Yuan Xingpei

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Artistic conception is an important category of China's classical aesthetics. I am afraid it is difficult to find equivalent concepts and terms in western literary theory. People may think that the word "artistic conception" originated from Wang Guowei, but it is not. Long before Wang Guowei advocated the theory of artistic conception, someone had already used the word artistic conception to discuss the artistic conception of poetry. Wang Guowei's theory of artistic conception can't be abandoned in the study of artistic conception, but it can't stop there. Starting from the creative practice of China's classical poetry and connecting with ancient literary theory, we can summarize the artistic experience of ancient poets in creating artistic conception, explore the artistic law of expressing artistic conception in classical poetry, and provide useful reference for today's poetry creation and poetry criticism.

A fusion of thought and environment

In China's ancient traditional literary theory, artistic conception refers to the artistic realm formed by the combination of the author's subjective feelings and the objective physical environment. The formation of this aesthetic category is the positive result of summing up long-term creative practice experience.

Early poetics did not pay attention to the relationship between subjectivity and objectivity in creation. "History? Yu Shu? Shun Dian said, "Poetry expresses ambition. "Xunzi? Confucian Xiao Pian said: "Poetry is its ambition." ("Zhuangzi? The world says, "Poetry is based on Tao." They only regard poetry as an expression of subjective feelings. Book of rites? Talking about music, Yue Ji said: "Every sound starts from the heart. When people move, things will be logical. " Although it involves the objective physical environment, it only talks about being tempted by things, and the relationship between human heart and physical environment is not discussed. After Wei and Jin Dynasties, with the prosperity of poetry, on the basis of summing up creative experience, we have a deeper understanding of the relationship between subjectivity and objectivity in literary creation. Lu Ji's "Wen Fu" once talked about the process of artistic conception from the perspective of the blending of emotion and material environment: "Sighing at four seasons, thinking about disputes at all times. Sad leaves fall in autumn and happy leaves fall in spring. My heart is full of frost, and my ambition is hard to pay. " Liu Xie's Wen Xin Diao Long? Thinking "also said:

Therefore, it is better to think rationally, and to travel between God and things. God lives in his chest, but ambition is the key; Things follow the eyes and ears, and words control their cardinals.

He pointed out that the secret of conceiving the law lies in "wandering between gods and things", that is, the combination of the writer's subjective spirit and the objective physical environment. Wang Changling, a famous poet in the Tang Dynasty, said that writing poetry should focus on the environment, (2) require the mind and things to feel the society, (3) the scenery and meaning should be consistent and appropriate, and (4) emphasize the relationship between subjective and objective. He added:

There are three kinds of poetic thinking: seeking images, entering the country at will, understanding things with God, getting from the heart and thinking. Long-term use of intensive thinking, lack of imagery, exhaustion of strength and wisdom, slow thinking, and occasional reflection on the situation, the speed will naturally come, saying that thinking is born. Seeking order, satirizing the ancient system, feeling thinking, and saying feeling thinking. ⑸

The following are three processes of poetic thinking. Thinking is to actively seek objective images with subjective spirit, so as to achieve the purpose of entering the environment; Thinking about life is a note that reaches the mind and environment unexpectedly without taking the initiative to seek. Feeling is a poetic thinking inspired by previous works. Among them, thinking and thinking are the fusion of mind and environment. About Wen Jing's secret residence? The autobiography "On Meaning" is Wang Changling's Poem, in which the relationship between thinking and environment is also discussed many times. For example:

When a husband writes poetry, he must concentrate on it; If you witness it, you will hit it with your heart and penetrate its territory. At the end of Tang Dynasty, Si Kongtu said that "thought and environment are in harmony" in "Comment on Poetry with Wang Jia"; In Song Dynasty, Su Shi commented on Tao poetry in the second volume of Dongpo Inscription and Postscript, saying: "realm and understanding"; In the Ming Dynasty, He Jingming talked about "image response" in Talking about Poetry with Kong Li. Wang Shizhen talked about "the combination of God and environment" in Yi Yan Yuan Yan; In the early Qing Dynasty, Wang Fuzhi said in Jiang Zhai Shi Hua that "the eyes in the heart" are consistent and the scenery is "wonderful"

Yin ",has been exposed to the essence of artistic conception.

As for the word artistic conception, it has also appeared in poetry. Shi Ge is called the "three realms" of artistic conception, image and scene.

Poetry has three realms: one is the realm of things. If you want to write a landscape poem, the scenery in Shi Yunfeng is very beautiful. God is in his heart, living in the environment, seeing the environment in his heart, holding it in his palm, thinking again and knowing the image of the environment, so it is similar. Second, the situation. Entertainment, sadness and resentment are all in the body, then think about it and get your own feelings. Third, artistic conception. If you think about it in your heart, you will get it.

Later, Zhu Mingcheng's Yu Yu Tang Shi Hua said:

The beauty of writing poetry lies in the harmony of artistic conception, except the sound, which is the true taste.

Pan Qing Deyu's "Yang Zhai Yi Shi Hua" said:

You don't need to learn the systematic syllables of 300 Articles, and you can't learn them. We should learn the artistic conception of immortals in Three Hundred Articles.

Kuang Zhouyi's "Hui Feng Hua Shi" also said:

Trang Van word? "The Moon on the Butter River" says: "In a year's profit, first frost gathers light dust and mountains and rivers wash." It is more artistic than the sentence "orange green orange yellow".

However, it is Wang Guowei who strongly advocates artistic conception and deeply discusses its significance. The word "artistic conception" became popular only after he advocated it. Artistic conception, which he sometimes calls realm. "Words on Earth" said:

The so-called interest in falling waves and the rhyme of Ruan Ting are not enough to show their true colors. If I choose the word "realm", I will explore its origin.

Talk about temperament, talk about charm, it is better to talk about realm. There is a realm, which is also; Temperament, charm, and finally. If there is a realm, both will follow.

This seems to be boastful, but it is not unreasonable. Several influential poetics in ancient China, such as Yan Yu's theory of interest, Wang Shizhen's theory of verve and Yuan Mei's theory of soul, have their own characteristics, but all of them only emphasize the poet's subjective feelings. The so-called interest refers to the poet's creative impulse and feeling of joy and excitement when his creation is in full swing. Charm refers to the charm of a poet. The so-called soul refers to the poet's true feelings and a little spirit when he creates. These are all things that belong to the poet's subjective spirit. Wang Guowei is superior to them in that he pays attention to both the poet's subjective feelings and the objective physical environment. Only when the two are integrated can the artistic conception be produced. He said in the preface of the second draft of "Ci Hua on Earth" (6):

Literature is enough to impress others from the inside and from the outside, and it is only about meaning and context. If you get to the top, you will be confused about the situation, and then you will win with the situation or significance. Without one, it is not enough to talk about literature. In the words on earth, he added:

What can describe scenery and true feelings is called realm, otherwise it is called no realm.

There is also creation and writing. This ideal is divided from two schools of realism. But it is difficult to distinguish the two, because the environment created by great poets must conform to nature, and the environment written must also be adjacent to the ideal. Realm is composed of true scenery and true feelings. There is reality in ideal, and there is ideal in reality. The creation and writing of environment is the result of subjective and objective synthesis. On the basis of predecessors, Wang Guowei explored the meaning of artistic conception in many aspects, profoundly revealed the opportunity of poetry creation, and established a new standard for commenting on poetry, thus enriching China's poetry theory. His contribution should be fully affirmed.

In China's classical poetry, there are three different ways to integrate meaning and context. First, feelings follow fate. The poet had no conscious thoughts at first. When he met a certain material environment in his life, he suddenly realized something and had a lot of thoughts, so he expressed his affection through the description of the material environment to achieve the blending of meaning and environment. "Wen Xin Diao Long?" Looking for an article said: "Looking for a move, my heart is shaking. "This is a process from context to meaning. There are many such examples in classical poetry, such as Wang Changling's Forever in My Heart:

A young woman in the boudoir will never be sad; Spring came dressed up and boarded Chui Building alone. Suddenly I saw the green willows, and I felt uncomfortable; Oh, I regret that I shouldn't have asked my husband to find Hou Feng.

The young woman in the boudoir is carefree, dressed up in high spirits and went to Cuilou to see the spring scenery. The new green of willows in the street suddenly reminded her of her separation from her husband. This lonely life failed to live up to the beautiful spring and her youth. She regretted her husband's departure. The sadness of young women is caused by the strange willow color, which is intertwined with the strange willow color. This is the sentiment of the characters in the poem. For example, the poet connects his mood with the environment to achieve the artistic conception, such as Meng Haoran's "Autumn Climbing to Mount Zhang Wu": "Now, just as I climbed this mountain to see you, my heart flies high with the geese. If the weather in this autumn is not so refreshing and clear, the quiet dusk may seem a bit sad. " From a berth on Tonglu to a friend in Yangzhou: "The mountain sniffs apes and worries, and the river runs at night." The wind blows through the leaves on both sides, and the moon crosses my lonely sail. "Cui Ying's Yellow Crane Tower": "Every tree in Hanyang is clear, and the grass is dry, and the parrot island is dry. But I looked at my hometown, and the twilight was getting thicker, and the mist of sadness was filled on the river waves. "In this kind of poetry, the poet's feelings and thoughts are triggered by the objective physical environment, and the context and meaning are relatively clear. Some poems even describe the process of feelings changing with the change of physical environment. Such as Liu Yong's "Nocturne":

The clouds are bleak, the boat is a leaf, and I left the river on impulse. Across thousands of valleys and rocks, across the depths of the stream, the raging waves gradually subsided, and the firewood wind blew. What's more, it is said that business travelers call each other, sails are high, snipes are painted widely, and they dance over Nanpu. Looking at sparkling wine, clusters of smoke villages and rows of frost trees. When the sun went down, the fisherman went home. The decline of lotus is scattered, and the decline of yang is hidden. On the shore in twos and threes, I washed the yarn and swam around the girls, avoiding pedestrians and smiling shyly.

Because of this, the embroidered pavilion is lightly thrown, and the waves are hard to stay. After the sigh, what is the basis about Ding Ning? Sadness leaves the bosom, and emptiness hates returning late in the year. With tears in my eyes, I wandered on the deep well road, and the rainbow broke far away.

The first word is to write about myself as "impulsive", enjoying the beautiful scenery of mountains and rivers, and I was very relaxed when I met smooth sailing and the boat passed by. However, when he moved to Nanpu, he saw the wine screen, the smoke village, the fishermen, the girls in the courtyard, and the quiet and peaceful living environment, which could not help but cause him to worry about the journey: "I miss the embroidered pavilion here, and Lang Ping is hard to stay." At this time, if you look at the scenery around you, it turns out that "the sound of the rainbow is far away and the sky is long", and it is also stained with sorrow. The word * * * has a 30% discount, and the level is very clear. The change of scenery causes the change of feelings, which in turn changes the color of the scenery, which can be said to have reached the point of "muddy meaning and environment"

Emotions are born with the environment, and they are born with the environment, but they often exist, but they are not very conscious. Once the eyes and ears are in contact with the outside world, they are like a pool of spring water, awakening the soul. Li Zan described this process in detail: Besides, people who are truly literate are not interested in writing at first. There are so many strange things in my chest, so many things in my throat that I want to vomit but dare not, and there are always so many things in my mouth that I want to say but I can't say it. Over time, it is overwhelming. Once you see the scene, you will be shocked; Take someone else's glass and water your own block; It has been strange to complain about the injustice in your heart for thousands of years. ("burning books? Miscellaneous Notes) If there is no emotional accumulation before touching the scene, there will be no emotional generation after touching the scene. The so-called situation is inseparable from daily life experience.

In short, the comprehensive and accurate expression of the relationship between environment and image should be: the environment is born in the image and transcends it. Image is the material to form artistic conception, and artistic conception is the sublimation after the combination of images. Image is like a tiny water drop, while artistic conception is a cloud floating in the sky. Clouds are made up of water droplets, but once the water droplets condense into clouds, there are all kinds of clouds. That erratic, unpredictable, colorful and changeable cloud is just like the artistic conception of poetry. I'm afraid this is an experience that everyone who is good at reading poetry and can talk with it will have.

be filled/suffused/brimming with

(1) Huang Kan's Notes on Wen Xin Diao Long: "The heart of this statement is connected with the outside world." Edited by Shanghai Editor of Zhonghua Book Company,1September, 962, 1st edition, page 9 1.

(2) [5] See "Tang Yin Gui Qian" Volume II. Classical literature publishing house, page 6, 1957 first edition.

⑶ The Secret Room on the Mirror is Wang Changling's work. The ninth article "Feeling Prosperous" says: "Those who feel prosperous must say something, looking at everything, such as feeling eyes and ears." Wang's Collating Books, China Social Sciences Press, 1983, p. 1 26.

(4) Article 16, "Scenery enters the realm of reason", says: "Poetry has always expressed meaning, but it is unclear and tasteless; It has always been said that the scenery is tasteless. Things must be both good and good. " On the tenth day of Thinking about Descending Sentences: "The first sentence is Italian, and the next sentence is a sad scene, just a meaningful detour." Ibid., pp. 132 and 129.

[6] According to the Chronicle of Mr. Jing 'an, this preface was written by Wang Guowei under the pseudonym of Fan.

(7) "See you later" should be "looking back suddenly". "Positive" should be "negative".

(8) See The Poet's Jade Chips, Volume 8, Eye of Poetry, 1st edition, Shanghai Ancient Books Publishing House, p. 173, 1959. Levies "Ming history? Biography of Li Mengyang: "During Hongzhi's reign, Li Dongyang, the Prime Minister, was in charge of writing and lived alone in the world. Meng Yang ridiculed his weakness and advocated that literature must be in the Qin and Han Dynasties and poetry must flourish in the Tang Dynasty. " Zhonghua Book Company points to the school-based page 7348. ⑽ He Jingming's On Poetry with Kong Li. Complete Works of Mr. He Dafu as a textbook, Volume 32.

⑾ "Southern History? Zhang Rongchuan: "A well-written cursive script is always beautiful. The emperor said,' the power to clear Shu is great, but I hate not having two kings.' A:' I hate that I don't have two kings, and I hate that I don't have two kings.' ""I often sigh:' I don't hate the ancients, but I hate them for not seeing me. ",Zhonghua Book Company point-based DiBaSanWu page.

[13] [13] Cihua on Earth, People's Literature Publishing House, 1960 April, 1st edition, p. 19 1 94.

[14] Tan Xian's "Tang Fu Thorn", People's Literature Publishing House, 1959 first edition, p. 19.

⒂ "Hui Feng Hua Ci" Volume 1, People's Literature Publishing House,1April 960, first edition, page 9.

[13] [13] Guest Liu Wenji (Volume 19) and four notes. The word "beat" in All Tang Wen is called "no" and the word "essence" is called "no".

Selected from Yuan Xingpei's Study of China's Poetry Art, 1st edition, June 1987, pp. 26-57.

Arranged on March 3, 20 16.