleys in the chest: Qiu: hills; Valley: ravines.
Refers to the profound artistic conception that has been grasped in mind when painting or composing. It also means that one’s judgment and handling of things have their own merits.
Qiu gully in the chest: Qiu: hill; gully: ravine. When it comes to painting and composing, I have grasped the profound artistic conception in my mind.
It also means that there are differences in judgment and handling of things. Embroidered Ta and carved 甍: Ta: the hut on the gate tower; 獼: the ridge of the roof.
The gatehouse with colorful paintings and the carved roof ridge. Describe the exquisiteness and majesty of a building.
Meaningful writing: Once the thoughts or ideas are clear and mature when writing poems and paintings, the artistic conception can be immediately reflected in the pen. Describes quick thinking when writing.
Overflowing on the surface of Chu ink: Chu ink: paper ink. Poems and paintings express certain thoughts and feelings that go beyond paper and ink.
3. Poems and appreciation of landscapes
Zhuli Pavilion
Wang Wei
Sitting alone in the secluded bamboo, playing the piano and whistling loudly.
People in the deep forest don’t know, but the bright moon comes to shine.
The poet sat alone in the deep bamboo forest, playing the piano and screaming. No one knew his existence, only the bright moon came to accompany him. Nature understands his inner loneliness best, The clear light of the bright moon brought him a kind of quiet happiness. Things and I are one and the thing
I forget both, Zen and poetry blend together.
Lu Chai
Wang Wei
No one can be seen in the empty mountain, but people can hear their voices.
Returning to the deep forest, the light shines on the moss again.
Wang Weiye He is good at capturing the moving moments where sound, color, picture and feeling are intertwined, and unifies them into the artistic conception that best conveys the emotion, and expresses it with appropriate language.
Bird Ming Stream
Wang Wei
People are idle, osmanthus flowers fall, the night is quiet and the spring mountain sky is empty.
The moonrise scares the mountain birds, and they sing in the spring stream.
In the mountains
Wang Wei
White rocks emerge from Jingxi River, and the red leaves are sparse in the cold weather.
There is no rain on the mountain road, and the sky is green and wet people's clothes.
p>Mountain Dwelling in the Dark Autumn
Wang Wei
After the new rain in the empty mountains, the weather is late for autumn.
The bright moon shines among the pines, and the clear springs flow up the rocks.
The bamboos rustle and return to Huan Nu, and the lotus leaves the fishing boat.
Let the spring fragrance rest at will, and the king and grandson can stay.
Stay on the Jiande River
Meng Haoran
Moving the boat to Yanzhu, the guests are worried about the new arrival at dusk.
The sky is low in the wilderness and the trees are low, the river is clear and the moon is close to the people.
The sky is clear and the sand is full of autumn thoughts.
Ma Zhiyuan
Withered vines and old trees, dim crows,
Small bridges and flowing water, people’s homes.
The old road has a thin horse in the west wind.
The sun sets in the west,
The heartbroken man is at the end of the world.
Night mooring at Maple Bridge
Zhang Ji of the Tang Dynasty
The moon sets The sky is filled with crows and frost, and the river maples and fishing fires are facing melancholy.
Hanshan Temple outside Suzhou City, the midnight bell rings for the passenger ship.
Spring View in Hangzhou
Bai Juyi
The Wanghai Tower shines brightly in the morning glow, and the embankment protecting the river is white on the clear sand.
The sound of waves sounds at the enlisted member’s temple at night, and the willow color in spring hides Su Xiaojia.
Red sleeve weaving The damask praises the persimmon stems, and the green flag sells wine while the pear blossoms are blooming.
Who opened the southwest road of Husi, the grass is green and the waist of the skirt is slanted.
Early spring in Nanhu
Bai Juyi
p>The wind returns to the clouds and the rain clears. The lakeside is warm and bright again.
The red mountain apricot hair is scattered randomly, and the new green water apples are spread out.
Wings The white wild geese are still flying low, and the tongue is astringent and the oriole language has not yet been completed.
I don’t think Jiangnan spring is bad, but my mood is weakened by illness every year.
Su Jiandejiang
Meng Haoran
Move the boat to Yanzhu,
At dusk, the guests are worried about the new arrival.
The wild sky is low and the trees are low,
The clear moon on the river is close to the people.
A guest in the mountains
Zhang Xu
Light and matter create the glow of spring, don’t be tempted to return home just because of the light shade.
Even if there is no clear sky The color of rain touches clothes deep in the clouds. 4. Words to describe ancient paintings
The idioms and explanations about painting are as follows: Spring breeze under the brush: describes paintings and poems as vivid as spring breeze coming to the brush.
The pen is exquisite and the ink is exquisite: the brushstrokes are precise and the ink is clever. Describes the ingenious techniques and subtle meaning of calligraphy, painting, poetry, etc.
Spring breeze under the pen: describes paintings and compositions as lifelike, like the spring breeze coming under the pen. It is also a metaphor for words that can benefit people.
Miserable management: ① It originally refers to using light colors to outline the outline before painting, painstakingly conceiving, and managing the location. The "Ancient Paintings Record" written by Qi Xiehe in the Southern Dynasties listed business location as one of the six methods of painting.
②The extended meaning is to plan and engage in something painstakingly. Also used in "Bleak Management": Painting, painting trees with rough branches and leaves, without using fine brushwork.
It is a metaphor for rough work and not careful and meticulous work. Danqing is unswerving: Dan, Qing: Dansha and Qingye are two pigments commonly used in ancient paintings, which are not easy to fade.
Always unswerving, the light is obvious. Danqing is too real: Danqing: red and cyan pigments, also refers to painting.
The beauty of the painted scenery exceeds the actual scenery. Describes superb painting skills.
Click on the screen to become a fly: screen: screen. Draw the stains on the screen as flies.
Describes the painting technique as very superb. Carving on ice and painting on grease: carving on ice and painting on solidified grease.
It is a metaphor for wasting effort and working without success. Scribbling here and there: It is a metaphor for writing and drawing with a pen.
Later used as a modest word for one's own writing or painting. Same as "painting here and there".
Angle tracing: Deliberate depiction to make the outline or image clear. It mostly refers to the deliberate imitation of painting or writing without any new ideas.
Painting fat and engraving ice: engraving: carving. Painting in grease, carving in ice.
It is a metaphor for working hard without success. Integrated: blended together.
Integrated into a whole, indivisible. It also describes articles and paintings, which are neatly arranged and rigorously structured.
Mixed together: mixed together. Fusion into a whole, indivisible.
It also describes articles and paintings, which are neatly arranged and rigorously structured. Pheasant: Pheasant: Pheasant.
The original intention is that Jin Gengyi compared his calligraphy to a domestic chicken and Wang Xizhi's calligraphy to a pheasant, to show that he despises those who are near and values ??those who are far away. It also refers to calligraphy and painting with different styles.
江山之help: 江山: landscape; assist: help. Natural scenery helps.
Poems and paintings that describe elegance and elegance are all inspired by natural landscapes. Opening the Buddha's Light: Refers to sculpture or painting of Buddha statues, and finally lighting the eyes.
Picturesque: The description is clear and vivid, just like a painting. Lili as a painting: The description is clear and vivid, just like a painting.
To turn a pen into a fly: to draw the stains on the screen caused by a mistake in writing into flies. Describes the painting technique as very superb.
Miaoshou Danqing: Miaoshou: a person with superb skills; Danqing: the pigment of painting, a metaphor for the art of painting. Refers to an excellent painter.
To do something: take a pen. To refer to writing or painting.
Qin, chess, calligraphy and painting: playing the piano, playing chess, writing, and painting. Often used to express personal cultural literacy.
Miraculous workmanship: describes buildings, paintings, etc. that are so exquisitely conceived that they cannot be done by human beings. lick the ink on the brush: lick the tip of the brush with your tongue; suck the ink on the brush with your mouth.
Refers to writing poetry, composition or painting, etc. Density has its own meaning: sparse: sparse; dense: dense; resulting: interesting.
It refers to the layout of the garden or painting, which has sparse and light areas, as well as dense and dense areas, which is very interesting. Sucking ink: sucking the ink on the brush with your mouth; licking the tip of the brush with your tongue.
Refers to writing poetry, composition or painting, etc. Tang Lin Jin Tie: Lin: imitation of calligraphy and painting; Tie: model of calligraphy and painting.
Tang people’s calligraphy mostly copied Jin people’s models and evolved from them. It is a metaphor for someone who is good at copying but rarely original.
Falcon: Falcon: a bird of prey such as an eagle used for hunting. As soon as the rabbit jumped up, the falcon swooped down.
A metaphor for quick action. It also refers to painting or writing articles quickly and smoothly.
The rabbit walks and the falcon falls: a metaphor for quick action. It also refers to painting or writing articles quickly and smoothly.
See "The rabbit rises and the falcon falls". A mistake in writing turns into a fly: The stains on the screen caused by a mistake in writing are painted into flies.
Describes the painting technique as very superb.
Writing with wind and thunder: describing calligraphy or painting where the brushstrokes are rapid and powerful.
Chest times Qiu gully: Qiu: hill; gully: ravine. When it comes to painting and composing, I have grasped the profound artistic conception in my mind.
It also means that there are differences in judgment and handling of things. There are hills and valleys in the chest: Qiu: hills; Valley: ravines.
Refers to the profound artistic conception that has been grasped in mind when painting or composing. It also means that one’s judgment and handling of things have their own merits.
Qiu gully in the chest: Qiu: hill; gully: ravine. When it comes to painting and composing, I have grasped the profound artistic conception in my mind.
It also means that there are differences in judgment and handling of things. Embroidered Ta and carved 甍: Ta: the hut on the gate tower; 獼: the ridge of the roof.
The gatehouse with colorful paintings and the carved roof ridge. Describe the exquisiteness and majesty of a building.
Meaningful writing: Once the thoughts or ideas are clear and mature when writing poems and paintings, the artistic conception can be immediately reflected in the pen. Describes quick thinking when writing.
Overflowing on the surface of Chu ink: Chu ink: paper ink. Poems and paintings express certain thoughts and feelings that go beyond paper and ink. 5. Sentence analysis of "Along the River During the Qingming Festival" (text)
The author of "Along the River During the Qingming Festival" is the Song Dynasty painter Zhang Zeduan. Zhang Zeduan was a native of Shandong. He studied painting in Bianjing (now Kaifeng, Henan) in his early years, and later became a painter at the Northern Song Dynasty Painting Academy. Although there are few records about him, this remarkable work has made future generations remember him forever. "Along the River During the Qingming Festival" is a long scroll with colors on silk, 248 cm high and 528 cm long. The picture depicts the bustling scene of Bianjing, the capital of the Northern Song Dynasty, during the Qingming Festival. Going up the river during the Qingming Festival was a folk custom at that time, just like today's festival gatherings, where people used it to participate in business activities. The whole picture is large in scale and rigorous in structure, and is roughly divided into three sections: the first section is the suburban scene, the second section is the Bianhe River, and the third section is the city market.
First is the scene on the outskirts of Bianjing. Farmers are working in the fields, and rich people are returning from visiting graves. On the road, pack teams, porters, and people on horseback and sedan chairs were rushing into the city. Next is the most exciting part - Bianhe River. The arch bridge on the Bianhe River is like a rainbow. Pedestrians on the bridge are like waves, bustling, rubbing shoulders and heels, and boats are competing with each other under the bridge. Many small plots are very interesting. For example, a frightened horse at the bridge leads to a dangerous situation, a donkey is frightened, and curious people are watching. Then he described the streets of Bianjing. Bianjing was the center of politics, economy and culture at that time. There were government offices, residential houses, workshops and shops, teahouses and restaurants all over the city. The streets were bustling with traffic, and there were all three religions. All industries were prosperous and bustling. The picture unfolds into a calm scene, with relaxation and relaxation, forming an interesting contrast and rhythm. The painter reproduced the prosperity and development of the capital of the Northern Song Dynasty through the description of the architecture, commerce, traffic, and transportation in Bianjing City.
There are more than 550 people, more than 60 various livestock, more than 20 wooden boats, more than 30 houses and pavilions, and 20 carts and sedan chairs in "Along the River During the Qingming Festival". Multiple pieces. Such rich and colorful content is rarely seen in ancient paintings of all ages. What is valuable is that every character, scene, and detail in the painting is arranged in a reasonable manner, and the relationship between density, complexity, movement, stillness, gathering and dispersion, etc., is handled just right, so that it is complex but not complicated, and numerous but not chaotic. It fully demonstrates the painter's profound insight into social life and his high artistic accomplishment and expressive ability. "Along the River During the Qingming Festival" is not only a great realist painting art treasure, but also provides us with a wealth of image data on the commerce, handicrafts, folk customs, architecture, transportation, etc. of the metropolises of the Northern Song Dynasty. Therefore, it also has historical documents. value.
In the history of Chinese art, "Along the River During the Qingming Festival" can be said to be the most legendary work and the most copied work in all dynasties. From ancient times to the present, there have been many legends and unsolved mysteries regarding the textual research and disputes over the authenticity of the "Along the River During the Qingming Festival" version; for thousands of years, royal nobles and literati of all dynasties have plundered the "Along the River During the Qingming Festival" And collecting never stops.
How did the original painting of "Along the River During the Qingming Festival" come to the world? What kind of person is its author Zhang Zeduan? 6. Appreciation of very beautiful sentences, don’t make the sentences too short
The first time I read "Moonlight over the Lotus Pond", it was in a Chinese class in junior high school. in class.
Although I was not very clear about the deep feelings of the author in the article, I was still immersed in the quiet, mysterious and beautiful moonlight of the lotus pond for a long time. The beginning of the article did not directly describe the moonlight in the lotus pond, but said that the author "has been quite uneasy these days." Although the Chinese teacher at the time also analyzed with us the cultural background of the author writing this article, more or less It also gives us an idea of ??the author’s situation.
Maybe it’s because “I feel quite uneasy” that I naturally think of “the lotus pond I walk through every day”. Then I had the desire to see the lotus pond which had a "different look".
At this time, the author still did not write about the moonlight in the lotus pond, but expressed his inner feelings on the way to the lotus pond. "I love excitement as well as calmness; I love being in groups as well as being alone."
"I can think about anything and think about nothing under the vast moonlight", "I feel like a free man." It can be seen that the author at this time is the real and original him.
There is no embellishment or hypocrisy, I just "feel like a free person". Wanting to be the true self under the circumstances is not something that can be done in a few words, because some things are often done involuntarily, and some are forced to do.
So while "this world seems to be mine", "I can ignore all the things I must do and say during the day." The only thing to do is " Let’s take advantage of the boundless moonlight over the lotus pond.”
The author makes a sudden change of writing and naturally leads the readers to the moonlight over the lotus pond, which is like an ancient painting. "The twists and turns of the lotus pond", "the leaves of the fields", "like the skirt of a graceful dancing girl".
"Scattered white flowers", "coquettish" or "shy", "like pearls", "like stars", and "beauties just out of the bath". From the beginning, the author used rich metaphors and personification techniques to vividly depict lotus leaves and lotus flowers from different angles.
Overall it gives people a fresh and noble feeling. "The breeze passes by", "wisps of fragrance", "like the faint singing from a tall building in the distance".
Very vividly evokes auditory and auditory associations from the sense of smell. When describing the trembling of leaves and flowers, it is "like lightning" and "like ripples of solid blue".
At this time, "the veins of running water under the leaves are covered, but the leaves are more beautiful." After the description of the lotus pond, the next thing is the moonlight.
"The moonlight is like flowing water", "quietly flowing on this leaf and flower." With the word "Xie", the originally static moonlight becomes dynamic, giving people a sense of movement. Think of the romantic mood of "moonlight bath".
"Thin green mist", "milk", "dream of gauze", seem real and illusory, real and illusory, cleverly casting a mysterious veil on the moonlight of the lotus pond. Next, the "mottled black shadows" dropped by the shrubs are described as "ghost-like", and the "sparse beautiful images of the willows are painted on the lotus leaves".
"The melody of light and shadow", "like the famous music played on the bell". Although there are only a few strokes, it can bring different sensory impulses and enjoyment to readers from different directions and degrees.
Write from the lotus pond to the moonlight, and then from the moonlight to the four sides of the lotus pond, proceeding layer by layer. Although the author did not describe in detail the willows, distant mountains, lights, and even the sound of cicadas and frogs around the lotus pond, it may be due to mood factors.
Because from the author's "the excitement is theirs, I have nothing", there is a sense of "the past is too painful to look back on". The author ended the article with the story of "picking lotus".
I think of lotus picking from the lotus pond, and then think of "Lotus Picking Ode" and "Xizhou Song": Lotus Picking in the South Pond in autumn, the lotus flowers exceed the head; lower the head to pick the lotus seeds, the lotus seeds are as clear as water.
In this way, the whole article came to an end in a poetic and picturesque tone.
Just excerpt some. 7. Appreciation of the poem
"The light rain on the street is as moist as crisp, the color of grass looks far away but is not seen up close" is a famous saying by Han Yu, a poet of the Tang Dynasty.
The meaning of the poem is that in the moist early spring drizzle, spring grass sprouts. From a distance, there is a faint green, but when you walk in, you can only see extremely sparse grass buds. , the green is not felt anymore.
The artistic conception of the poem is beautiful, and the underlying philosophy is also very rich. It makes us realize: if we are too close, sometimes we cannot feel the actual existence; to grasp something, sometimes we need to jump out of it; people's views of things and their feelings of beauty are related to distance... In fact, many things and phenomena in life contain the artistic conception and philosophy of these two poems. The key lies in your observation and experience. 8. Poems and appreciation of color descriptions
1. For example, Du Fu's "Quatrains": Two orioles sing in the green willows, and a row of egrets ascends to the blue sky. The window contains the snow of Qianqiu in the Xiling Mountains, and the door is docked with ships thousands of miles away from Dongwu. The author describes the willow branches that have just sprouted new buds, the pairs of orioles, the yellow looks particularly bright against the green, the free egrets flying in the clear blue sky, and the white against the blue is particularly pleasing to the eye. , four distinct colors of green, yellow, white and blue form a gorgeous picture.
2. Bai Juyi's "Recalling Jiangnan" "The river flowers are as red as fire at sunrise, and the river water is as green as blue when spring comes." The blue-green river water reflects the description of the river flowers under the red sun, making it appear bright, bright, and charming. , the color contrast is extremely strong, and it outlines a vibrant Jiangnan beauty.