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古希腊诗人西摩尼德斯曾说：“画是无声的诗，诗是有声的画。”这话用来评价王维的这首《栾家濑》实在是再恰切不过的了——此诗中不仅氤氲着恬静淡雅的画面美、流淌着空灵清幽的旋律美，文字的背后还洋溢着精妙的含蓄美，让人读来，直如欣赏一首精妙的音乐一般。
青山不墨千秋画
古代能诗善画者不少，独王维“文章冠世，画绝古今”（宋韩拙《山水纯全集》），所以与之同时代的殷璠说他“诗词秀调雅，意新理惬，在泉为珠，着笔成绘”（《河岳英灵集》）也谈及了他的诗富有画意。的确，他能以绘画之理通于诗。他诗中的画境、画中的诗境，构成了他艺术观照中独特的审美意趣，诗中多体现的是清灵俊雅的画境，极具气韵生动之美，从中表现出了对生命的朴素的爱怜。这首小诗就勾勒出了这么一副流动的画面：
细雨如烟，仿佛一挂远天的门帘；秋风含情，纤指不时地轻轻一掀。那涨水的溪谷便也有时闪出一汪幽潭，有时闪出一处浅濑。石上的流水明净如绢，轻快地流动着，还不时地打着漩，尤其在曲折处，还不时地有洁白的浪花飞溅，以至于那潜心专注于觅食的白鹭误以为是飞来的石子而吓得“扑棱”一声展开翅膀，飞成一朵生动的白莲，当它明白过来时，便又安然地把脚静静地探入溪间，于是，这里的一切又复归于曾经的静谧、悠然……
其实，文字的背后还有一幅虚写的画面：面对这一切，诗人声色不动，只是默默地注视眼前的一切，心灵一会儿随溅溅溪水而轻快地流动，一会儿随着白鹭而飞旋……此时此刻，诗人简直早已幻化成了一溪秋水、一缕秋雨、一只白鹭，正以自然神韵、勃勃生机展示自己着的风姿，引动我们心灵的翅膀，翻飞在自然诗海的天空。实有庄周梦蝶之妙，早已不知了何为王维、何为自然……这里，不复再有人与物的界限，诗人不言志，也不抒情；不言我，也不托物。诗人在这样静默自然的观照中见真见性，滤去尘杂，还归于对生命个体本质和本相的最直接了解和领会。难怪明代顾璘所以对此评价说：“此景常在，人多不观，唯幽人识得。”
所以有此境者，是因为“无尘垢”，那玲珑的秋雨已荡尽了空中的尘埃，事实上也是因为作者的心中没有尘埃，没有杂念，是以能够有这么淡雅的水墨山水画呈现在读者的面前，当然，也在于作者行文时注意了：
讲究画图结构：诗中罗列了秋雨、石溜、跳波、白鹭等事物，看上去似乎有点散乱无章，但在第四句中着一“惊”字，画面顿时灵动起来了，也就富有了气韵和生气，从而形成了一幅以“栾家濑”为画布的生动而和谐的完美画面。
讲究虚实并用：乍一看，诗中除了一个单调的“白”字外便再也没有一个色彩词，其实，这正是诗人的巧妙之处，因为诗里物象暗中却含有色彩，比如雨中浅浅的秋溪当属暗绿、溪中石当属青黛、溅飞的浪花当属淡白、觅食的鹭鸶当属洁白。单从色彩的角度来讲，“白”是实写，其余皆虚写，在这样虚实的交融中，暗色调与明色调的场景统摄在那细细的秋雨里，那该是一种怎样的迷蒙动人的情景呀。
讲究动静结合：王维极善于在诗中营造流动的画面，但其画面最突出的特点便是以动托静，利用动态来传达一种静态美，此诗前三句，事实上全是为烘托“白鹭惊复下”而展开的环境描写。白鹭受惊——飞起——“复下”，这是全诗形象的主体，诗人着意描写的也就是这场虚惊。诗人巧妙地以静谧中有惊扰、惊扰衬静谧的艺术手法，通过“白鹭”的虚惊这一“动”来反衬栾家濑的幽静和安宁，使意境显得愈发幽致。
绿水无弦万古弹
王维在音乐上也样有着极高的造诣，因此比一般诗人更能精确地感受到和把握住自然界神奇的音响，并将其表现出来，所以他诗里所营造的画面中常带有万籁的轻吟低唱，给人以宁静、凄冷或愉悦的情感体验，即音韵美。
诗中细微的风雨声、湍急的水流声无疑给人一种空幽的抒情小夜曲般的美，而那飞溅的浪花、惊起的白鹭则增添了几个协和音符、破了它的单调，这样的画外之音，无疑会把读者带进一个空灵澄澈的清幽之境，不仅如此，作者在词语的运用上也讲究着音韵的和谐呢：“飒飒秋雨中，浅浅石溜泻”中，叠声词“飒飒”、“浅浅”(读jiān，水流急的样子）本身就很富有音声律动之美，而且上句中“飒”为去声，“中”为平声，声调由高放而低敛，正与飘忽的秋雨自天上飘飘洒洒而来之状相合，下句则以牙音、齿音为主，“流”字为舌音，发音由细碎到圆转，自然会令人联想起泉流的潺潺声。“跳波自相溅，白鹭惊复下”，既不用象声词摹拟声音，也不用动词、形容词等点明景物发出了声音，而是有意藏声于物象中，却让我们于文字的背后隐隐感觉到了浪花的飞溅声、白鹭的振翅声，这样，把视觉感受与听觉感受沟通起来，使音响与景色和谐融合，实在不失为“有声画”，读来果真“如上林春晓，芳林微烘，百转流莺，宫商迭奏”（《史鉴类编》）。也正是在这些声响中传达了诗人淡远的情志，所谓“诗如鼓琴，声声见心”(袁枚《闲情偶寄》)，也正是这远离尘嚣的天籁清音，触动了这位敏感诗人内心的高山流水之志，于是发而为诗。
文字背后见性情
王维的山水诗在含蓄方面可谓发挥到了极致，欲吐而不露，欲彰而暗隐，让读者于留白处会心，感受其内在的意蕴、文字背后的情致。这首《栾家濑》的含蓄美就表现在：
虚实含蓄：此诗和诗人其他的山水田园诗一样，也是多在虚处(写景)着笔，让人们从虚的意象里张开想象的翅膀，去寻觅诗中含隐的实的事物（情感）。这里写景是虚，诗人喜爱这里的幽境是实，但字里行间“喜爱”（实）二字只字未提，却含蓄地藏于美景之中。尤其是“跳波自相溅”中的一个“自”字，又特别提醒我们，这一切生动的变化，并非人为的安排，而是大自然这个生命世界的自在自为，一切都是自在的自然，这又是借实——“跳波”“相溅”来写虚——自在之心。
跳跃含蓄：王维其实也是“蒙太奇”手法运用的高手，此诗里即可见一斑，他由空中的细雨，到溪涧的湍流、觅食的白鹭，再到白鹭受惊——飞起——“复下”这几个空间位置的跳跃，真可谓一跃一景，尺幅万里，带给读者不尽的联想和再创造空间，实有“草蛇灰线，在千里之外”（脂砚斋语）之妙。
结句含蓄：王维的山水诗，在“绘画”之后，往往以意蕴深远的句子作结，从而使得全诗境界顿出。此诗即通过“白鹭惊复下”的一场虚惊来反衬栾家濑的安宁和静穆，说明这里没有任何潜在的威胁，可以过无忧无虑的宁静生活，暗中也道出了这正是诗人所追求的理想境界。
全诗没有华丽的字眼，因而诗中始终弥漫着一种淡雅之气。让人感觉作者在这与繁华无关的世界里，诗意地栖居着，淡淡地品味着人生，也正是诗人淡泊到了极致的情感自然流露，让人读来也觉得霎时心灵中呈现出虚静澄明之貌，仿佛滤去了烟火之气，进入闲散自如的状态，诚如胡应麟在《诗薮》中所言“读之身世两忘，万念皆寂。”
appreciation
Simonides, an ancient Greek poet, once said, “Painting is a silent poem, and poetry is a sound painting.” This remark can’t be more appropriate to evaluate the poem Luan Jia Lai by Wang Wei – it is not only full of quiet and elegant picture beauty, flowing with ethereal and quiet melody beauty, but also full of subtle implication beauty behind the words, which makes people read it as if they are enjoying an exquisite music.
Green Mountain Painting without Ink
In ancient times, there were many poets and painters who were good at poetry and painting. Du Wang Wei “wrote the best poems in the world, and his paintings are unparalleled in ancient and modern times” (Song Hanzhuo’s Complete Works of Mountains and Rivers), so Yin Fan, a contemporary of him, said that his poetry was “beautiful and elegant, with new ideas and pleasant ideas, and in the spring it was a pearl, and his paintings were painted” (The Collection of Heroes in the Mountains and Rivers). Indeed, he was able to apply the theory of painting to poetry. The artistic conception in his poems and the poetic conception in his paintings constitute the unique aesthetic interest in his artistic observation. Most of his poems reflect the clear and elegant artistic conception, which is full of vivid beauty and shows the simple love for life. This little poem outlines such a flowing picture:
The drizzle is like smoke, like a curtain hanging in the sky; The autumn wind is affectionate, and the fingers gently lift from time to time. Sometimes a pool of secluded water appeared in the rising valley, and sometimes a shallow wrasse appeared. The flowing water on the stone was as bright and clean as silk, flowing briskly and swirling from time to time, especially in the twists and turns, where white spray splashed from time to time, so that the egret, who was concentrating on looking for food, mistook it for a flying stone, and was frightened to “flutter” and spread its wings, flying into a vivid white lotus. When it understood, it put its foot quietly into the stream again, so that everything here returned to its former tranquility Relax
In fact, there is an imaginary picture behind the words: in the face of all this, the poet does not move, but silently looks at everything in front of him. His mind flows lightly with the splashing stream, and flies with the egret… At this moment, the poet has simply become a stream of autumn water, a wisp of autumn rain, and an egret. He is showing his style with natural charm and vitality, and moving the wings of our hearts, Flying in the sky of the sea of natural poetry. It is really wonderful that Zhuang Zhou dreamed of butterflies. I have no idea what Wang Wei is and what nature is… Here, there is no longer a boundary between people and things. Poets do not express their aspirations or express their feelings; Don’t talk about me, and don’t trust things. In this silent and natural observation, the poet sees the truth and filters out the dust, which is attributed to the most direct understanding and understanding of the essence and nature of individual life. No wonder Gu Lin of the Ming Dynasty commented on this: “This scene is always here. Many people don’t look at it, but only you know it.”
Therefore, the reason for this is that there is “no dust and dirt”. The exquisite autumn rain has swept away the dust in the air. In fact, it is also because the author has no dust and no distractions in his mind. This is because he can present such elegant ink landscape paintings to readers. Of course, it is also because the author pays attention to the following when writing:
Pay attention to the structure of the painting: The poem lists things like autumn rain, stone slips, jumping waves, egrets, etc. It seems a little messy, but in the fourth sentence, the word “startled” suddenly moves the picture, which is full of charm and vitality, thus forming a vivid and harmonious perfect picture with “Luan Ka Lai” as the canvas.
Pay attention to the combination of truth and fiction: at first glance, there is no color word in the poem except for a monotonous “white” word. In fact, this is the poet’s ingenuity, because the objects in the poem contain color secretly, such as the autumn stream in the rain is dark green, the rocks in the stream are indigo, the splashed waves are light white, and the feeding herons are white. From the perspective of color alone, “white” is real writing, and the rest is virtual writing. In such a blend of reality and fiction, the dark and bright color scenes are captured in the fine autumn rain. What a confusing and moving scene it should be.
Pay attention to the combination of movement and stillness: Wang Weiji is good at creating flowing pictures in his poems, but the most prominent feature of his pictures is to use movement to support stillness, and use dynamics to convey a static beauty. In fact, the first three sentences of this poem are all environmental descriptions launched to set off the “egret startled”. Egrets are frightened – fly up – “fly down”, which is the main body of the whole poem. The poet deliberately describes this false alarm. The poet skillfully set off Luan Jialai’s quiet and tranquility through the “movement” of the false alarm of the “egret” by means of the artistic technique of “disturbance in tranquility” and “disturbance against tranquility”, making the artistic conception even more serene.
Green Water String Free Forever Bullet
Wang Wei also has great attainments in music, so he can more accurately feel and grasp the magic sound of nature than ordinary poets, and show it. Therefore, the pictures he creates in his poems often contain the gentle singing of all sounds, giving people a quiet, cold or happy emotional experience, that is, the beauty of sound.
The subtle sound of wind and rain and the sound of rushing water in the poem undoubtedly give people a kind of beautiful lyrical serenade, while the splashing waves and the startled egrets add a few harmonious notes and break its monotony. Such voice outside the picture will undoubtedly bring the reader into an ethereal and clear place. Not only that, the author also pays attention to the harmony of sound and rhyme in the use of words: “In the whispering autumn rain, shallow stones slide down”, The overlapping words “Sasa” and “Shallow” (read ji ā n. The appearance of rapid water flow) is rich in the beauty of sound and rhythm. In the previous sentence, “Sa” is the last sound, “Zhong” is the flat sound, and the tone is from high to low. It is consistent with the flowing autumn rain coming from the sky. The next sentence is mainly composed of dental sounds and dental sounds. The word “Liu” is a tongue sound, and the pronunciation is from small to round, which naturally reminds us of the gurgling sound of springs. “The waves are splashing and the egrets are startled.” Instead of using onomatopoeic words to imitate sounds, or using verbs, adjectives and other words to point out the scenery, the sound is intentionally hidden in the images, but we can vaguely feel the splash of waves and the flutter of egrets behind the words. In this way, the visual and auditory feelings are connected, so that the sound and the scenery are harmoniously integrated, which is really a “sound painting”, It really reads “like the spring dawn in Shanglin, the fragrant forest is slightly baked, hundreds of wandering warblers are turned, and the palace and merchants are playing repeatedly” (“Compilation of Historical Records”). It is also in these sounds that the poet’s indifferent feelings are conveyed. The so-called “poetry is like a drum, and the voice can see the heart” (Yuan Mei’s “Leisure Love Occasionally Send”) is also the sound of nature that is far away from the crowd, which touched the sensitive poet’s inner ambition of high mountains and flowing water, so it became a poem.
The character behind the words
Wang Wei’s landscape poetry can be said to have played its utmost role in implicitness. It is intended to vomit but not reveal, and to show but hide. It allows readers to understand in the blank space and feel its inner meaning and the sentiment behind the words. The implicit beauty of Luan Jia Lai is shown in:
Implicit reality: This poem, like other landscape idylls of the poet, mostly writes in the virtual place (scenery), allowing people to open their imagination wings from the virtual image to find the real things (emotions) implicit in the poem. The scenery here is empty, and the poet likes the secluded environment here is real, but the word “like” (real) between the lines is not mentioned, but implicitly hidden in the beauty. In particular, the word “self” in “wave jumping and self splashing” reminds us that all these vivid changes are not man-made arrangements, but the free and self doing of nature, the life world. Everything is free and natural. This is to use reality – “wave jumping” and “self splashing” to write the virtual – free heart.
Implicit jumping: Wang Wei is also an expert in using the “montage” technique. It can be seen from this poem that he jumped from the drizzle in the air, to the turbulence in the stream, to the egrets looking for food, and then to the egrets being frightened – flying – “back down”. It is really a leap of one scene, with a length of ten thousand miles, which brings readers endless imagination and re creation space. It is really the wonderful idea of “grass and snake, grey line, thousands of miles away” (in the language of Zhiyanzhai).
Implicit conclusion: Wang Wei’s landscape poems, after “painting”, often end with profound sentences, which makes the whole poetic realm come out. This poem contrasts Luan Jialai’s tranquility and serenity through a false alarm of “egret startles again”, which shows that there is no potential threat here, and you can live a carefree and peaceful life. It also reveals that this is the ideal realm that the poet pursues.
There are no gorgeous words in the whole poem, so there is always a kind of elegant atmosphere in the poem. It makes people feel that the author lives poetically in a world unrelated to prosperity and tastes life lightly. It is also the poet’s natural expression of emotion that is indifferent to the extreme. It also makes people feel that the soul presents an empty, quiet and clear appearance at once, as if the smoke and fire were filtered out and they entered a state of leisure and freedom, just as Hu Yinglin said in the “Poem Dove”, “I forget my life experience when reading, and all my thoughts are silent.”
