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Poetic achievements
Poetic assertions
Most of Sikong Tu's poems express the leisure and elegance of the hidden landscape, and the content is very indifferent. He also wrote a poem to confess: "There are worries in the poems that must be admonished, and there is no unfairness in the poems."
"In the history of literature, he is mainly known for his poetic theory. His "Twenty-Four Poems" is a theoretical reflection of the high development of Tang poetry art, and is a collection of works on the pure art theory of poetry at that time.
The "Twenty-Four Poems" divides the artistic expression techniques of poetry into twenty-four styles, such as majestic, subtle, qingqi, natural, and xian xian, each with one product, and each product is figuratively illustrated with twelve figurative four-sentence rhymes. It had a profound impact on literary criticism and creation in later generations.
Sikong Tu on the development of poetry Yin Bian and Jiaoran theory, pay attention to the implicit rhyme and Qingyuan mellow artistic conception, advocate the "meaning outside the taste" of "salty acid outside" and "near but not floating, far but not endless" of the "rhyme outside the cause" ("On the Book of Poetry with Li Sheng"),pay attention to "the image outside the image, the scenery outside the scene" ("The Book of Hejipu").
He admired Wang Wei and Wei Yingwu's poetic style of "fun and clarity", while criticized Yuan Shu and Bai Juyi for being "forceful and angry" ("Commentary on Poetry with Wang"). He also praised the works of Li Bai and Du Fu and the momentum of Han Yu's song and poetry, "strange changes in the shape of things" ("Title Liu LiuZhou Collection Afterword"), but not exclusively.
In the "Book of Poetry with Li Sheng", he once quoted his proud verses, some of which were obtained from early spring, mountain, Jiangnan, Saixia, funeral, Daogong, Xiajing, Buddhist temple, suburban garden, Lefu, loneliness, and ease, etc., most of which belonged to lyrical leisure and leisure and partial to quiet beauty.
Some of his works, such as "Autumn Thoughts", "Xi Wang Driving Xiaoyi Chongyang Visit", "Crazy Question", "Even Book", "Hehuang You Have a Feeling", etc., also reveal his sad embrace.
The Twenty-Four Poems is his treatise on poetry, or Poetry for short. Among them, the artistic style and artistic conception of poetry are divided into 24 categories, such as majestic, diluted, delicate, composed, elegant, refined, vigorous, beautiful, natural, subtle, bold, spiritual, meticulous, sparse, qingqi, weiqu, reality, sadness, description, transcendence, elegance, expanse, expanse, and flow, each of which is described by twelve sentences and four rhymes, and also involves the author's ideological cultivation and writing techniques.
It is different from Zhong Rong's "Poetry" in terms of the source and flow of the writer's works.
"Poetry" has a wide influence in creating forms of literary criticism. Imitation works, the Qing Dynasty has Yuan Ming's "Continuing Poems", Gu Han's "Supplementary Poems", as well as Ma Rongzu's "Wen Song", Xu Feng'en's "Wen Pin", Wei Qiansheng's "Twenty-Four Gifts", Guo Lu's "Ci Pin" and so on.
Aesthetic ideas
The aesthetic ideas of Sikong Tu encompass multiple dimensions. In his representative work of aesthetics, "Twenty-Four Poems", there are not only interpretations of various styles, but also the exploration of creative methods, as well as the fans of the poet's own cultivation.
These also have a strong guiding role and reference significance for contemporary aesthetics.
Sikong Tu's "Twenty-Four Poems" expounds the twenty-four styles of poetry with twenty-four artistic conceptions, which is undoubtedly fine and subtle, but with deep thinking, these twenty-four styles also contain the same aesthetic ideas of Sikong Tu, such as the pursuit of nature and diluting aesthetic tastes based on Lao Zhuang Thought; the aesthetic theories such as Sikong Tu's "Purpose of Taste Outside" and "Elephant Outside the Elephant" are also common and distinctly embodied in "Twenty-Four Poems". "Nature" is the highest ideal aesthetic realm in the creation of ancient Chinese literature, and its philosophical and aesthetic basis is to let nature and oppose man-made in Lao Zhuang's advocacy.
Liu Xun said in the "Wenxin Carving Dragon" section: "The color of the yunxia carving has the magic of more than the painter; the grass and wood are not strange to the brocade craftsman; the husband is decorated with the outside and covers the natural ear." Therefore, the first two sentences of this product are: "To look down is to take the neighbor." The meaning is that the truly beautiful poetic realm is left to nature, and there is no need to search for it, so the next two sentences continue: "The way is suitable for the future, and it is beginning to become spring." "Club Tao", Zhuangzi; Heavenly Fortune: "The Tao can carry and be with it." "The Tao, that is, nature, if it can be combined with nature, then it will become a spring without striving to pursue it.
The four sentences further develop this meaning, such as the blossoming of flowers, such as the new age, are natural phenomena, not dependent on human beings. The "truth" of "true and unobtrusive" refers to the truth of nature, and the same, these two sentences mean that those who give nature will not lose, but those who want to gain by manpower will lose. The last four sentences say that "ghost people" live in empty mountains, do not violate the heavenly opportunity with human desires, stroll after the rain, occasionally see apple grass, and pick it at will, not intentionally. The "thin words" in the two sentences of "Thin Words and Sentiments" are auxiliary words, such as the "Book of Poetry" cloud "picking amaranth, thin words picking it." "'Affection', sensuality, nature, refers to natural nature." "Leisurely Heavenly Jun" refers to the free operation of the Heavenly Dao, which flows endlessly. "Zhuangzi" Yun: "It is a saint and a right and wrong, and it is a heavenly jun." Tianjun, don't be a Tianjun, Cheng Xuanying Shuyun: "Tianjun, the reason for the natural equality." ”
It means to allow the natural balance of all things to run. These two sentences refer to the natural nature of understanding the free change of all things. Li Bai's "Emei Mountain Moon Song" cloud: "Emei Mountain Moon half round autumn, hidden into the Water Of the Pingqiang River."
At night, Qingxi headed for the Three Gorges, and Sijun did not see Xiayu Prefecture. "The boat travels in the moonlit river, blending in with the landscape and water, like the emergence of natural creation, without a trace of artificial axe chiseling.
The artistic style of Sikong Tu embodies a variety of stylistic beauty developed from the two basic styles of masculinity and femininity. The Compendium of the General Catalogue of the Four Libraries says that it is "complete in all its forms, not the main grid", and Xu Yinfang also said in the middle of the poem that "its teaching people are poetry, the door is very wide, and it is eclectic".
However, the greatest contribution of "Poetry" in the theory of artistic style is to shift from the general discussion of the language style of literature to the study of the artistic style of literature.
In the Tang Dynasty, poetry began to be divided into articles, and the style theory in poetry gradually shifted to the artistic style of poetry, which can be seen clearly in the nineteen-character style theory of Jiaoran, while "Poetry" is a pure poetic artistic style theory. This is very different from Liu Xun.