Wang Wei was a poet and painter in the Tang Dynasty, with the word "Mo Mo" and the name "Mo Mo Jushi". Wang Wei, Wang Ren, Hedong, was the champion in the 19th year of Kaiyuan (73 1).
Wang Wei is called "Wang Youcheng" by the world because of his upright official position. The name of "Shi Fo" is because all Wang Wei's poems are Zen, and his career is unsatisfactory, which makes him devote himself to Buddhism and rely on Buddhism as his emotional sustenance, thus getting rid of secular troubles.
Buddhism was popular in Wang Wei's time, and Wang Wei believed in Buddhism in his early years. Although tired of officialdom life, but attached to it, unable to make up his mind to leave, so Wang Wei has been living a semi-official and semi-secluded life. As the political situation became more and more turbulent, Wang Wei himself suffered a series of blows, which made him gradually depressed and devoted himself to Buddhism.
In his later years, he lived in seclusion in Wangchuan, made friends with Taoist friends and wrote a lot of pastoral poems. His poems contain many Buddhist philosophies. He has a profound understanding of Buddhism and inadvertently combines Buddhism with poetry. In Wang Wei's poems, Zen is often permeated, as if divorced from the world and not contaminated with secular dust. Therefore, in Wang Wei's landscape poems, the description of natural scenery has gone beyond the general beauty, but has been integrated into religion.
Wang Wei's words are very touching. He is very devout to Buddhism. It can be seen that Buddhism has influenced his views and attitudes towards life and politics. Buddhism influenced Wang Wei's thoughts and completely integrated into Wang Wei's life.
Wang Wei's poems are diverse in types and rich in themes, but his pastoral poems are the highest achievement and the most talked about. Speaking of Wang Wei's pastoral poems, people can't help thinking of fresh and beautiful pictures. As Su Shi said: "Poems full of verve are all painted in them. Look at the picture, there are poems in the picture. " Wang Wei lived in the prosperous Tang Dynasty. In such a prosperous and open period, especially in art, he is brilliant. Coupled with his own efforts, Wang Wei is not only highly accomplished in poetry, but also proficient in painting, music and calligraphy and has made great achievements. He once said in "Accidental Works" that "a poet living in the past, his predecessor should be a painter. I can't give up my studies, I am known to the world. " It is precisely because Wang Wei is so proficient in painting that his poems are picturesque and intoxicating.
Chinese painting in Wang Wei's poems: painting skills in Wang Wei's poems: the fusion of Wang Wei's poems and paintings.
Wang Wei usually uses a variety of painting methods and techniques in his poems. First of all, Wang Wei pays great attention to composition in the description of landscape poems. "In the Qing Dynasty, Jiang Ji said in" Landscape Tactics ":'Landscape composition is like the opening and closing of a composition. It is clear from the big picture.
The middle points are very fine, just embellishment. Wang Wei used this composition method in painting to describe the scenery in the poem, melted the poet's words with the painter's pen, and reappeared the beauty of nature in front of the readers, "making the whole poem coherent and natural", such as the poem "Looking at the Han River":
Three branches in the south reach Chu territory, and nine branches flow to Jingmen.
The river crosses heaven and earth, where the colors of the mountains are yes and no.
Human habitation seems to float on the ripples in the distant sky.
These beautiful days in Xiangyang have fascinated my old mountain! .
With the vast water and the magnificent river as the background, I immediately wrote misty mountains dotted, and then wrote counties dotted. Since then, I have been expressing my love for Xiangyang scenery. The whole poem is a beautiful painting, with the vast water as the background, mountains and water, misty mountains and rivers, dotted with mountains and rivers, dotted with cities, dotted with scenery and people, naturally taking care of each other, setting each other off into interest and blending into one. Well-organized. Another example is Zhong Nanshan:
Its huge height is close to the city of heaven, from the mountain to the corner of the sea. The white clouds merged behind, and the blue mist melted into the mountains and disappeared. The center of the dividing line has changed and weathered into many valleys. Want to find a house to live in the mountains, is it convenient for the water guide to ask the woodcutter? This poem will take the majestic Mount Zhongnan as the whole background, and write a couplet about the white clouds and green haze in the mountains, which is confusing and changeable. It is to set off the height of its mountains. "In the Song Dynasty, Guo Yue said:' If the mountain wants to be high, the exhaustion is not high, and the smoke locks its waist. ("Lin Gao Quanzhi") "After the neck couplets reached the peak, everything was unobstructed and the scenery was more distinct. The couplet said that I wanted to spend the night. I called a woodcutter crossing the river, and characters appeared on the picture, which was interesting to write, thus highlighting the distant mountains.
This poem is painted in a step-by-step way, changing in form and spirit, with distinct levels, clear opening and closing, and fine embellishment. The last joint figure is a close-up of details. There are many landscape poems written in this way, such as his famous landscape poems "Autumn Night in the Mountain" and "Crossing Ji Xiang Temple".
In Zhongnanshan, Wang Wei used the method of moving and deforming, which is China's composition method. Scattered perspective shows different times, different perspectives and multiple angles in a painting, which is also different from foreign paintings, because Chinese painting is to mention "god", write "meaning" and draw "realm" instead of realism. In Song Dynasty, Guo summarized this multi-angle perspective as "three-distance theory". "Looking up from the mountain means sublime, looking at the mountain from the front means far-reaching, and looking at the mountain from a close distance means far-reaching. The lofty color is bright, the profound color is heavy and gloomy, and the profound color is bright and gloomy. The lofty trend is abrupt, the far-reaching meaning overlaps, and the far-reaching meaning melts and floats. ("Lin Shui Xun") "It can be seen that different perspectives will achieve bright or dark effects and give people different subjective feelings, not only from the brightness of colors, but also from the modeling, abrupt, overlapping and blending will also give people different aesthetic enjoyment. In this way, the color form is constantly changing, so that people's visual feelings are also changing, and then subjectively fluctuating. It always gives people a refreshing feeling and will not produce aesthetic fatigue or boredom, thus achieving better results. The first couplet of "Zhong Nanshan" stands at the foot of the mountain, looking up at the top of the mountain. Couplets write clouds in the mountains, and the viewpoint is in the mountains. The neckline stood at the top of the mountain and looked down, and the perspective moved to the top of the mountain. At the end of the couplet, I called for a woodcutter crossing the river to prove that he was in the mountains, and his viewpoint moved to the valley, constantly changing and moving.
Many of Wang Wei's landscape poems use this step-by-step and scattered perspective method, such as Qingxi.
I have sailed on the river of yellow flowers and been carried by the green stream. Over the mountains-Wan Li. The rapids buzzed on the piled rocks, but the light dimmed among the dense pine trees. The surface of an entrance swayed with nut horns, and weeds grew along the river bank. Idle heart, Qing Chuan is so light. Oh, stay on a wide flat rock and cast the fishing line forever! . In this poem, the author connects a series of scenes from different perspectives by chasing the green stream and changing angles with the mountains. The stream flows through the rocks, making waves of noise, as if the stream and the rocks were playing like young men and women, showing a lively scene. Then it flows quietly through the deep pine forest, forming a strong contrast, and a noisy heart also quieted down and sank. Then it flows into the open Ye Ping, where the water waves ripple, the green water rises, and the stream flows gently and slowly into the reeds. The reeds on both sides of the river set each other off in the water. What a beautiful picture! This poem is composed of a series of pictures. Every place where the stream passes is a beautiful painting. Every time it flows through a place, the author describes it from a new angle and reproduces the magical beauty of nature from multiple angles and levels.
Secondly, the description of scenery in Wang Wei's landscape poems pays attention to color expression. Chinese painting attaches great importance to the mutual contrast and coordination of colors, which is also obvious in Wang Wei's landscape poems. As the news from my cabin in Wangchuan to Pei Di, the mountain is cold and blue now, and the autumn water has been flowing all day.
At the door of my thatched cottage, leaning on my cane, I listened to the cicadas singing in the evening breeze.
Sunset lingers at the ferry, and the smoke from supper rises from the house.
Oh, when will I make a wish to the great hermit again and sing a wild poem under five willows? .
The chilly autumn mountain is green, and the autumn water is flowing. Cicada listens to the door and ferries down the mountain, glittering, and there is a little "sunset red" at the entrance of the village. The smoke from the kitchen chimneys is curling up, and she is drunk and pretentious, singing and singing. In this poem, the autumn mountains are green, the autumn waters are green, the sunset at the ferry, and the smoke at the village entrance. The colors of mountains and water in autumn are layered and harmonious. The setting sun and these two kinds of greens set each other off, and the colors are rich and not too monotonous. In addition, the smoke from the kitchen chimney is used as a "complementary color" as an ornament. A faint ink painting came into view.
Another example is "In the Mountains": the white stone in the west of Beijing comes out, and the weather is cold and the red leaves are sparse. There is no rain on the winding mountain road, the smoke is misty in the dense pine trees, and the water vapor is heavy, as if to flow, and then the clothes of passers-by. The focus of this poem is "clothes are green, mountains are green", but it begins with white stone and red leaves. A few white stones jumped out of the green eyes and a few red leaves appeared, and the whole picture immediately became playful and lively. As a complementary color, red leaves are more green and lush. The whole piece of green and red leaves are dotted with red to form a whole, and the details set each other off, which greatly enhances the artistic effect of poetry. There are "Leaving a Business in Wangchuan after Rain", "Living in a Mountain is a Thing", "Bie Ye in Wangchuan" and "Zhong Nanshan", all of which reflect the beauty of colors in Wang Wei's landscape poems. However, colorful descriptions in Wang Wei's poems are rare, and he prefers to use "blue" and "white". This is because Wang Wei pursues a simple and elegant style. He pays attention to ink painting, "moving ink in five colors", while Chinese painting pays attention to writing "meaning" and "spirit" Blue and white is an important means of freehand brushwork in ink painting. This shows the internal relationship between Wang Wei's landscape poems and landscape paintings.