The application of imagination and association in character evaluation is sometimes very prominent, such as:
On Rong Zhi: "Ji Kang is seven feet eight inches long and has a unique charm. People who have seen it sigh: Mix Su Su, bright and clear. Or cloud: Su Su is like a scattered wind, high and Xu Yin. "
Shi Shuo Shang Pian Yu: "Li Yuanli, the eye of the world, is as proud as Jinsong." The same article quoted "Li Family Biography": "Uncle Zhu in Nanyang is as embarrassed as a pine and cypress."
What's the connection between a person's personality and Panasonic or pine and cypress? Walking under the pine wind or cypress is a feeling of some natural scenery and a kind of aesthetic feeling. This is purely an aesthetic association, which links the Shen Feng skeleton of the characters with the beauty of the natural scenery. Another example is:
"On the World and Appreciating the Reputation":' Pei Chu made the public expect Xiahou, like entering the Gallery Temple, and people respected themselves but did not respect them. One said: when you enter the ancestral temple, you will see the ritual vessels. Looking at the clock is like looking at the armory, but you see the halberd. See fu, is invincible. Seeing the mountains gather their sources is like climbing a mountain, which has far-reaching significance. "
In the same article, there are: "Yan Zhongbi, the singing crane in Jiu Hao, and the white horse in the empty valley. Gu Yanxian, eight-tone piano, five-color dragon seal. Zhang Weibo, cold wind, the light of the still night. Lu, Shi Long, is wandering, waiting for the hammer. "
When I see a person's physique, I will associate it with the solemn feeling of the musical instruments in Lang Temple, or the neatness of the weapons in the armory, or even the mysterious feeling of going up and down the mountain, the singing cranes in Jiu Hao and the white horses in the empty valley. This is not just a feeling, but close to the artistic conception. Here, it is not enough to rely solely on scientific accuracy and logical reasoning. Feeling, imagination and aesthetic association play an important role. Only with the help of imagination and aesthetic association can people's personality, Shen Feng's bone phase be linked with some beautiful realm of the outside world, which can be vividly displayed. Just as Surikov saw a pair of crows in the snow, it inspired his creation and reminded him of the artistic conception of Mrs. Morozova, and the important thing is aesthetic association. From this, we can see that China's traditional poetic theory has some similarities with the thinking form of character evaluation. "Writing is like a person". Taste poetry like a person.
As can be seen from the above, the theory of poetic style is obviously influenced by the evaluation of characters.
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The use of image in poetic theory is not a unique phenomenon, but also exists in prose stylistic theory. Some comments in Dian Lun Wen refer to both poetry and prose. The stylistic criticism of Wen Xin Diao Long mainly refers to prose. Liu Xie's eight basic styles: elegant, far-reaching, simple, obvious, complex, magnificent, novel and frivolous, refer to prose style. He summarized prose into eight basic styles, not the writer's creative personality. Moreover, his explanation of these eight basic styles, some focus on content, some focus on structure, and some focus on literary talent, rather than referring to the overall style of a writer's prose. There is also a development process to comment on the writer's style with the concept of image in prose. Some later comments have the characteristics of the concept of image in poetic theory. For example, Yao Nai commented on Gui Youguang's prose style: "The charm is sparse." Wu Dexuan commented on Gui Youguang's prose style: "high and light", Rubin: "clear and thin"; Comment on Wang's "Young and Young Don't Work Hard". He also gave an image explanation to the "young generation": "If you swim in rivers and lakes, you can't see the shore."
Not only in the theory of prose style, but also in the theory of Chinese painting style, there is also a phenomenon that the concept of image is often used to comment on the artist's artistic style, such as:
Dong Qichang talked about Ni Yunlin in Picturesque, calling it "ancient and natural".
Mo Shilong's evaluation of Zhao Danian in Picturesque is "Xiurun Tiancheng".
Jiang talked about Tang Yifen's landscape in The Story of Maureen: "The bone rhyme is light and easy". On Dong Bai: "The heart is complex, but the pen is clear."
Zhang Geng, a Qing Dynasty man, said that Zou Yigui was "elegant in ancient times" in "The Continuation of Painting Symbols".
Zhang Geng's Notes on Painting and Calligraphy is called Wang Yu. "In the ancient muddy water, Mei Lu is moist." Judging the artist's artistic style with the concept of visualization is obviously used to express the beauty and a beautiful feature existing in a painting. It is also vivid, full of aesthetic associations, and its meaning lacks clear and strict regulations.
This phenomenon also exists in calligraphy style theory. For example, "Don Yao Hui" volume three to five years:
When Emperor Taizong tasted the Biography of Wang Youjun in the History of Jin Dynasty, he said, "The Zhongshu Department is thick and dense, and the clouds are rolling and the clouds are smooth, so there is no intervening. ..... Although there is a different wind, it is ingenious, as thin as a dead tree in the east of the mountain. Although it is embarrassing not to bend and stretch, if it is subject to Yan's hunger, it is restrained and not indulgent. Xiao Ziyun, without her husband's spirit, walks like a worm in spring and moves like a snake in autumn. Lying on paper, sitting under Ji Xu's pen, with the beauty of this cloth, isn't it too famous? Therefore, it is perfect to study the elements of seals in detail, but Wang Yi is even less! Look at the slow work, the fine work, the beautiful cut, the smog knot, and the reconnection when the tip is broken; Phoenix's belly is curved and straight, and it is tired to play. When you look at it, you don't know its end, and you will try your best to chase it. That's all. "
Calligraphy is a more abstract art, but imagination and aesthetic association also play an important role in commenting on calligraphy style, and its thinking process is very similar to that of poetry style theory.
Not only in the theory of style, but also in the theory of creation, we can often clearly see the rich imagination, aesthetic association and even creative inspiration of theorists. Needless to say, there are well-known and famous examples of Lu Ji and Liu Xie's creation theory. Even in the theory of calligraphy creation, there are many examples of imagination flying and image following. Taking Sun Qianli's calligraphy creation in Tang Dynasty as an example;
Seeing the difference between the husband's hanging needle and the dew, the wonder of thunder and falling stones, the posture of flying beasts, the posture of snake dance, the trend of the peak landing on the shore, the shape of the face, or the collapse of the cloud, or the light of cicadas, the sound of spring, the peace of the mountain, as long as the horizon, falls among the stars, as wonderful as nature.
This phenomenon tells us that Chinese ancient literary theorists not only have the analysis, reasoning and judgment of theorists, but also often have rich imagination, aesthetic association and even creative inspiration when studying and discussing literary phenomena. Their way of thinking is more suitable for grasping the special laws of literature and art, and they are also better at revealing and expressing vividly. Of course, our ancient literary criticism sometimes shows a lack of scientific systematicness and rigor, and has its own weaknesses. But it does have its own fine traditions and characteristics. Starting from the reality of the inheritance of our literary theory criticism, it is indeed an arduous task to study these characteristics and the reasons for their formation and sum them up realistically, instead of covering them with several modern concepts.
Precautions:
(1) Chapter Seven of Dongpo Volume 35.
(2) "Dongpo set seven chapters" volume nine.
(3) Jia Langxian's Collection of the Yangtze River Volume II.
(4) quoted from Huang Che's Gong Yan Xi Shi Hua.
(5) "talk about bed at night."
(6) the rhyme of autumn.
(7) The first volume of Tiaoxi Fishing in Conghua is 19.
(8) Han Sui Tang Shi Hua.
(9) Poetry in seclusion.
(10) The Poet's Jade Chips (Volume 15) quoted Liu Yi's Poetry Talk, but this article was not included in this edition of Liu Yishi's Poetry Talk.
(1 1) The general mirror of poetry.
(12) Poetry Speculation.
(13) Wen Xin Diao Long, Bian Sao, Cai Lue.
(14) Shi Shuo Xin Yu Rong Zhi film.