Why Li Bai and Du Fu prefer "emptiness" and "self"—the Tang Dynasty poets' concept of emptiness and the pursuit of aesthetic effects

After hundreds of years of war and chaos in the Southern and Northern Dynasties of Wei and Jin, the unification of the Tang Dynasty made the Tang Dynasty poets remember history and frequently use the words "empty" and "self" in the face of nature, when "empty" and "self" appear in the same poem, some scholars believe that "empty" and "self" are intertextual from the perspective of semantics, which has the effect of portraying a static or static situation, and this article is intended to explore the "empty" and "self" concepts of Tang Dynasty poets from an aesthetic point of view.

The early Tang Dynasty poet Wang Bo wrote the "Tengwangge Poem":

Tengwang Gaoge Linjiangzhu,

Pei Yu mingluan sang and danced.

Painting Dong towards the flying South Puyun,

Bead curtain twilight rolls west mountain rain.

Idle clouds and pond shadows day leisurely,

The exchange of stars shifts a few degrees in autumn.

Where is the Emperor of the Cabinet?

The Yangtze River flows empty of its own streams outside the sills.

The Tengwang Pavilion was built by Li Yuan, the son of Li Yuan, the emperor of Tang Gaozu, who was enfeoffed as king of Teng, when he was the governor of Hongzhou, so the pavilion was named after King Teng. In the famous "Preface to the Tengwang Pavilion", Wang Bo made a very detailed lyric about the shape and victory of the Tengwang Pavilion: "The Changzhou of the Lindi Emperor, the old pavilion of the Immortals." The terrace towers over the green, the upper and higher mountains, the flying pavilion flows, and the lower floor is landless. Crane Ting, the haunting of the poor islands; the Guidian Lan Palace, the posture of the Legang Mountains. Therefore, the poem only points out the momentum of the Tengwang Pavilion with a "high" word, and a "Linjiangzhu" points out the location of the pavilion. The second sentence does not depict the grandeur of song and dance, but selects two details of "Peiyu" and "Mingluan" to lyrically describe the grand situation of "strike song and dance" leaving. The focus of the poem is not to write "the past" but to write the "present" of "where the emperor of the cabinet is now"; to pave the way for the "past" of "strike song and dance", "Oh, the resort is not frequent, the feast is difficult to repeat, the Lanting has been completed, the Zize Hill Ruins" is "now", and the words are condensed to the end.

From the two time points of "Chao" and "Sunset", The Tengwang Pavilion has the grandeur of "Painting Dong" and "Zhu Curtain", but now only "Nanpu Yun" and "West Mountain Rain" are accompanied by it, and its coldness can be imagined.

From space to time, "Idle Clouds" is different from the "Floating Clouds" of "Floating Clouds" of "Floating Clouds Wandering Ziyi, Sunset And Past Feelings", different from the "Lonely Clouds" of "Lonely Clouds Will Wild Cranes, Will They Live in the Human World", different from the "Colorful Clouds" of "At that time, the bright moon was there, and the clouds were once illuminated", but the idle clouds that did nothing, leisurely and freely, the idle clouds above reflected in the reflection of Your Excellency's River Pool, plus the "Day Leisurely" day after day, the long time of extreme speech; things constantly changed, and the stars shifted, plus " Since ancient times, autumn has been sad and lonely", so "several degrees of autumn" not only means year after year, but also year after year of withering and slaughtering, showing the ruthlessness of the power of time.

With the lyricism of space and time, it leads to the sigh of "where is the emperor in the cabinet now, the Yangtze River outside the sill" sigh, "the emperor in the cabinet" is the main theme of the poem, for the contrast between the present and the past, Wang Bo highlights the present and reality of the "present", with the passage of time, the main body of the poem "the emperor in the cabinet" disappears, and the past will let it pass, which is the consensus of the poets of the Tang Dynasty. The question pronoun "Ho" adds to the strength of this question, and then Wang Bo's gaze shifts from the Tengwang Pavilion to the Yangtze River outside the sill, which was once the object of the emperor's viewing in the cabinet, but now it can only "empty and self-flowing".

The poet Wang Bo's empty self-contemplation is manifested as follows: Wang Bo realized that the "Emperor in the Cabinet" plays a leading role in aesthetics as an aesthetic subject, whether it is the Tengwang Pavilion or the Yangtze River outside the threshold and the existence of the Emperor, there is a close relationship; according to Mao Zedong, "what we feel, we cannot understand it immediately, only what we understand can we deeply feel it." Feeling that only the phenomenon problem is solved, and understanding solves the essential problem", Teng WangGe and the painting dong and The Zhu Curtain exist as reality, and Wang Bo vaguely feels the "emptiness" formed due to the absence of the emperor in the cabinet.

Due to the absence of the emperor in the cabinet, Wang Bo vaguely grasped its "emptiness" and more realistically grasped the "self" of its self-propelled flow; Wang Bo failed to grasp the different connotations of "emptiness" and "self", so he could only use "empty self" to summarize it.

In the poem "Dengjinling Phoenix Platform", Li Bai not only distinguishes the different connotations of "emptiness" and "self" but further deepens them. The full poem is as follows:

Phoenix Tour on the Phoenix Stage,

Feng went to the Taikong River to flow by itself.

WuGong flowers and grass buried in the path,

The Jin Dynasty was crowned with ancient hills.

Three mountains and half a fall outside the blue sky,

The two waters are divided into Egret Island.

Always for the floating clouds to cover the sun,

Chang'an is not seen to make people sad.

The title is "Dengjinling Phoenix Platform", the main body of "Deng" is the poet Li Bai, the location of "Deng" is the Phoenix Terrace located in Jinling, the purpose of "Deng" is to visit, and the object of "Deng" is the all-round ancient capital jinling.

Shou lian writes legends from an aesthetic point of view. According to legend, in the sixteenth year of the Southern Dynasty Liu Song Yuanjia, the phoenix was gathered on the mountain, and when people thought that it was auspicious, they built the phoenix platform on the top of the mountain. "Phoenix tour on the phoenix stage", the main body of the "tour" is "phoenix", the platform is not empty because the phoenix debut has aesthetic significance; "the phoenix goes to the Taiwan air river self-flow", "the platform" is "empty" due to the lack of the main body, and the "river" can only be "self" as a thing of its own due to the lack of the main body.

Li Bai chose the two dynasties of Eastern Wu and Eastern Jin from the ancient capital of the Six Dynasties, the two images of "flowers and grasses" and "yiguan" vividly expressed the prosperity of Eastern Wu and Eastern Jin in the past, "Youjing" and "Ancient Hills" condensed the bleak reality of "people have metabolism, and exchanges have become ancient and modern"; the two verbs of "buried" and "cheng" expressed the historical view of "grass does not thank the spring wind, wood does not complain about autumn, who wields the spur to drive the four lucks, and all things are natural". Most poets in general think about the ancient humor about one life and one event, such as "In the old days, Wang Xie Tang Qianyan flew into the homes of ordinary people" (Liu Yuxi), "The most ruthless is Taicheng Liu, still smoke cage Ten Mile Causeway" (Wei Zhuang), and Li Bai used a few 14 words to highly summarize the rise and fall of the Eastern Wu and Eastern Jin dynasties.

The neck link lyrics the natural landscape of Jinling, "three mountains and half of the blue sky, two waters divided into egret islands", "half of the three mountains" towering beyond the blue sky, its tower can be imagined, "two waters" separated from it, forming Egret Island, its water potential can be known. "Falling" and "dividing" are two verbs, "falling" is not "sitting" but "falling" from outside the sky; "point" is separation, just like in the Bible, "Moses stretched out his staff to the sea, and Jehovah used the great east wind to make the sea water withdraw overnight, and the water separated, and the sea became flat", that is the Myth of Christianity, Li Bai wrote "Zhuangzha Creation Gong", is the mighty power of nature, Li Bai's natural atmosphere is magnificent, coupled with the magical imagination of wanting to fall outside the sky, forming the momentum of "white poetry is invincible, floating and thinking".

From the ancient capital jinling, he could not help but think of the reality of Chang'an, and thought of Tang Xuanzong's favor of Li Linfu, Yang Guozhong, and An Lushan, and was deceived by them, although Li Bai was rumored to be in The Third Dynasty of Tianbao (744) and gave gold to return; but Li Bai's ambition of "Ji Cangsheng" and "An Sheji" persevered, and as a close minister Li Bai witnessed "the clouds want to dress and flowers, and the spring breeze blows the sills." As a wise man, Li Bai has sensed the accumulation of many contradictions, which will surely set off an unprecedented storm, although "the imperial vault is afraid of not following the loyalty of the remaining" and "I will make up for it with my indulgence", based on a huge sense of anxiety and crisis, Li Bai first sounded the alarm bell of the Tang Dynasty, a "total" word, which not only added the intensity of "floating clouds covering the sun", but also added the intensity of "Chang'an not seeing and making people sad". Unlike Cui Hao's "sorrow" of "where is the Sunset Pass, and the Yanbo River makes people sad", Li Bai's "sorrow" has epoch-making significance. In the fourteenth year of Tianbao (755), "Yuyang Nai came agitatedly and broke the neon dress feather song", Li Bai's anxiety and foresight finally became a reality, and the eight years of war shook the foundation of the Li Tang Dynasty, forming a miserable situation of "looking down on the Luoyang River, walking in the vast wilderness, bleeding wild grass, and jackals doing their best".

"Dengjinling Phoenix Terrace" lyrically writes about the beauty of Dengling: the legend of the phoenix is beautiful; "if the fame and wealth are always there, the Han River should also flow northwest", the rise and fall of the Eastern Wu and Eastern Jin Dynasties should be the beauty of dialectical victory; the magical magnificence of the Jinling Mountains and Rivers is beautiful; Li Bai's anxiety and sense of crisis are also beautiful. In terms of time span, from the phoenix on the Phoenix Terrace to the Phoenix Terrace in Li Baideng Jinling; from the flowers and grasses of the Wu Palace to the buried path, from the Crown of the Jin Dynasty to the Chenggu Hills, especially the time of "three mountains and half of the blue sky, the two waters divide the Egret Island" is even more in the hundreds of millions of years, Li Baitian is only a person in ancient and modern times.

There are two aesthetic subjects in "Dengjinling Phoenix Platform", one is the legendary phoenix, and the other is the real poet Li Bai; there are two aesthetic fields, one is the aesthetic field of the phoenix on the phoenix stage, and the other is the aesthetic field of the poet Li Baideng Jinling Phoenix Platform. Because of the presence of the "phoenix" aesthetic subject, the "jiang" as an aesthetic object is meaningful because of the intersection with the aesthetic subject; due to the absence of the "phoenix", the "taiwan" from existence to "emptiness", "jiang" also becomes meaningless from meaningful, so as an aesthetic activity, it is the meaning and value generated by the intersection of the aesthetic subject and the aesthetic object. The lack of any aspect of the subject and the object cannot form an intersection, the aesthetic subject has a leading role, the subject is absent, and things are "meaningless, not objects" (Marx's 1844 Manuscript of Economic Philosophy) becomes a non-aesthetic existence. In the history of Chinese aesthetics, Li Bai for the first time clearly pointed out the leading role of aesthetic subjects in aesthetic activities; for the first time, he clearly pointed out that "emptiness" and "self" were signs of non-aesthetic existence; for the first time, different connotations of "emptiness" and "self" were distinguished, "Taiwan" formed the "emptiness" of emptiness in space because of "phoenix", and "Jiang" formed the "self" of the state of freedom because of "phoenix".

Li Bai's "empty" and "self" views show a grand atmosphere of the Tang Dynasty.

Du Fu's Shu Xiang further expanded the Tang Dynasty poet's concept of "emptiness" and "self":

Where to find the ancestral hall of the Prime Minister,

Outside Kinkan Castle, Persensen.

Reflecting the green grass from the spring color,

The yellow oriole is empty and good.

Three gu frequent annoyance of the world,

The two dynasties opened the hearts of the old ministers.

Died before he could get out of the school,

The long makes the hero burst into tears.

The Anshi Rebellion led to Du Fu "breaking away from the northeast wind and dust, drifting between the southwest heaven and earth", Sichuan Chengdu was once the capital of the Shu Han Dynasty, born in a chaotic world, Du Fu sincerely admired Zhuge Liang's heroic strategy, and successively wrote poems such as "Gu Bai Xing", "Wuhou Temple", "Eight Arrays" and so on. "Shu Xiang" expresses his own psychology of dedication and worship in a unique way. "Where to find" not only writes that the ancestral hall needs to be patiently searched in the remote place outside Jinguan City, "Cypress" is an evergreen tree, which is symbolic. "Persensen" wrote that he saw a tall cypress bush during his search, and realized that this was the location of the ancestral hall of the Prime Minister, and his joy could be imagined.

Du Fu chose the two images of "Bicao" and "Yellow Oriole", which not only pointed out that few people came to the ancestral hall, but more importantly, wrote out Du Fu's own dedicated psychology of having no time to take care of him, and unfolded Zhuge Liang's three aspects as a Shu phase from the spring color of the grass and the good sound of the bird air:

In 207 AD, Liu Bei went into exile in Jingzhou, where He took care of Caolu and Consulted Liang to make a grand plan for the world, and Zhuge Liang suggested that Sun Wu, who had Jingyi Erzhou as his base, internally repaired the government, and formed a united front against Cao Cao, who had millions of people and blackmailed the heavenly sons to order the princes, and waited for the opportunity to seize the world. Liu Bei's "three gu frequent troubles" is precisely to set off Zhuge Liang's foresight and foresight of "three divisions and planning strategies";

Zhuge Liang not only created the situation in which the first lord Liu Bei divided the world into three parts, but also was ordered to assist the later lord Liu Chan in supporting the crisis situation, and expressed the great spirit of Shu Xiang Zhuge Liang in the two dynasties of the first lord and the second lord, after bowing down and dying;

Zhuge Liang's heroic ambition is not rewarded and the death is a regret that countless posterity strangles his wrists, a "long" word points out time, a "hero" points out a tearful figure, although Han Zuo is difficult to recover, Zhuge Liang's merits and spirit are eternal. There are many similarities between the Tang Dynasty after the Anshi Rebellion and the end of the Eastern Han Dynasty; "To Jun Yao Shun, then make the customs pure" and Zhuge Liang's world plan have many similarities; "Sunflowers pour the sun, physical nature is difficult to seize", and Zhuge Liang has more similarities, so "before the master dies, the hero is full of tears" contains Du Fu's infinite affection and feelings.

The concept of "emptiness" and "self" in Shu Xiang has the following characteristics:

Du Fu's vision shifted from "the yangtze river outside the sills to the air artesian flow", from the "river" of the "Phoenix to the Taikong River" to the more subtle and distinct "green grass" and "yellow oriole";

"Yingjie Bicao" is written with color, and is a moving spring color, "Yellow Oriole leaf" is written with sound and is a moving good sound, Du Fu from the visual and auditory aspects of the lyrical world of sound and color, thus deepening the connotation of emptiness;

Because Du Fu single-mindedly worshiped Shu Xiang, the "Yingjie Bicao" failed to meet with the aesthetic subject, so it is said that "since the spring color" and "the yellow oriole in the next leaf" also did not meet with the aesthetic subject, it is said to be "empty good sound", showing the leading role of the aesthetic subject in aesthetic activities;

"Self" highlights the free state of the yingjie bicao, "emptiness" highlights the state of "emptiness and no dependence" of the leaf-leaved yellow oriole, and "emptiness" and "self" as a sign of non-aesthetic existence and reveal the different connotations of "emptiness" and "self".

"Su Fu" is another poem by Du Fu that embodies the Tang Dynasty poet's concept of emptiness:

In the autumn of the Qing Dynasty, the shogunate Jingwuhan,

Lonely River City candle remnants.

The Eternal Night Horn said sadly to himself,

The moon is good for who looks.

Wind and dust,

The pass is depressed and difficult to walk.

I've endured ten years,

Forcibly move to inhabit a branch of an ann.

It was already autumn, and as an aide to Yan Wu, the emissary of the festival, Du Fu had to stay alone in the shogunate because the grass hall on the banks of Huanhua Creek was far from the "River Castle" where the shogunate was located. "Shogunate" Du Fu only wrote two details of "Qingqiu" and "Jingwuhan", "Qing" is poignant, "cold" embellished "Jingwu", indicating the cold, "Qingqiu" and "Jingwuhan" render du Fu's "Sufu" miserable, lonely environment. "Alone" is the main theme of this poem, "alone" is lonely, the details of "candle" render the scene of solitude, and in the face of shorter and shorter residual candles, the poet's embarrassing state of mind of not sleeping at night is clearly revealed.

Closely following the first link, the jaw union "Eternal Night" said the length of the night, the sound of the horn was sad and agitated, which meant that the war was not over, and the "moon color in the middle of the sky" meant that the poet "si jia bu yue qing su li", "sad self-talk" and "good who sees" pointed out that the poet had another trust in his heart and was absent-minded.

The neck joint further expresses the plight of the poet, and the wind and dust refer specifically to war and chaos in Du Fu's poems. For example, "The Wind and Dust in the Sea" in "Wild Hope" and "Ten Thousand Miles of Wind and Dust In Autumn" in "Eight Songs of Autumn Xing". "Jingyuan" refers to the unconscious passage of time, "wind and dust" extremely chaotic war, resulting in the interruption of the news of relatives, "depression" lonely and snubbed, "Guansai depression" led to difficult roads, in the poem "Hate Farewell", Du Fu has written: "Los Angeles is separated by four thousand miles, Hu rode for five or six years." The grass and trees have decayed outside the sword, and the soldiers have blocked the old riverside", the longing for relatives and the attachment to the hometown have always been Du Fu's lingering knots, and home and country are linked, as shown in "Climbing the Tower": "Flowers near high-rise buildings hurt the hearts of guests, and it is difficult for everyone to climb here." The spring color of the Jinjiang River comes to heaven and earth, and the floating clouds of Yulei become ancient and modern. "Nine Days", where is the depression of the younger siblings? Du Fu's fate and the fate of the country are consistent, reflecting the unity of Du Fu's family and country.

From the chaos of Anshi in 754 to the year 764 when he wrote "Sufu", Du Fu experienced many twists and turns, how many hardships and pains he endured, "he has endured ten years of forbearance", and a word of "forbearance" emphasizes the encounter of ten years. "One branch" is from Zhuangzi's "Getaway", "the wren nests in the deep forest, but one branch", Du Fu was invited by Yan Wu to serve as an aide, but it was a reluctant one, as the "Twenty Rhymes of Yan Gong" said, "White water fish rod guest, Qingqiu crane hair." Hu Wei came to the curtain, only in the boat", after telling him many embarrassing situations, he asked Yan Wu to free himself from the dilemma of "turtle touching the net" and "bird peeping cage", "The black magpie is worried about the silver man, and the donkey is afraid of the brocade." Hui Xiquan looked for color, when leaning on the sycamore", "Black Magpie" did not have the power to fill the galaxy, "Donkey" lacked the talent of the far," Du Fu preferred to rely on the sycamore and be at peace, rather than inhabit the heart of the shogunate in the "SuFu", and the following year with yan Wu's consent, Du Fu returned to the grass hall.

"Su Fu" clearly expresses Du Fu's concept of emptiness:

Whether it is the "Sound of the Horn of Eternal Night" or the "Middle Heaven and Moon", although Du Fu was present, because they did not meet Du Fu, they could only be a kind of thing;

"The moon in the middle of the sky is good who sees," the rhetorical question "who looks" is actually no one to see, "who sees" is the variation of "emptiness";

Du Fu mobilized auditory and visual reactions, and wrote "Eternal Night Horn Sound" and "Middle Heaven and Moon Color" with sound and color, thus enriching the cultural connotation of "empty self";

"Eternal Night Horn Sound Sorrow" and "Good Moonlight in the Middle Heaven" mark non-aesthetic existence with "self" and "who sees".

Li Hua's "Spring Improvisation" is as follows:

Yiyang City under the grass,

The stream flows east and back to the west.

Fang tree no one flowers fall by itself,

Spring Mountain all the way to the birds chirping.

Yiyang was originally a famous scenic spot in the Tang Dynasty, and Lianchang Palace, one of the largest palaces in the Tang Dynasty, is here, and the daughter mountain ancient wood flowing spring, the scenery is beautiful; Yuzhen Road "mingliu away rhymes, laughing tree head flowers", not only deeply loved by Wuhou and Tang Xuanzong, but also attracted countless tourists. Yiyang was destroyed after the Anshi Rebellion. Yuan Shu's "Lianchang Palace Ancestral Hall" wrote that Lianchang Palace was "a pond of thorn hazelnuts, a fox rabbit proud of the trees." The dance hall is still there, and the curtains are still green. Dust buried powder wall old flower tin, birds pecking kites broken pearl jade". Under the city of Yiyang, the original peasants used streams of water to irrigate thousands of acres of fertile land, and the streams were orderly, and Li Hua used "grass and grass" and "east flow back to west" to express what he saw now, and wrote about trees with fragrance, because "no one", spring flowers could only bloom and fall by themselves. "Spring Mountain All the Way" uses the prosperity of spring to write about the continuous "mountain", because "no one", the birds can only sing empty. The great difference between Yiyang and the past makes the poets of the spring line feel endless sadness.

Through the four details of "grass", "water", "tree" and "bird", Li Hua uses a "cold" lyrical way to write love in the scenery, "no one" is the main theme of this poem, highlighting the leading role of the subject in aesthetics;

"Emptiness" and "self" mark a non-aesthetic existence generated by no one;

From the aspects of vision, smell and hearing, it shows the broadening of the poet Li Huakong's self-concept.

Wu Yuanheng wrote "Dengquan Lu Ancient City":

Ascend to the heights and look far away from yourself,

Willow blossoms reflect the ancient city.

The heyday has gone with the flowing water,

Yellow orioles chirp old spring sounds.

He is one of the overlords of the Spring and Autumn Period. Although this poem has the words "emptiness" and "self", since "self" is not a sign of non-aesthetic existence, it exists and does not matter.

Relationship aesthetics is the mainstream of traditional Chinese aesthetics, Zhuangzi's "Zhibei Tour" pointed out: "Heaven and earth have great beauty without words", heaven and earth have the possibility of producing great beauty, but heaven and earth themselves can not speak, what can be said, Zhuangzi did not touch, so that heaven and earth can only be a kind of "waiting" existence. Guan zi continued this topic, the "Five Elements" pointed out: "Man and heaven tune, and then the beauty of heaven and earth is born", "tune" is coordination, the pipe's thesis includes: 1. The generation of beauty requires the participation of both heaven and earth and man; 2. Man and heaven and earth must be in a harmonious relationship; 3. On the basis of coordination, beauty with present and realistic character can be generated; 4. In this relationship, man plays a leading role. For more than two thousand years, starting from Plato, the beauty pursued by Western aesthetics is the essence of beauty, that is, the reason why beauty is prescriptive, while the Aesthetics of Chinese relations is pursued in the relationship between people and objective things. The so-called beauty, ancient and modern Chinese and foreign theories are divergent, it is difficult to agree, it is worth noting the relationship aesthetician Diderot's view of beauty: "Beauty is the word we apply to countless objects, no matter how many differences these objects are, all these objects have a quality marked by beauty". The main points are: 1. No matter how different these objects are, all these objects have a quality marked by beauty; 2. Beauty is the word we apply to countless objects, and grasping Diderot's point of view helps us understand what beauty is, helps us understand the ambiguity and uncertainty of beauty. In the Tang Dynasty, Liu Zongyuan pointed out the classic proposition of relationship aesthetics in the "Record of The Horse Retreating Mountain Maoting in Yongzhou Liuzhong": "Fumei is not beautiful, but manifested by people." Lan Tingye, if he is not attacked by the right army, then the Qing turbulence repair bamboo wu is not in the empty mountain", the main points of which are: 1. The so-called beauty is not because of itself; 2. Because of human participation, beauty is manifested. There is also a reverse proposition in this proposition, that is, "Lan Ting also, if it is not attacked by the right army, then the Qing Turbulence Repair Bamboo Wu is not in the empty mountain", indicating that lan Ting's "Qing Turbulence Repair Bamboo" shows its beauty due to human participation. Without the participation of Wang Xi and a large number of people, then "Qing Tang Xiu Bamboo" has no meaning, the mountain becomes an "empty mountain", and the "Qing Shu Shu Bamboo" lives on its own and is desolate in the empty mountain, becoming a non-aesthetic existence. Liu Zongyuan's concept of empty self-concept not only supports and summarizes the poetry creation of Tang Dynasty poets from theory, but also inherits and develops the aesthetic idea of the relationship between Zhuangzi and Guanzi.

As a category of relations, relationship aesthetics to the Tang Dynasty in addition to the "beauty is not self-beauty, manifested by people" and non-aesthetic existence of the sign of empty self-concept, there is a theoretical gap, that is, the aesthetic subject and the aesthetic object of the intersection will produce what kind of effect, although Liu Zongyuan failed to clarify, but many Tang Dynasty poets with their own poetry consciously filled this gap, the most obvious is the talent of Heaven li Bai, he wrote the "Qingping Tune Words" three, the third is:

Famous flowers pour out of the country and the two rejoice,

Looks like a king with a smile.

Explain the spring wind infinite hate,

Agarwood Pavilion North Reminiscence Dry.

In Li Bai's pen, many natural things have spirituality, such as "still pity the hometown water, send the boat for thousands of miles", the hometown water is not only accompanied by Li Bai in the hometown, but now it is not reluctant to accompany the boat, and the affection of the hometown water is self-evident; "The birds fly high, and the lonely clouds go alone." Looking at each other is not tired, only Jingting Mountain", unlike the birds and lonely clouds, "looking at each other" means that Li Bai looks at Jingting Mountain, Jingting Mountain looks at Li Bai with deep affection, and "two are not tired" means emotional mutual recognition. The famous flower peony of the national color Tianxiang also has spirituality in Li Bai's pen, and as an aesthetic subject, Yang Yuhuan, a beautiful person who has fallen into the country, has naturally become the aesthetic object of the peony, "two phases of joy" means the transformation of roles, the beautiful person who has become the aesthetic subject, the famous flower has become the aesthetic object, and "huan" is the emotional effect formed by the intersection of the aesthetic subject and the aesthetic object. What is unexpected is the supreme king, the king as the aesthetic subject, the "famous flower" and "tilting the country" become the aesthetic object of the king, the "long" points out the time frequency of "laughing and looking", and the "laughter" is the emotional effect formed by the rendezvous between the king and the "famous flower" and the "tilting country". "Explain the infinite hatred of the spring wind, the north of the Agarwood Pavilion leans on the root" emphasizes that as long as the king and Yang Yuhuan come to the north of the Agarwood Pavilion together, the two rely on the root to admire the famous flowers, even if the king has a lot of troubles, it will also be frozen, Li Bai used the triple effect of "two phases of joy", "looking with laughter" and "explaining the infinite hatred of the spring wind" intertwined, creatively filling the gap in the theory of relationship aesthetics.

Du Fu's "Two Songs of Qu Jiang" is one of them:

Wear the flower butterfly deeply to see,

Point Water Dragonfly model fly.

The scenery flows together,

Temporary rewards are not contrary to each other.

Through the two images of butterflies and dragonflies, Du Fu sketched out the two pictures of butterflies wearing flowers and dragonflies dotting water, using "deep" to modify "see" and "paragraph" to modify "fly", not only rendering the beautiful natural form of butterflies and dragonflies, but also expressing his feelings for his freedom and self-indulgence, "carefully pushing the physics to be happy, how to use floating glory to accompany this body", commentators believe that "poetry is not ambitious, there is a sense of twilight spring", "appreciation" is the emotional effect formed by the rendezvous of Du Fu and the "scenery" of twilight spring.

Bai Juyi's "Long Hate Song" ends:

On the seventh day of July, the Hall of Eternal Life,

When no one whispers in the middle of the night.

In heaven wish for the bird with wings,

In the earth wish for the branches of the lianli.

The days go on and on and

There is no end to this.

"Long Hate Song" comprehensively lyrically writes that Li Longji and Yang Yuhuan are both kings and concubines, but also the love, marriage and tragedy between men and women, "in heaven wish for birds, in the earth for Lian Lizhi" wish to live and live as a couple is their common vow, showing the ultimate love. "The golden house is dressed up as a pampering night, and the jade house feasts on drunkenness and spring." Sisters and brothers are all in the soil, and the poor glorious door is born. So he ordered the parents of the world not to be reborn as a man and a daughter", writing about Li Longji's favor for Yang Yuhuan; "Yuyang Nai came agitatedly and broke the song of the neon dress feathers", "The king hid his face and could not be saved, looking back at the blood and tears and the flow", lyrically writing about the tragedy of Li Yang's love caused by the chaos of An Shi. Love and hate are the two poles of feelings, because the premature death of love has formed "hate", formed a "long hate" that transcends the heavens and the earth, beyond the endless time and space, this regret, the unsatisfactory "long hate" has formed an extreme aesthetic effect, as Chen Yi said, "Seeing the tragedy is the most painful, and the joy of deep pain is a higher joy than the general joy".

Meng Haoran "In the white clouds of the North Mountain, the hermit is self-pleasing", "Yiyue" is the aesthetic effect formed by the intersection of the hermit and the white cloud. Meng Shi was born from Tao Hongjing during the Southern and Northern Dynasties:

Where is the mountain?

There are many white clouds on the ridge.

Can only be self-pleasing,

It is not enough to hold the gift.

Examining the aesthetic effect is exactly what should be in the relationship aesthetic question.

The Tang Dynasty poets' concept of emptiness and the pursuit of their aesthetic effects will add a new page to the history of Chinese aesthetics.

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