Qianjiang Evening News Hourly News Reporter Zhang Mijia Trainee Reporter Liu Yuhan Correspondent Liu Yang
Tang poetry is the greatest common denominator of Chinese spiritual life.
A week after the opening of the "Qingshan Endless 2 - Tang Poetry Road Art Exhibition", on March 12, the offline public education activity "I Read Tang Poetry on the Road of Tang Poetry" jointly launched by the China Academy of Art and Qianjiang Evening News Hourly News was once again composed of a poetry meeting with friends and poetry singing and an elegant collection of poems, so that the seed of this poetry took root and sprouted, continued to the future, and extended to the heart of every Chinese.
Poetry road
Gao Shiming is the president of the China Academy of Art
The road of Tang poetry, the birthplace of the poetic soul
"The Road of Tang Poetry" is more than just an exhibition. For us, this is a long-term action: through the Tang poems that we are very familiar with and have learned since childhood, by retaking the path of Tang poems, we return to the essence of artistic creation - the growth of poetry, the growth of poetry.
Today, between the green mountains and green waters of nature, many people have passed away, but at that time, poets expressed sorrows and feelings of excitement in it, and their hearts were broad and their hearts were long. In the touch of love and scenery, a person's emotions are opened, resulting in a very creative output: this output is the way of writing and poetry for the poets of the Tang Dynasty; then today, we have such a rich medium, such a rich tool, can be produced in different ways.
I hope that today's young people, whether teachers or students, through the "Tang Poetry Road", can return to the best part of Chinese culture, connect with it, resonate with the same frequency, and expand their hearts and develop poetry.
What do you mean? In layman's terms, it's about sparking creativity.
Creativity does not come out of thin air, there are many different paths of creativity, and Tang poetry gives us another path - feeling things and feelings.
Arising is not something that exists and unfolds from nothingness, but that in the interaction with the world and beyond, in the return of the mind, it suddenly arises, grows, and grows like a plant. Our creativity is a way to live forever.
I have always felt that The Chinese tradition is an innovative tradition, and it is by no means self-contained.
Chinese was not weak, conservative, and introverted before, Lu You Xishan stabbed the tiger, Xin Abandoned rushed to the military camp with tens of thousands of people to the south, Li Baizhuang traveled the world... Chinese the spirit of enterprising spirit and the will to innovate before have many cases in Tang poetry.
Therefore, the works selected in the exhibition are not completely weak and elegant, including Chinese paintings, which are more monumental and more majestic, hoping to give birth to these feelings and extravagant atmosphere.
In the Book of Rites, it is said that "every day is new, every day is new, and every day is new." Where did this come from? This is carved in the washbasin of Shang Tang, and Tang Wang can see it every day.
Such a spirit of "renewing every day" and endless creativity are very important spiritual qualities of the Chinese nation. In this exhibition, we also associate it with public education and connect it with the second classroom to connect poetry education and aesthetic education. This can be done for a long time.
The road of Tang poetry is today's reality.
The poetry of the ancients is precipitated in today's reality and scene. Our creation and innovation are innovations in history.
In the final video part of this exhibition, there is a connotation in the plain, and a kind of emotion will be generated, which is the epic of daily life. Today, this is something that can only be found in a relatively good Chinese social scene like Zhejiang and Hangzhou. Only in a society with a relatively high spirit, in the period of the rise of civilization, will everything in front of you be a poem, and such a poetic heart will be produced.
Qian Weiqiang is an associate professor and scholar at the China Academy of Art
A richer, more comprehensive Li Bai
"Sleepwalking in Heaven and Leaving Farewell", the most famous poem on the Road of Tang Poetry, what does Li Bai want to express?
Anyone who has been to Tianmu Mountain knows that this mountain and Tianmu Mountain written by Li Bai are completely different things, and it feels like Li Bai is bragging. Even whether Li Bai had ever been to Tianmu Mountain was not sure. Therefore, I think that Li Bai's poem is actually "Leaving the Troubles". Qu Yuan expressed his own feelings and thoughts about the king through "Leaving Sorrows", and Li Bai wrote this poem with the same logic, pretending to be the intention of Tianmu Mountain to respond to the years when he was making Hanlin offerings around Xuanzong.
So reading this poem again, Li Bai is actually not writing about the immortals who eat and sleep in the wind, this immortal lives in the gold and silver platform, and this gold and silver platform is the palace. So what kind of immortals are they? The King of clouds, the gods and immortals in the sky are the emperors. He was thinking back to his life in the imperial palace with the emperor, but he pretended to write about the experience of being a god. Then "the pillow of the time of enlightenment, the smoke of the lost." "It is the years that accompany the emperor, disappearing like smoke."
Then finally the poet wrote, "Ann can destroy the eyebrows and bend the waist of the magnates, so that I can't be happy!" Some people think that the dream scene written by Li Bai earlier has nothing to do with this sentence. But if you take this scene as Li Bai's life experience in the past five years after he left Tang Xuanzong, it is easy to understand.
The poem "Sleepwalking in Heaven and Staying Away" is a fantasy situation that expresses a complex in life.
Therefore, Li Bai, in addition to the debauchery and uninhibited feelings we see, he also has such a deep affection, which is the reason why he can enter the world and be born at the same time. If we understand Li Bai's poem from this perspective, we can see a richer and more comprehensive Li Bai.
Lan Yudong is a teacher and scholar at the China Academy of Art
There is an excavator in the landscape, and you feel that it is not abrupt
I have been studying landscape poetry, studying Chinese poetry, and after watching the "Road to Tang Poetry" exhibition, I was very surprised, because I felt that what I saw in this exhibition was not simply to reproduce the original situation of Tang poetry, but the artists had entered the same situation as the poets of the Past Tang Dynasty, and they were solving some problems in their hearts. We are not simply retro today, but in response to reality.
Why has the Tang Poetry Road become a very important and very special road from ancient times to the present? It seems to have nothing to do with real interests and matter, it is about something that is needed in the heart, and this is the most distinctive thing about it.
In this sense, the West may have a religious path, while Chinese, which is recorded by poetry, seeking this similar self-transcendence in poetic terms.
We are back to that scene today, but the echo we are making now is not simply to reproduce how the poet walked in the first place. In particular, I saw the multimedia video of Gao Shiqiang's teacher, and I was very impressed: because we thought that the landscape seemed to be at a distance from the secular world, so that our hearts remained pure, but there was an excavator here (Gao Shiqiang's works), it was difficult for us to imagine how the excavator appeared in the landscape? Just as we see today that there will never be high-rise buildings in traditional Chinese landscapes, landscapes are hermits.
But why would today's artists bring excavators here? Do you think it's very abrupt when you look at it? You think about this question, if you feel abrupt, what is the reason, if you feel not abrupt, what is the reason.
Why do we write poetry today? There are many parts of this world, and poetry is not necessary for everyone, but why do we like poetry? It may be to capture the existence in the world that is connected to us, and it may be an art that everyone feels for themselves.
Shi Liankun is a researcher at the Institute of Calligraphy and Painting Literature of the Chinese Academy of Fine Arts
"Elegant and profound", life needs the cultivation of Tang poetry
The Road of Tang Poetry and Tang Poetry bring us a lot of inspiration for artistic creation. When we walk on this road again, it is a very wonderful feeling to be able to travel through time and space and talk to the poets of ancient times.
Li Bai's "Sleepwalking in Heaven and Leaving Farewell" may be the most brilliant pearl on the road of Tang poetry in eastern Zhejiang, Li Bai uses his wild imagination and fantastic text expression to show a very high artistic charm. In the end, he wrote that "An can destroy the eyebrows and bend the waist of the magnates, so that I can't be happy", and showed his arrogant wind bone. From the art and character, it can bring us a very strong shock.
Reading Tang poems can bring us deeper feelings.
Teacher Qian Weiqiang often talked about four words, called "elegant and profound". It is only as an elegant person, with such deep emotions, that you can write such a moving work.
Just like Tang poetry, when we dig deeper into it, we will find that it is an endless treasure. Reciting these classic works over and over again, it can give you different feelings at every stage. This is a unique characteristic of our poetry, our traditional culture, and by immersing ourselves in it, we can get a good cultivation. For a thing, scene or person, we will make more in-depth thinking, to dig out the connotation behind it, to improve our ability to understand.
Our current life is in great need of Tang poetry. The pace of modern life is very fast, and they often accept some relatively fast, one-sided, and even nutritious information. But when we are immersed in the artistic conception of Tang poetry, to explore, to wander, to appreciate, we can get more spiritual improvement.
For improving artistic appreciation and cultural perception, Tang poetry is a very good carrier and entry point.
high interest
Tang poetry is an expression of life
Regarding whether We Still Need Tang Poems today, I will first give an answer that I feel relatively fresh: Our current life still needs Tang Poems.
In fact, everyone has already felt that Tang poetry is not only a form, its spirit has penetrated into our cultural genes. I am now taking the first year of high school, last semester we talked about a unit of poetry, that is, teacher Lu Dadong said, poetry is not only used to chant, but also to sing, and not only to sing the original poem, I let the students learn Tang poetry and Song poetry after reorganizing it, after reorganization to sing in their own way.
First, how to classify Tang poetry into our current lives. I am now writing some Gelug poems, and there is no doubt that I cannot do without Tang poetry, Tang poetry is a peak of Gelu poetry, if you want to write well, you must pay tribute to it.
Second, Tang poetry is used not only in the present is not only the production of a poem, but also an expression of life.
Including our poetics, including the traditional spirit of our culture, I think our traditional spirit is not conservative, but keeps pace with the times, just as the Book of Rites says, "Gou is new every day, every day is new, and every day is new", and the same is true of Tang poetry. For example, when I was doing Tang poetry activities with my students, I felt that you wrote Tang poetry as a kind of inheritance of the spirit of Tang poetry, and it may be more important to have Tang poetry in your life. For example, now some female students like to wear Hanfu, then the style of Hanfu, including the style of Hanfu, is actually from Tang poetry, which is one of them. Second, many children now prefer ancient songs, and its best inspiration comes from Tang poetry. For example, many children like that kind of quality of life, such as drinking tea, decoration and the deployment of all aspects of the study, which are also inspired by Tang poetry.
We can regard the inheritance of Tang poetry as a spiritual inheritance, and at the same time we can see it as a inheritance of life style and lifestyle. Therefore, the influence of Tang poetry in our present time is not only spiritual, but also material and life. If we can do a good job, Tang poetry will always be around us, especially in the way of spirit and literature, in the way of life and in the way of traditional culture, I think this is the reason why our modern life can not be separated from Tang poetry.
poetry
Hu Kexian is a librarian at the Zhejiang Provincial Research Museum of Literature and History and a professor at the College of Literature of Zhejiang University
The world of Tang poetry, a colorful garden
Tang poetry is a spiritual product produced under the special social environment of the Tang Dynasty, and it is a collection of the spirit of the times and the national spirit of the Chinese nation.
The Tang Dynasty, which was politically enlightened, ideologically emancipated, strong in national strength, and outstanding in martial arts, was the most powerful dynasty in Chinese history; the magnificent spirit of the times of the Tang Dynasty shook the hearts of tang dynasty poets and triggered their self-confidence and pride.
This mentality is mapped to poetry, showing a high-spirited atmosphere, but also reflecting the vigorous vitality, youthful vitality and creativity.
Studying Tang poetry can, to a certain extent, sweep away the blocks in the chest, cultivate noble sentiments, drive away the troubles of utilitarianism, and enhance the spiritual realm.
The world of Tang poetry is a colorful garden.
Wang Wei's "Nine Heavens Opened the Palace, and all nations dressed in crowns and bowed to the Crown" ("The Works of the Early Ming Palace of the Jiashe People"), depicting the Daming Palace in Chang'an, the political center at that time, which was an international empire. Cen San, "Suddenly like a spring breeze in the night, a thousand trees and pear blossoms" ("White Snow Song Sends the Military Judge Back to Beijing") depicts the scenery of the western border plug. It is a desolate place, but the psalms still show an open, grand realm, giving people great spiritual strength.
Du Fu's "boundless falling wood is under Xiao Xiao, and the Yangtze River is not endless" ("Ascending"), in the thick and deep hong scenery, he integrated his own ambitions and unpaid feelings. Li Bai,"The water of the Yellow River rises from the sky, rushes to the sea and never returns" ("Will Enter the Wine"), the deep sigh of the passage of time is still full of lofty sense of ambition and excitement, and the poet's understanding of life flows in the poem.
Zhang Ruoxu "The tide of the Spring River is even with the sea level, and the bright moon on the sea is born together." With the waves of thousands of miles, where the spring river has no moon! ("Spring River Flower Moon Night") is not only a depiction of the great rivers and mountains of the motherland, but also a sincere vision and expectation of life. Wang Zhizhuo "wants to be poor and go to a higher level" ("Climbing the Stork and Bird Building"), the author wrote about climbing the building, but also the sublimation of the spiritual realm.
Li Shangyin "Spring silkworm to the end of the dead silk, wax torch into gray tears began to dry" ("Untitled, it is difficult to say goodbye when meeting"), showing the steadfastness of love. Li Bai "The peach blossom pond is thousands of feet deep, not as deep as Wang Lun to send me affection" ("Gift To Wang Lun"), Wang Bo "confidant in the sea, the end of the world if neighboring" ("Send Du Shaofu's Ren Shuchuan") to express the sincerity of friendship.
These are all manifestations of the spirit of Tang poetry. Through the display of the living conditions of the poets of the Tang Dynasty, Tang poetry shows the spirit of the Chinese nation to forge ahead, so it has been loved by people for thousands of years and is the most cherished treasure of Chinese culture.
Tang poetry is an eternal spiritual wealth created by tang dynasty poets.
At all stages of the Tang Dynasty, there were poets who left great poems on the Zhejiang poetry road.
Wang Bo of the early Tang Dynasty had "lotus picking, green water hibiscus dress." Autumn winds and waves and geese fly. ("Lotus Picking Song"), describing the living conditions of the lotus-picking women.
Li Bai, the great poet of the Sheng Tang Dynasty, "Sleepwalking in Heaven and Leaving Farewell" became the first article on the road of Tang poetry in eastern Zhejiang.
Du Fu described in "Grand Tour": "The Yue women are white in the world, and the JianHu Lake is cool in May." The creek is so beautiful that it cannot be forgotten. "There is nothing more beautiful than this woman, and there is nothing more fascinating than the beauty of this stream."
When He Zhizhang, a native of Zhejiang, returned to his hometown, he wrote: "The young man left home and returned to the old mane, and the township voice did not change and his sideburns declined. ("The Book of Returning Dolls"), which has resonated with countless returnees.
Wang Wei "Bright color the world is heavy, Xi Shi Ning Jiuwei." ("Xi Shi Yong") writes about xi shi's morphological beauty, and at the same time writes about xi shi's fate. Of the more than a hundred surviving poems about Xi Shi, this is the best one.
Meng Haoran "moved the boat to the smoke, and the sun was sad and new." ("Su Jiande Jiang") depicts the landscape of Jiande in Zhejiang Province in three points, which is fascinating.
The first-class poets of the Middle and Tang Dynasties, Bai Juyi, Yuan Shu, and Li Sheng, all of whom were high-ranking officials in Zhejiang and left many classic works.
Bai Juyi "random flowers gradually want to charm the eyes, Asakusa can have no horseshoe." Favorite lake eastbound is insufficient, green poplar shade in the white sand embankment. "("Qiantang Lake Spring Trip") The West Lake in spring is really beautiful! When he went to other places to become an official, his impression of Hangzhou was still the deepest: "Jiangnan recalls, the most memorable is Hangzhou!" ("Remembrance of Jiangnan Words")
Yuan Shu "The city of The state is surrounded by clouds, and the mirror water is full of mountains." ("Boasting of the State House in Lotte") describes the scenery of Zhejiang, showing a love for the beautiful landscape here. Zhejiang people read these verses with great affection.
The Middle Tang Dynasty poet Meng Jiao was a native of Huzhou Deqing, and his famous passage "Wandering Zi Yin" (游子吟) "The mother's hand is threaded, and the wanderer is clothed." The seams are tightly sewn, and I am afraid that I will be late. Whoever says anything will be rewarded with three Chunhui. "Move every distant person."
The late Tang Dynasty poet Du Mu went from Chang'an to Huzhou to do a history of thorns, and said in "Will Go to Wuxing to Enjoy the Original One", "Qing Shi Has taste is incompetent, idle love lonely cloud quiet love monk." "The weather is magnificent, and the feelings are deep.
When Xu Hun roamed to eastern Zhejiang, he wrote in the process of traveling from the rooftop to Tianmu Mountain: "The deep mountain is also a mountain ("Early Tiantai Zhongyan Temple Duguanling Ci Tianmu Cen"), attracting future generations to appreciate the true meaning of life.
These famous passages left on the Zhejiang poetry road show the poet's spirit of exuberance, hard work, clarity and sunshine, forming a unique spiritual outlook of Tang poetry and showing great artistic charm.
Tang poems give us rich spiritual nourishment and beneficial enlightenment.
Tang poems are a way for modern people to learn knowledge, cultivate their mood, and strengthen their aesthetic abilities, which will inspire readers of different ages.
Teenagers reading Luo Binwang's "Wing Goose", Meng Haoran's "Spring Dawn", and Li Sheng's "Mercy Nong" can feel the aesthetic and cultivate sentiments.
Young people read Wang Zhizhuo's "Climbing the Stork and Bird Building" and "want to be poor and go to a higher level", Li Bai's "Will Enter the Wine" "I am born to be useful, and the thousands of gold will be scattered and returned", Du Fu's "Twenty-two Rhymes to Wei Zuo Chengzhang" "Reading books break through ten thousand volumes, and the next pen is like a god", which can stimulate the spirit of striving upwards.
The elderly chanter Liu Yuxi wrote to Bai Juyi, "Mo Dao Sang Yu Evening, for Xia Shang full of heaven." Du Fu "Wine debts are common everywhere, and life is seventy years old." ("Qu Jiang Ii Songs") "Famous articles, officials should be old and sick. Wei Zhuang "doesn't know how to spend flowers when he gets old, and he feels that wine is amorous when he comes to chaos." ("Encounter with Dong Wusheng"), able to get self-encouragement.
Different ages can find the object of learning and spiritual support in Tang poetry.
Shang Zuowen is a researcher of Zhejiang Provincial Research Museum of Literature and History, the deputy general manager of Hangzhou Publishing Group, and the executive vice president of Zhejiang Poetry and Yanglian Society
Reading Tang poems paints the background of Chinese culture for life
What is the use of learning traditional poetry? In the era of the imperial examination, this answer is mostly for the title of the gold list. But today, the meaning of reading and writing poetry is certainly not taking the test.
Why do we still read poetry today, especially Tang poetry? I think there are the following aspects of significance and role:
The first is to paint the background of Chinese culture for life. As a traditional literary genre, poetry is a brilliant diamond in the crown of Chinese literature, and Tang poetry has become a golden business card representing traditional Chinese culture. Tang poems are rich in content, full of the poet's love for the great rivers and mountains of the motherland, concern and sympathy for the hardships of people's livelihood, and cherishing friendship, family affection and love. Tang poetry contains the historical memory, cultural characteristics and traditional values of the Chinese nation, and learning Tang poetry will make us "more Chinese".
Second, it helps to enhance aesthetic power.
Mr. Mu Xin said: "Without aesthetic power is a terminal disease, and knowledge cannot be saved." "Aesthetic abilities include the ability to feel beauty and the ability to express that feeling. Classical poetry, especially Tang poetry, is an excellent material for exercising and cultivating aesthetic ability.
As Liu Xun said in "Wenxin Carved Dragon", "Mountaineering is full of love for the mountain, and viewing the sea is overflowing with the sea", without the feeling and expression ability of beauty, you cannot become an excellent poet. For example, Meng Haoran wrote that "spring sleep is not aware, and birds are smelled everywhere." The sound of wind and rain at night, how many flowers fall", the poet heard the sound of birds, remembered the sound of wind and rain in the night, remembered the flowers outside the house, he was very keen to feel the beauty of daily life.
The poet must not only have the ability to feel beauty keenly, but also be able to express it in the form of poetry. He Zhizhang returned to his hometown and wrote such famous sentences as "Children do not know each other when they see each other, and laugh and ask where the guests come from". Many people will have a similar experience when they return home, but they cannot express it so vividly and appropriately.
For many readers, the most important thing in reading Tang poetry is not to understand history, but to have emotional resonance. The poems written by the Tang Dynasty more than a thousand years ago do not feel far away when we read them today, and we can still truly feel the scenes they describe and the emotions they express.
The third is to help us cultivate the sense of language of the mother tongue. One of the major characteristics that distinguishes Chinese from other languages is that it has a tone. In the Tang Dynasty, there were four tones of flat, up, going, and into, and today Mandarin is also four tones, but the intonation has disappeared and become yin ping, yang ping, shang sheng, and devo sound. Dialects are more complex, such as Hangzhou dialect has seven tones, Guangxi Bobai dialect has ten tones, and some dialects in the north have only three tones.
The embodiment of tone in poetry is the relationship between ping and ping (the premise of ping is tone): the combination of flat sound and slang (going up) forms the musical beauty of classical poetry.
Chinese tone has existed in ancient times, but it was not until the Southern and Northern Dynasties period that Shen Yue and his friends from Wukang (present-day Deqing, Zhejiang) discovered this phenomenon and explored the establishment of rules for the collocation of tones in poetry creation, which is the origin of Gelug poetry. "The Biography of Liang Shu Yu Shoulder Wu" (vol. 49): "In Qi Yongming, the scribes Wang Rong, Xie Shuo, and Shen Yue began to use four voices to think that they were new. To the point of turning the rhyme, the beauty of the beautiful, more than in the past. From the Tang Dynasty, Ge Lu poetry was officially stereotyped and matured, occupying half of Tang poetry, and also creating a new poetic form for future generations.
Another feature of Chinese is that it is dominated by monosyllabic morphemes, and there are unique vocabulary rules, coupled with the collocation of ping and servant, which constitutes a unique confrontation in Chinese literature. For example, "The day is at the end of the mountain (仄仄平平仄), and the Yellow River flows into the sea (平平仄仄平)." "White" and "yellow" are relative color characters, "day" and "river" are astronomical to geography, and "mountains" and "seas" are geographical relatives; not only the artistic conception is beautiful, but also particularly neat.
The use of square Chinese characters in Chinese makes the rhythmic poems, absolute sentences and Yang Lian visually form an architectural beauty, and a five-word sentence is like four walls made of twenty bricks, neatly stacked.
One of the tricks of learning Tang poetry is to read and recite them repeatedly, on the one hand, to help with memory, but also to help cultivate a sense of Chinese, especially the language of the chinese language, which is crucial for both appreciation and creation.
The fourth is to help us improve the knowledge structure. A few years ago, the renjiao version of the seventh-grade Chinese textbook used a couplet written by Huang Wenzhong, a generation of Yang Lian, for Hangzhou's West Lake: "The water, water, mountains and mountains are bright and beautiful, and it is always curious when it is sunny and rainy." However, in the textbook, "water, mountains, mountains" is mistakenly written as "mountains, rivers, and waters." Why did the language teaching materials, which are guarded by experts and scholars layer by layer, appear as a "fish that slipped through the net" has become a hot topic of discussion in society for a while.
For those who can write poetry, this error is easy to judge, because it involves the basic common sense of poetry - in this strict couplet, "water, water, mountains and mountains" are "ping ping ping", in order to fight against the "flat and flat" of "sunny rain and rain". As a lover and researcher of traditional culture, especially classical poetry, it is necessary to understand these basic common sense, and it is necessary to improve the knowledge structure and avoid such low-level errors. Systematic study of Tang poetry naturally includes mastering these basic common sense.
Lu Dadong is a teacher at the China Academy of Art and the deputy director of the Center for Modern Calligraphy Research
You can sing out the cultural genes
I participated in a CCTV documentary "Traveling with Tang Shi" about three years ago, in charge of Meng Haoran's issue. At that time, I rode my bicycle to shoot and walked the road of Tang poetry in eastern Zhejiang. At that time, I found that Tang poetry actually penetrated into the blood of our nation. We start to learn these cultures from an early age, and when we are exposed to Tang poetry from a young age, it becomes a part of life.
So up to now, we have a spiritual demand for poetry, which is a kind of historical and cultural gene. Our spiritual enjoyment is hierarchical, and ancient poetry has a higher sense of hierarchy. Once we are exposed to these things from an early age, it becomes a habit of ours, which we subconsciously accept and inadvertently become infected and influenced.
Sometimes children are asked to recite Tang poems and feel a little resistant, but removing this factor and experiencing it from an appreciation point of view, especially singing it, will have different feelings.
Tang poetry can be sung in the Tang Dynasty, and it can be circulated. So I think singing poetry is a very important way to spread the current poetry or the ancient poetry. We can now also borrow the more commonly used network means to spread ancient and modern poetry in the form of chanting.
As for the method of singing, because Tang poetry is a transitional period from middle to near ancient sounds, there are now different ways of chanting throughout the country, and there is still a lot of controversy. In fact, I think as long as you can express its feelings and sing it in what kind of tone, it doesn't matter, as long as you sing beautifully and can express your feelings. So I myself have adopted one of these singing methods, such as the method since the Ming and Qing dynasties in Jiangsu and Zhejiang, but I have also changed the tune and turned the tune, so that it may be easier for others to listen to it.
I have walked through the path of Meng Haoran to have more feelings for the things described in his poems, so if our vision, hearing and the whole poetry text can be combined, I think it is a better way for us to spread or connect the minds of the ancient people.
Sanger Writer
Vivid perception is more important
I came out with one of my own books last year, and when it came out, I said to my poet friends, I said I don't want to write poetry anymore, I want to seal my pen. I realized that a profession, or a professional state, was a barrier between me and everything. Just now a classmate also said that whether you need Tang poetry or not, in fact, you don't need it, but you still use Tang poetry to see the world's perspective, and you will still meet the realm in the poem.
I used to love listening to classical music, and one friend shared his views, and every time I said this, I would share it with other friends who were equally confused: First, it didn't matter whether I understood it or not. Second, you have to allow yourself not to like it, which is why I got to a state of writing poetry and suddenly didn't want to write it, because you will find that your personal life and your feelings are completely shrouded in this thing, which is a very bad thing. Your own subjectivity slowly becomes a cultural thing, not a physiological thing, so you have to allow yourself to always have a living feeling, not a cultural perception. Third, wait, don't close the door so early, you can not like it for a while, and you will like it later when you have the sensitivity.
Shu Yu poet
Modern life requires the spirit of Tang poetry
When we talk about Tang poetry today, there are two questions about Tang poetry and the spirit of Tang poetry.
When it comes to whether Tang poetry has anything to do with our current lives, in fact, I have been looking back over the past few years, looking for the point where Tang poetry and my own life first had a relationship. I was born in Tonglu, my hometown is on the Fuchun River, and according to research, there are 7600 ancient poems flowing in the long river of the Fuchun River. It is said that there are Tang poems in my life genes, but I find that Tang poems are in a dilemma in our modern life. Except for the Tang poems recited in school, we rarely have access to Tang poems in our lives, and they only become the embroidered flowers on silk. Even sometimes, Tang poems are applied to life scenes, which will also bring people a little discomfort.
How can We Make Tang Poetry Truly Unleash Its Value in Our Lives? As a simple language, do Tang poems still need them in our contemporary society? My answer is: what modern life needs may be the spirit of Tang poetry.
Shen Leping
Creation requires poetic communication
I think in a simple sense, you may see some poetry writing and creation, and more importantly, when you do artistic creation, the communication between your creation and poetry.
In the past, when we took the entrance exam, we also had to take this test, and we had to write poetry. As a calligraphy practitioner, this is a basic skill.
First of all, we're going to have some basic techniques in the course, and I think some people are too skilled, but more of us have to go deeper into not just writing a poem that's technically proficient, but that you can connect your technical creations with the so-called text. That is, what you focus on in your artistic creation, but the poems you write may also lean in this direction, and I think this may have its consistency.
poet
Jiang Weishui is a professor at Zhejiang University and a poetry critic
Future poets, how to "get the West Lake"
When I was in my fourth year of college, I began to write poetry like crazy, and at that time I only wanted to be a poet, of course, at that time, I seemed to write poetry as well, and I was praised by Mr. Yu Guangzhong, who said that he was the most promising poet in the mainland. But then when I was a master's student, I did a study of comparative literature and comparative poetry, and once I studied it, rational things would kill the emotional things, and when you wrote a poem, there would be several critics next to it saying that there was something wrong with this sentence and what was wrong with that sentence. As a result, it was scrapped, and there was no longer that kind of emotional thing. The last poem I wrote was in 1991, and now more than 30 years have passed.
Of course it's a shame not to be a poet, because I always feel that being a poet is definitely the highest level. In later studies, there is also a mechanism of psychological compensation, that is, when making comments, although the writing is prose, in fact, I still want to write my own words more advanced, to some extent, it is a kind of compensation for myself to be a poet halfway, and try to write my own books and articles with poetic elements, which can give people a certain alternative pleasure.
The top poets are the most remarkable, like Du Fu, who criticizes while writing, and that strong criticism does not hinder his genius in the slightest. This kind of balance, this super balance of emotional and confident or rational aspects, is something that very few people can achieve.
Some people say that our current poetry seems to "fix the West Lake". The problem we face is that because the landscape was so wonderfully written by these great predecessors in classical Chinese, the landscape and the characters are inseparable. In the face of such a huge challenge, how modern poets continue to write landscape chapters is indeed too difficult.
It may take another 50 years, if not 100 years, to solve this problem satisfactorily. I also hope that these children here may become poets in the future, and can solve the problem of "how to transform Tiantai Mountain and West Lake into our modern poetry" very well, which is a certain expectation.
Wang Yangjun
Poetry is a way of life
Not everyone is necessarily a poet, but poetry is a way of expression, a way of life. That's what we think.
I would also like to respond to a few of the children. Maybe we have some difficulties in reading ancient poems now, and we may not be able to read all of them. Now we are in the best of youth, we must read it down, it does not matter if we do not understand it now, one day we will understand. Just a few students have mentioned that when reading landscapes or shooting landscapes, or experiencing some life events, suddenly at a certain moment the verse popped back in the mind, which is the performance that you have learned that you will slowly understand if you do not understand.
I myself am particularly touched, there is a poem that everyone likes, Du Fu's "Farewell to the Ancient Grass". "Wildfires burn endlessly, and spring winds blow and grow again", everyone is very familiar with them, and they feel that these two sentences are already the works of the gods. At this age, I slowly discovered that the sentences that followed might be wonderful too. I was in Liangzhu Ruins Park one day, and at that time there was not much development, the grass was full of grass, and there were some traces of broken walls and ruins. I couldn't help but chant the next few sentences, "Far away invaded the ancient road, qingcui and deserted city", at that moment I felt that the following sentences were also so wonderful.
In fact, with the passage of time and the growth of seniority, the impression of poetry will deepen and there will be different views.
Zhu Wenxin, teacher and scholar at China Academy of Art
There is a big heart in Tang poetry
China's kingdom of poetry is well deserved, and I guess the largest number of poetry in the world must be China. Among Chinese poetry, the most representative is definitely Tang poetry, and the spread of Tang poetry, I think, is also quite interesting.
Now the walker of these poems abroad, the first thing he was conquered by Chinese poetry was Hanshan. Hanshan's status in our own cultural system is actually not high. And his role is very complex, is it Confucian? Taoism? Is it a monk? Or a secular person? It was as if his identity was unclear. And he himself doesn't think he belongs to any category, which is particularly instructive for us. He said, "People ask about the Hanshan Road, and the Hanshan Road does not work", in other words, he reminds you to be yourself, and poetry is the road to the self.
And this inspired the confused minds of the American hippie movement. In the Tang poem, a monk, a Taoist or layman and a Buddhist disciple with multiple intertwined identities, the sincere words have stimulated a huge recollection in their hearts, constituting that they are looking for a homeland and history, which is a more interesting case.
I think of Yasukino Kawabata in Japan. It should be 1970, when Mr. Lin Yutang, who had already returned to Taiwan, invited Yasaka Kawabata, a Japanese who had just won the Nobel Prize in Literature, to give a lecture in Taiwan. Yasukino Kawabata talked a lot about the influence of Chinese culture on Japanese culture, and also showed without hesitation that the Japanese people are willing to pay tribute to Chinese to study, without taboo and without covering, this is a lovely place for the Japanese, he always pays tribute to ancient Chinese culture, and this spirit is still there. He mentioned a sentence in Tang poetry at that time, and I didn't know that it was Du Fu's, "Dark flying fireflies take pictures of themselves, and birds call each other." I was inspired by this poem on that occasion, because it was precisely a special ability of the poet to bring together the two vast cultures of China into one poetic power.
"Dark Flying Firefly Self-Illumination" refers to the Taoist freedom of individual life. Can use their own light to illuminate the dark night of their own life, although the individual is small, but like a firefly, that light does not need to use the sun, nor does it need to rely on the illumination of others, as long as it can shine, it can fly in the night. In other words, there is no night for yourself, which is a very good Taoist Zhuangzi-style embodiment, and the foundation of the getaway is here, self-inspired.
"Birds of water call each other", which means the coexistence of life that Confucians say. And the Tang Dynasty was an era when poets came to the foreground and philosophers went behind the scenes. The Tang Dynasty said that the peak of Chinese culture, but in fact there were very few philosophers, who lived in seclusion in the mountains or temples, and who came to the foreground? It is precisely to be able to grasp the different rivers of Chinese culture, but to express it in poetry, even monks and Taoists use poetry to express themselves at the same time, they are all poets, so poetry has become the strongest voice of the times and spread to the history of China, all the way to East Asia, to today's West, that is to say, it continues to us now, so this is a living spirit of Tang poetry.
Perhaps in the words spoken by our students today, perhaps they touched the great heart of a human being in the haze. For poetry is first and foremost a spiritual thing, it is not intellectual, it must be the fleshly one within you, the one who can be greatly moved, who can be incorporated into your little mind in all things natural.
Just now, the students also talked about whether poetry is just a kind of subject matter? Human experience may be constantly changing, and the subject matter of poetry, including words, time and space, has been changing, but poetry, poetry and poetry are not necessary things for our hearts and human nature. It may be expressed in Greek, such as Homer's Epic, in Russian it may be Ukla and Tokareva (transliteration), in French it may be Rimbaud, and in Chinese it may be Li Bai and Du Fu. But they actually contribute to the same heart, and this mind is what we have been diligently seeking, and it is the poetic and poetic capitalization of the capital letter that we ourselves become ourselves and the person who becomes human.
The principle of universality in the poem, which can flaunt itself in the lonely years of life, and be with social human beings when life is singing, I think this is an original face that we must have as human beings.
Therefore, I think that the spirit of the poems hidden in Tang poetry should be the big heart that transcends time and space, can hold the ancient and modern, and can even become the cosmic mind.
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