Zhang Dai's theory of descendants is that "people are not addicted and can't make friends with them, so they are ruthless." People are flawless, so they can't communicate, so they have no true qi. "("Dream together, stop addiction ") This is similar to what Yuan Hongdao said:" If the world has quirks and it is not easy for life, it is a celebrity. "("and Pan Jingsheng book ") exactly the same. Addicted and flawed, affectionate and full of true spirit, distinctive personality, proud of the world, this is the outstanding performance of celebrities in the late Ming Dynasty who are wild and uninhibited and play with things. Zhang Dai's epitaph for himself is full of all kinds of beautiful things, namely addiction and defects, and the people he preaches are also full of addiction and defects. In the biography of five strangers, the author wrote:
Yu Jia's obsession with Ruiyang is money, Zhang's obsession with wine, Zi Yuan's obsession with gas, his obsession with civil engineering, and Bai Ning's obsession with book history. One of them is affectionate, the small one is flawed, and the big one is addicted. Five people have no intention of spreading it. If this is the negative addiction of five people, it will cover those who have to spread it.
Others, such as Qi Zhixiang, "like painting and calligraphy, cuju, drums and cymbals, ghost play and pear garden." ("Tao An Meng Ji Qi Zhi Xiang Pi") Wang Siren made a joke, so that "Shangguan administration, accepting treacherous court officials and writing poems are ridiculous." (Biography of Mr. Wang Xie 'an) Lu Yungu is a neat freak: "I hate people who smoke, drink and pick flowers, especially those who spit in filthy places. I dare not ask for it when I smell the noise of phlegm. I want to learn from Ni Yu and kill the phoenix tree. " (Biography of Lu Yungu) It is precisely because he can grasp the master's quirks and flaws and focus on portraying them, so the characters in his works are vivid and lifelike.
Zhang Dai's descendants wrote history and tried to be true. He said to himself, "pen and ink are solitary and different, showing their spirit." Although it is a fire in Xianyang in March, it cannot be burned. " ("Postscript Notes on Zhang Zisheng's Third Trial") "I don't like writing tomb-robbing prose in my life. If there is an author, I will be cool. " Therefore, it is not satisfactory, and repeated thinking has failed. "("Zhou Epitaph ")" Qin Tong is quiet and not self-reliant, so I wrote it to describe it, and I saw it myself. If you dare to describe it, it is a small shape. " ("With Li Yanweng") He thinks that "there was a Ming Dynasty, but the national history was lost, the family history was lost, and unofficial history was lost" ("Preface to Chambers"), in short, it is distorted. And he wrote his own history, "everything must be realistic and the words must be rigorous", "a little unfinished, not a book." (ditto) The author takes portrait as his aesthetic pursuit of historical biography, and strives to "get a word, then the whole biography is vivid; If you get something, the whole history will be fresh in your mind. Su Zizhan looked at herself in the light and saw her cheek shadow, which made people just turn a blind eye and don't make eyebrows. Everyone laughs at it and knows it as Dongpo. Gai Chuanshen is in Adur. " Under the guidance of such aesthetic pursuit and creative principles, Zhang Dai wrote in Wang Lang? Many vivid characters have been created in Selected Works and Memories of Dreams, including officials and scholars, excellent craftsmen, doctors and monks, prostitutes and women of all colors. , constitute all social people. Whether it is a biography or a diary, once the author describes it, the characters will be vivid and ready to move. For example, in Yangzhou Thin Horse, concubine Yu is like a thin horse: it is dawn, and she is urged to go out. The matchmaker comes first, take him away first. The rest follow, the others follow. Go to the thin horse's house and sit quietly for tea. The maid helped the thin horse out, said "Miss, pay homage" and bowed down. Said, "Girl, go up. "Go ahead. Say, "Girl, turn around. "Turn around and stand up. Say, "Miss, let me borrow your hand. "Do your best, your hand will come out, your arm will come out, and your skin will come out. Say and look at "xianggong", miss. "Suddenly, I stole my eyes and looked out." How old is this girl? "Say how old you are. Say: "Girl, go again." Pull her skirt with your hands, toes pointing out. However, there is a way to look at your toes: whoever goes out with the skirt first will be big; If the skirt is tied high, people will not come out, and those whose toes come out first will be small. Say, "Please come back, girl. "A person in, a person out, there must be five or six people, as salty.
The author used simple line drawing and skillfully used the matchmaker's instructions to repeat the movements of the thin horse, which made the puppet show directed by this aunt come alive. It objectively and profoundly reveals the tragic fate of these girls who are almost the same as animals (thin horses), indicating the author's aversion to this bad habit. The author is also good at carefully selecting details, rendering atmosphere and vividly depicting characters. For example, in Liu Jingting's storytelling, Liu Jingting said that Song Wu of Jingyanggang killed the tiger: its description was slightly unscathed, but it was found clean and not nagging. It sounds like a giant bell. When it comes to the tibia joint, he swore and shouted, threatening to collapse the house. When Song Wu went to the store to sell wine, there was no one in the store, and there was a roar when the ground broke. The empty jar in the shop is empty, and there is a sound in the jar. The colors in leisure are so detailed.
Such a description can really be described as "coloring in leisure" and "getting into it unscathed". The characters in his works are numerous and varied, all of them are lifelike and lifelike. For example, Yu Ruoshui is lofty, willing to be poor, and stubborn to avoid the world; The goodness of Qin's life, taking pleasure in the joy of others; Shen's chivalrous intestines are noble and pure; Betty Wong was born lonely; Zhang's Bian is irritable, and they are all ready to come out. Therefore, Chen Jiru called it an "orderly figure" and won the soul of Longmen. Canon, accompanied by Linchuan lonely rhyme, green pen bottom. Praise is strange, wind Ting Yun, dragon snake tiger leopard, realized under the wrist. "("An Introduction to Ancient and Modern Righteousness and Lies ") Zhang Dai wrote history for the article, and used the word" cheap "very heavily. He asked the author "not to be stingy with elimination, not to be arrogant." "Eagle-eyed timid. If you have a discerning eye, you are smart to pick it up; If the hand is hot, it is easy to cut; If you are careful, you are good at separation; If you are brave, you can stay. " (Preface to Shu Lian) advocates not only "taking the small from the big", but also "unifying the big with the small". "(ditto) from his sketches can see Wan Li at close range. The so-called "a grain of millet hides the world, and half a liter cooks mountains and rivers." For example, the author of Wang Hu Ting Xue repeatedly used several "one" words and creatively chose several quantifiers to express smallness, such as "mark", "dot", "mustard" and "valley", which not only made the choice of words novel, but also used tiny words to set off the greatness of heaven and earth. The full text is less than 200 words, but it can write the ethereal scenery of lakes and mountains and convey the charm of Chinese calligraphy and snow makeup. Another example is West Lake in July and a half. In less than 700 words, Zhang Dai focuses on the secular beings in the moonlight and lakes, as well as all kinds of people who look at the moon. By comparing with each other, they depicted different places, ways and scenes of enjoying the moon, revealed their different motives of enjoying the moon, and satirized the rich and the rich who were vulgar but insisted on being arty. The author also successfully used several groups of comparisons: usually avoiding the moon like hatred, comparing with the queue at dusk, eager for the moon to be a "good name"; The noise before the second watch reflects the deeper elegance and tranquility after midnight; With everyone's instantaneous prosperity, we left in a hurry, setting off our high prosperity and strong intention. There are points of beauty and ugliness, and elegance and vulgarity are self-evident. The scenes and characters drawn can be extremely clumsy and vivid. No wonder Qi Biaojia praised his "beauty of stippling". Where is the key? If Yuzi wants to say one or two hundred words, Zongzi can count the crosses and have fun. When it comes to poverty, the pen is like a thousand words. " This kind of biography, narrative and history won the short story Samadha.
Zhang Dai is rich in products and obsessed with landscape gardens. This is just a way for celebrities in the late Ming Dynasty to flaunt lofty ideals and avoid vulgarity. Regardless of landscape or garden, Zhang Dai advocates quietness, remoteness, naturalness and simplicity. This aesthetic interest and pursuit are reflected in his sketches. He thinks that "West Lake is really a beautiful place in the south of the Yangtze River. People who enter it, their eyes are tired of beauty, and their ears are tired of singing. If you want to find deep streams and deep valleys, you can avoid the world, such as gathering water in Taoyuan, and Xixi is the heaviest. " Because of the "deer and deer dust" at the beginning, it is not called to hide, but "there is still a grudge." (West Lake Dream Xixi) He praised Yun Zhi Pavilion as "a simple pavilion". I built this pavilion, without adding rafters or tiles outside, without doors or sills inside. This is intentional. "("Tao Anmeng Yi Yunzhi Pavilion ") What he appreciates is that there are" ancient trees on the cliff, higher than the forest surface "and" branches and valleys swirl, and the stone thumb edges are separated from the water. The pavilion is not awkward, not awkward; There is no building, no platform, and the meaning is endless. " Later, Uncle Martial Arts returned to Guangling, a belly garden pavilion, and tried it here. Taiwan, pavilion, corridor, plank road. On the side of the building, it is also a hall and pavilion, surrounded by plum blossoms. " Zhang Dai disagreed with these self-defeating practices, thinking that "it will hurt the situation, really hurt and crowd out, with the intention of being an enemy of the local ridge." ("Tao Anmeng left Hua Xian Ge") In "Tao An Meng Fanyi Changbai", he thinks that "the land must have a history, and the name must be ancient, which is the master's knowledge. But peach is a stream, plum is an island, and bamboo is a forest. You can call yourself home without relying on others. " A pavilion, a mountain and a valley, layout and naming should not only reflect the master's elegant knowledge, but also reflect his artistic personality and interest. This is the aesthetic interest pursued by Zhang Dai's landscape sketches and the standard of his poetry sketches.
Zhang Daipin's poetic art takes ice and snow as metaphor and advocates anger and true qi. He said: "Gavin's ice and snow are in the bones, in God." "Poetry, the blood, limbs waste. If you don't bathe in ice and snow, your poems will be poor. " (preface to a volume of ice and snow) "Playing the piano and flute, singing and acting, drawing and writing, and writing poems are all used to get angry. If you are angry, you will be clear; People who lose this anger will eventually become scum. " He commented on poetry and advocated emptiness. It is believed that the spirit of ice and snow is "inexhaustible and deeper than poetry." There are only this number of poems in the world, which are in the hands of experts, so they are ethereal; When an ordinary person falls, it will stink. "(preface to a volume of ice and snow)" Therefore, poetry is ethereal and wonderful. " However, the ethereal spirit he advocates is not "the one who insists on being empty", but the root of "taking reality as ethereal": "the one who is solid in the world is the father of ethereal spirit. Therefore, if the wood is strong, the flame will penetrate; If it is solid, it will be very loud. " Therefore, he also advocates truth and closeness: "Eating dragon meat means that the taste of eating pork is not true;" "The appearance of ghosts and gods means that dogs and horses are similar in shape." This aesthetic pursuit is embodied in his creative practice, which makes his essays "have an ethereal and crystal-clear spirit, looking for his pen and ink, but nothing." (Qi Zhijia's West Lake Dream) This is a realm that is both secular and elegant, real and ethereal.
Zhang Dai believes that the creation of poetry, calligraphy and painting cannot be intentional, nor can it be done deliberately, and it is forced to be good: "Painting with poetry cannot be good; Picturesque poetry is poetry, and poetry will be poor. " "From this point of view, the painting of poetry is not solid, but the mountains and valleys in the chest are not out of reach." ("With Bao") People who want to be good in the world may not be good; The ancient wonderful books and paintings were all inadvertently put pen to paper and suddenly obtained. For example, the Lanting Collection and Yan's Competing for Seats are both drafts. Although it was copied again and again, it still failed to reach the original version. "("Five Postscripts Tease buddhist nun ") Instead, it should be" When the melon is ripe, it will follow. " (Inscription on Butterfly Temple) On the other hand, he criticized his brother Zhang's Selected Poems of Ming Dynasty for "no fixed mind, no fixed eyes and no fixed comments." It goes without saying that "abandoning Zhong You and pushing Wang Li away" (With Yi Rudi) has its own characteristics. His creation can form his own style on the basis of extensive study and reference from others. He believes: "The ancients recorded landscape hand, too much in Li Daoyuan, followed by Liu Zihou, and Yuan Zhonglang in modern times." ("Two Chapters of Lushan Mountain") He can learn from the strengths of kings, so his landscape sketch says, "The pen is simple, and his travel notes include Li Daoyuan's Boao and Liu Tongren's spicy life, Yuan Zhonglang's Li Xi and Wang Jizhong's humor." (Qi Zhijia's Dream of the West Lake) Of course, as mentioned above, Zhang Dai's landscape sketches and Liu Zongyuan's grievances are all things that Qi Baishi never said.
He once boasted quite proudly: "I have been stubborn all my life, a small scarf and a small sleeve. At first glance, I know that I am a Taoan, and I have not become a famous person. Why should I stick to the Sioux?" This is not only his personality, but also the artistic personality of his sketch-free and easy. His sketches are not only learned by teachers, but also can "take off the sweet and vulgar, take off the rope." ("Postscript Enlightening Wisdom and Drawing Pictures") Make sure that the text has no definite method, no definite frame, strange sentence patterns, changeable words and strive for novelty. It says "no luxury, no carving." Meaning follows the scene, and the pen follows the eye. Such as idle flowers and birds, unexpected clouds, there is really a wonderful thing that people can't know, but only they know. As far as style is concerned, his sketches are as free and easy as Xu Wei, as natural and meaningful as Zhong Lang, as witty and witty as thinking, and on the basis of learning from others, they can form their own style: "Although they involve games, they are fascinating, argumentative and unrestrained, which dazzles readers." (Dream of Wu Memories) That's why Zhang Dai became a master of essays in the late Ming Dynasty.