It is said that a poet can choose which literary way to die: "Death is an art, and the death of a poet is actually equal to the rebirth of a poet" (Sylvia Plath, USA). "On the red wall, throw the gloomy light into the high sky. On that wild and bright black continent, the poet sought to collect the flowers sown by the perfect god under the starlight. Poet, living elsewhere, in the desert ocean, crisscrossed with his boundless physical and spiritual adventures. The ghost of the flood has just dissipated. " (France, Artie Rambo, "Life is a poem-living elsewhere"). I suspect that Rambo's poem is about the poet's death-only poetry can make death so charming, as if it were an adventure from body to spirit.
If so, how elegant should Li Bai's death be? For example, on a moonlit autumn night, I walked alone to the deep and boundless light like a firefly. ...
Of course, I know how naive it is to have such an idea. However, I did find a statement that can be corroborated in the voluminous literature: "Flowers are spent on Zhuji cattle, drinking to catch the moon, and sinking into the water" (Yuan Xinwen's biography of Tang Caizi Li Bai). Although the statement of the new study was taken from an unreliable note by Hong Mai in Song Dynasty, personally, I would rather believe this ending.
Surprisingly, serious scholars insist that Li Bai's death has nothing to do with poetry!
They said that Li Bai died and died of illness.
The death of Li Bai, a 62-year-old man as a corpse, is no different from the deaths of Zhang San, Li Si and Wang Mazi, neighbors of Dangtu, Anhui.
This year is the first year of Tang Daizong Baoying (762).
Regarding the death of Li Bai, the Chronicle of Li Bai describes it this way: "If you want to go home, you will have mental illness. On his deathbed, he entrusted his life to Li. He died in Dangtu in November, and his masterpiece "The Last Song". " Sketch technique, Liao Liao's several strokes, contains an amazing amount of information-he wants to do or has done three important things:
First, he still wants to travel far, but his body can't support his spirit.
Secondly, he commissioned his uncle Li to publish his poems. This is probably the first time that Li Bai has a desire to collect more than 990 poems. Whether the action before death can bring a sensational effect is not his consideration. Clouds float over the eyes, who can be 100% as light as water? This, however, made me very ashamed when I learned it. Li Bai was famous as early as the present dynasty. "There is no fixed volume in the anthology, but every family has it" (Li Junyuan, a bachelor of Hanlin in Tang Dynasty). I don't need any hype, but I can be so popular. I'm afraid there hasn't been a second person for more than a thousand years.
Third, write the last song. Interesting details. There may be many ways to die, but it boils down to death and waiting for death. Towards death, I saw the essence of death from my faith, and I felt like death. After all, such calm is rare. More people, before dying, or just doing one thing, lie in bed, eat and drink, and wait for death. Back to the previous topic, whether the poet can choose to die. Li Bai is a poet. Life is important. Whoever thinks it is a sin to live one more day in the world is deceiving himself. Poets exist in poetry. Without poetry, the meaning of living will be discounted. You can't die in vain, just write poetry. "Peng Fei xi strike eight, zhongtian xi. The extra wind can always inspire me, and I can swim in the east, hanging on my left sleeve. Later generations spread this, who will cry when Zhong Ni dies? " Strange imagination, surging sustenance, sad sigh. How did you die like this? Is it a literary fan flowing out of your bones? !
/kloc-More than 0/000 years later, a poet restored the "literary model" of the poet Li Bai's death to us in another way: "A pair of dragon candles have been burned to two bare sticks, but they borrowed residual fat from the thick tears that have flowed out, dragging the dying fire that is about to burst, and it is ineffective at the end of the night. Cups and plates are in a mess, pots and pans fall asleep on the ground, and drunken guests are scattered like crows in their nests; Only Li Qinglian, who was the most drunk, drunk as mud, with a tenon-like skeleton, still flopped down on the bottom chair of the garden, mumbling something, not knowing what to say. ..... "(Wen Yiduo's death Li Bai) Wen Yiduo's death Li Bai is a bit like mutual appreciation between poets. 1000 years of time and space, squeezed into oblique breathing, burning private emotions. In other words, the poet uses his eyes as a mirror to scan and zoom freely, trying to transcend the barriers of time and space and find another pair of giant eyes. Wen Yiduo is looking for his other half. Li Bai's drunkenness is lying in the dark corner of the Republic of China at the moment. When the intersection of expectations appears, the time-space scale of 1000 years instantly fits the night and the depth. The world is also dominated by an emotion called poetry.
Long focal length. Distant planetesimals. There was a flash in the middle, such as electricity and torch. Macro close-up, the grand tragedy finally stopped after experiencing multiple conflicts. The final narrative slowly unfolds and fades away: the glimmer of candlelight. Flexible. A pile of mud. Flexible. Lotus opens a bottomless night. Flexible. At both ends of time and space, one side is chanting and the other side is mumbling. Flexible and boundless.
2
Li Bai, a poet in the prosperous Tang Dynasty, died.
Tang poetry will not die, and Li Bai has not been forgotten by time.
For more than 1000 years, as a scarce metaphysical existence, Li Bai's poetic meaning not only aroused people's sighs, but also illuminated the way forward and the distance for us.
The most direct way to discuss Li Bai's poetic meaning is to read his poems. He commissioned his uncle Li to compile ten lost volumes of Caotang Collection. The existing 30-volume Collected Works of Li Taibai is a supplement to Song Qiu Min in the Northern Song Dynasty. Because it is not the original appearance that Li Bai dealt with in the past, regret is inevitable. Fortunately, with the help of imagination, we can walk into those real place names and names without doubting the warmth of poetry inexplicably.
Are there any works that really preserve Li Bai's body temperature?
There really is. This baby is called the balcony post. Shangjie Iron was not included in any literature of Tang and Song Dynasties, but no one doubted its aristocratic origin. After dozens of changes of hands in the Song, Yuan, Ming and Qing Dynasties, it was in the hands of Zhang Boju, a collector of the Republic of China. Later, Zhang gave it to * * *, and * * * donated it to the Forbidden City.
A piece of weak and coarse-grained earthenware paper was once concerned by the poet Li Bai, which is the luck of paper. I don't know whether the poet's first poem was born at the fingertip or the pen tip, or in Mo Chi or on paper. What is certain is that when the warmth of the poet's skin is transferred to the paper, the paper can't help but be moved. I couldn't help it, and later followers, who rubbed countless times, conveyed the initial warmth-from Li Bai, Song Huizong, Zhao, Jia Sidao, Zhang Yan, Ouyang Xuan, Xiang, Liang Qingbiao, An Qi, Gan Long, Zhang Boju, * * * ... The blood flow was continuous and tenacious; And the breathing and heartbeat close at hand, vigorous and powerful ... is there a sudden agitation, and I want to cry when I see my distant relatives and suppress my panic? ! I have to say that this is a miracle of civilization.
Shangjietie is the only poem that can have a close dialogue with Li Bai himself. Nothing is closer to the truth and more intuitive. According to textual research, in the summer and autumn of Tianbao three years (744), Li Bai, Gao Shi and Du Fu boarded the King of Wu, stayed in the balcony palace, and wrote this poem, including inscriptions, after seeing the murals painted by Taoist teacher Sima Cheng Town, which was 25 words in total, but it was enough. From the literary point of view, the improvisation of these four words has gone beyond the general artistic conception, more like the author's consistent monologue: "Mountains and waters are long, birds of a feather flock together. Unless you have an old pen, you can be strong and poor. " Maybe you will say, it's like a dragon without a tail, and there are fast-flowing and unpredictable emotions, which are too like a gobbledygook to keep up with the rhythm. If you can't keep up, that's right. People are the parties, and we are just spectators.
From the calligraphy point of view, this is a standard weed in the Tang Dynasty. Because it was written by Li Bai, people are like their poems, and poems are like their books, or it is more appropriate to call Li Bai's crazy grass. There have been some reliable statements about Li Bai's achievements in calligraphy. The tombstone of the scene of the Hanlin bachelor: "Hanlin word is noble and clean." Hui Zong's "Xuanhe Pu Shu": "White taste is a running script, painting and calligraphy You Ya." The Song Dynasty poet Huang Tingjian's Collection of the Valley (Volume 26) titled Li Bai's Poems after Grass: "Li Bai is in Kaiyuan and Tianbao, but the energy book is not passed down. This grass is no less than the ancients. " My humble opinion on Linchi by Zhou Xinglian of A Qing: "Fresh and beautiful, breathing clear, taking off dust, floating forever." These evaluations are already very high.
Li Bai writes poems with weeds. What is his spiritual temperament? The Song Dynasty poet Liang Kai's "Li Yin Tu" (collected by Matsuhei, Japan, now in the Tokyo Cultural Property Protection Committee) provided us with the earliest image reference. There are only twenty strokes of paper and ink in total, which is concise enough and consistent with Li Bai's "Shangjietie". Some literary critics don't understand and question whether this painting is a bit amateurish by replacing descriptive brushwork with fast-flowing long lines (it is said that Li Bai likes wearing robes very much). My understanding is just the opposite. External things like clothing lines have nothing to do with the poet's temperament. Moreover, the standard of theme and form coordinated by the painter, and the maverick, muddy and indomitable will of the object understood by the painter are far more difficult and rich than what we see on the surface.
Every time I read Li Baixing's Yin Tu, a question pops up in my mind: Which poem was written by Taibai?
Some people say, "into the wine." Some people also say "question and answer in the mountains" and "quiet night thinking". More people say, looking at Lushan Waterfall, watching Tianmen Mountain and Tianmu Mountain rise in their dreams. ...
And what I think is like "single as a flower, cloud-centered" (Sauvignon Blanc I).
If there is beauty in a painting, there is no flower. Some are lonely songs, and there are 100 1 version of Li Bai's poems.
Li Bai's poems have always been a popular painting theme. Unfortunately, there were not many paintings handed down from the Song and Yuan Dynasties. However, the poems of Li Bai understood by painters in Ming and Qing Dynasties seem to be similar to the "drunkenness" of the object. Tang Yin, Gaiqi, Sue, etc. There are poems of Taibai Drunk, and Su's famous "Taibai Drunk Picture" (now in Shanghai Museum) does not seem to surpass the realistic interest of the characters, although the performance of the characters is extremely delicate and vivid. As for Li Bai sketched by Shangguan Zhou and Ye in the Qing Dynasty, he is more like a literati "door god" (if there is a literati "door god"), and his character is just rigid. Even the glass in his hand is so secular that only props are left. There are many disappointments in reality. "Drunkenness" may be the true nature and normality of a painter. It's inconvenient to say that it's cheapest to take Li Bai as a witness. Modern masters Fu Baoshi and Qi Baishi also wrote similar poems. Fu Baoshi's masterpiece The Portrait of Li Taibai (now in Nanjing Museum) contains three main elements: poet, wine set and blooming plum or peach. Wine connects the painter's intuition and object. Unknown and prickly red flowers, with overlapping peaks, clearly indicate some kind of ending, as if it were the last melancholy. Qi Baishi's masterpiece "Into the Wine", the poet's dream, is also the drowsiness of the hip flask, which is also skewed and comfortable. The street on paper is really interesting. Look carefully, don't have the heart to disturb, and then you can cherish it. You don't have to make a clear distinction between Li Bai and a painter.
In contrast, the masterpieces of landscape poetry and painting masters try to cross double obstacles-the dialogue between Li Bai and landscape, the dialogue between painters and Li Bai, and the various ideas they poured into, which are intuitive and slow, slow and firm, as firm as a brand.
The steadfastness of Shi Tao, Zhang Daqian and Li Keran has maintained consistent challenges and difficulties.
Zhang Daqian's "Questions and Answers in the Mountains" (Li Ka-shing's private collection) and Li Keran's "Climbing Mount Tianmu in a Dream" (20 13 auction in Chongzheng, Guangdong) reflect the different orientations of top landscape painters in China to deal with contradictions. Advocating the opposition, coordination and unity of ink painting or brushwork directly gave birth to Zhang Daqian's ink-splashing landscape and Li Keran's pen-and-ink landscape. At the same time, both of them are unwilling to give up light and shadow and let the picture flow, which has nourished my life. Poetic, with room for aftertaste.
Shi Tao's "Lushan Waterfall Map" has reached a high degree of grandeur and universality (Illustrated History of China Painting by Gao Juhan, USA). Of course, it does not only refer to the achievements of landscape painting itself. The painter's grasp of landscape reality is no longer the trees, flowing water, light dance and the structure, texture and characteristics of mountains and rivers, but the sum total of personal daily experience projected on foreign objects. What I don't understand is that the lyrical subject or object in the painting, whether the painter himself or Li Bai, is so low-key and insignificant. Perhaps, in front of the majestic and independent nature, in front of the profound and vast time and space, the individual body is insignificant, because you have become swaying vegetation, dancing water, transpiration clouds and towering rocks. ...
Vegetation. Running water. Clouds. Rock and roll. Their self-sufficient daily life, with time as the axis, tells us some kind of statement about life and the universe day by day, talking to themselves, which is also touching.
Of course, time is not blank. The power of revision is amazing. Time is like running water. Running water does not rot. For example, Shi Tao is to things, Zhang Daqian and Li Keran are to things, means and interest, and all the classic annotations around Lushan Mountain landscape are the disdain and eternity of Li Bai's poetry, which are more pleasant expressions in the form of ink and wash.
The difference is that the subsequent wiping and smearing filtered out the decay and retained the faith-the loneliness and excitement of those years.
three
Li Bai is destined to be lonely. "Sauvignon Blanc, in Chang 'an. Autumn insects are singing by the golden well, and the frost is shining on my mat like a small mirror. High light flashing; My desire is getting deeper and deeper. I lift the curtain, sigh and stare at the moon. Lonely as a flower, from the center of the cloud ... "(Sauvignon Blanc, Part I). Loneliness, because beauty is always in imagination, outside of missing.
Li Bai's beauty is not what some friends think. We read the same image in Qu Yuan's poems. In the eyes of aestheticians, the symbol worship insisted by beautiful women or poets has some idealism color. You are probably right when you say it is the light and shadow of life.
Li Bai's strong self-confidence stems from his inner worship, which can also be said to be self-worship. Li Bai's self-worship even exceeds our worship of him. And his ideal, or "halal". "Since Jian 'an came, it's not beautiful enough. Sundae restore ancient times, and clothes are expensive and halal "("Antique "). "Halal" is not only the standard of poetry, but also Li Bai's life ambition and pursuit. Clear is clean, true is true, and today's popular words are about sunshine, clear is kind, words and deeds are consistent, and spotless. But it is obviously illusory and utopian. There are so many accidents in this world that we need to compromise after paying, protect ourselves after compromising, or settle for the second best. Li Bai did not become a "majority"! Because it is too ideal to correspond to each other in this world. It happened that I was too white to be true and wanted to restore my ideals in this world. The contradiction between his "too ideal" and "too human nature" is irreconcilable, which doomed loneliness and pain-the great and eternal melancholy beauty in the world was born. Because Li Bai's loneliness and pain are indispensable "mistakes"! In the circle of friends, the final intersection is so narrow that only Du Fu, Meng Haoran, Gao Shi, Ren Hua, Li, etc. are few and far between. Although his fame is great, those fans who appreciate him are either waiting anxiously thousands of miles away, or waiting and asking in the future after a thousand years. Is the legendary eternal melancholy derived from the achievements of Confucianism? ! Li Bai left a poetic symbol and an unprecedented guess of "beauty is like a flower" for our puzzled watch and questioning for a hundred years.
Some time ago, I visited the Dunhuang exhibition in Sichuan, and stopped to feel at a flower in the heyday of the Tang Dynasty-a group of noble flowers painted or carved with tricolor, portrait bricks, murals and statues.
I stopped, because the flower is lonely, subtle, simple and generous, which combines the beauty of lotus, plum blossom, peony and chrysanthemum. Some people say that this kind of flower is called "Baoxiang", which is infinitely beautiful in the minds of China literati, pinning their faith in Confucianism, Buddhism and Taoism.
I was very touched, because I suddenly thought of a very personal idea. Will this flower be the beauty that Li Bai has been looking for? If there is such a beautiful woman, I think Baoxiang is the most up to standard-although beautiful, it is extraordinary and not suitable for the prosperity and diversity of this world.
Therefore, Li Bai has a deep feeling for Duyun.
Therefore, we have a deep feeling for Li Bai alone.
Yes, that's it-as a metaphysical symbol worship, it is the beauty of Li Bai, Li Bai's flowers, and the same beauty as flowers. Open in the clouds, open in the distance. Tangible clutch, intangible joys and sorrows, lingering piety, loneliness and melancholy.
Always on the road.