Listen to this articlefā xiānnónɡ yú jiǎnɡǔ, jì zhìwèi yú dànbó 发纤秾于简古，寄至味于淡泊
Intricacy Within Plainness, and Intensity Beneath Quietude
在质朴高古中蕴含着细腻丰厚，在平静雅淡中蕴含着无穷的韵味。这是北宋文学家苏轼（1037—1101）用来评价唐代诗人韦应物（737？—791）、柳宗元（773—819）诗歌风格的话。这种以质朴、淡泊为至高境界的理念，既代表了苏轼的诗学观，也代表了中国古代的重要美学观念。老子在《道德经》中提出“大音希声，大象无形”，推崇简淡自然之美，是苏轼美学观念的源头。
“Richness dwells in vintage simplicity and nuanced profundity in serene composure.” This is how the Northern Song writer Su Shi (1037-1101) praised the poetic style of Wei Yingwu (737?-791) and Liu Zongyuan (773-819). Such insistence on the supremacy of simplicity and composure reflects Su Shi’s view about poetry and is an important aesthetic conception of ancient China. “Great music is soundless, and great image is hard to trace,” Laozi wrote in his Dao De Jing. This shows Laozi’s high esteem for simple and natural beauty, which is the source of Su Shi’s aesthetic view.
引例 Citation：
◎李、杜之后，诗人继作，虽间有远韵，而才不逮意，独韦应物、柳宗元发纤秾于简古，寄至味于淡泊，非余子所及也。（苏轼《书黄子思诗集后》）
（李白、杜甫之后，诗人相继涌现，虽然中间偶尔也出现具有前人韵味的作品，但是诗人的才华达不到表达相应内容的高度。只有韦应物、柳宗元，在质朴高古中蕴含着细腻丰厚，在平静雅淡中蕴含着无穷的韵味，是其他人所远远不及的。）
Although there are other poets after Li Bai and Du Fu, they were hardly able to reach a height required to express the content of their poems. Few had the ingenious quality of their poetic predecessors. Only Wei Yingwu and Liu Zongyuan far exceeded others, because in their poetry, rich delicacy dwells in vintage simplicity and nuanced profundity in serene composure. (Su Shi: Postscript to Selected Poems of Huang Zisi)
