Guess what: the idiom "boo-yun- and tricky" was originally used to describe it? A, building B, the seaside before the rainstorm.
Guess what the idiom Wave Was Originally Used to Describe the Answer.
Guess what: the idiom "boo-yun- and tricky" was originally used to describe it? This is the title of Ant Manor, the answer to what the idiom Wave Cloud Was originally used to describe, with two options: architecture and the seaside before the rainstorm. Students who are still unclear about the correct answer, let's take a look at the answer analysis.
Ant Manor Title: Idiom Wave Cloud Trick
<h1 class="pgc-h-arrow-right" data-track="27" > Guess: The idiom "boo yun wei" was originally used to describe it? </h1>
building
The seaside before the rainstorm
Ant Manor idiom wave cloud trick answer analysis
Bo Yun Wei, a Chinese idiom, means that the original description of the structure of the house is as varied as clouds and waves. After describing things as unpredictable. From Yang Xiong's "Ganquan Fu".
"Ganquan Fu" is a fu created by the Han Dynasty literary scholar Yang Xiong, one of the representative works of the Han Dynasty palace fu, first appeared in the "Book of Han YangXiong Biography", and later included in the "Anthology". This endowment is extremely exaggerated, describing in detail the whole process of the Hancheng Emperor's suburban ancestral Ganquan Taiqi, exaggerating the grandeur of the Tianzi Suburban Shrine as if traveling to the wonderland, and praising the longevity of the Liu Dynasty, while running through the irony.
Quanfu selects objects with characteristics, uses the technique of virtual and realistic, lays out exaggeration, rich imagination, boldness and grandeur, and fluent words.
This assignment is preceded by a small sequence that explains the reasons and purpose of the assignment. In the fourth year of the reign of Emperor Yongcheng of Hancheng (13 BC), Yang Xiongxiong traveled from Emperor Hancheng to Ganquan Palace and made this gift after returning to Chang'an, intending to satirize Emperor Cheng's outing. The "Book of Han And Yang Xiong Biography" says: "Ganquan ben left the palace because of Qin, which was luxurious, while Emperor Wu restored the heavens, highlights, and windwards.
Outside the palace, there are Hong, Wandering, Chu Xu, and Crossbow Tunnel, and in the distance are Shi Guan, Feng Luan, Zhi Que, Lu Han, Tang Pear, Shi De, You Guan Qu Qi Zhen Wei, non-mu Mo but not carved, wall painting but not painting, Zhou Xuan So Kao, Ban Geng's move, Xia Bei Palace Room, Tang Yu Rafters and so on.
And for its long time, not created by the emperor, if you want to advise, you can't be silent, so you can't push it, it is compared to the Imperial Purple Palace, if this is not what human beings can do, when the ghosts and gods can also. It was also the time when Zhao Zhaoyi Fang Da xing, every time on the Ganquan Spring, Chang Fa Cong, in the genus workshop leopard tail. Therefore, Xiong Talk sheng said that the car rides the crowd, and the driving of Sam Li is not so touching the heavens and the earth, and the three gods are against the three gods. He also said, 'Ping Yu Nu, but Concubine', and gave a small warning to Qi Su' in order to do so. Endowed with a play, the Son of Heaven is different. ”
Ant Manor Extended Reading: Idioms Wave Cloud Trick and Ganquan Endowment
This endowment strives to pave the grand situation of the Tianzi Suburban Ganquan Palace and the luxury of the Ganquan Palace architecture. The whole text is written in a sequential manner and can be divided into ten paragraphs.
The first paragraph reveals the purpose and hope of Emperor Cheng's appointment to Taisho, and describes the preparation of various matters before the trip. The second paragraph describes the situation when Tianzi ascended the city and drove the car on the road and traveled. The third paragraph describes the vista of the Tsutomu terrace and the situation of the plains, hills, and valleys seen along the way, as well as the continuous reflection of the palace annex. The fourth paragraph lays out the tall, grown, and profound knowledge of his palace room seen after arriving at Ganquan Palace, and lays out in detail the strange scenes in the hall seen by The Column Zhou Liu. The fifth paragraph describes what he saw when he roamed the Gaoguang Palace, the tall and rich of the Jichen Palace, and then gave a small warning to the danger of the linyuan.
The sixth paragraph describes the various acoustic changes caused by the strong wind blowing in the palace, and then admires the exquisite beauty of the palace building. The seventh paragraph describes the gathering of the Emperor Cheng and his able subjects in the Yangling Palace, fasting and renewing, purifying the heavens and the earth, and imagining that they would travel far and wide, ascending and descending the heavens and the earth, and spreading the gods. Subsequently, he warned Emperor Cheng to be pure in heart and to retire from female color in order to maintain his nature and increase his longevity. The eighth paragraph describes the experience of the Emperor Ofe, imagining that the gods have blessed a lot. The ninth paragraph describes the situation on the way home and sings praises.
The tenth paragraph summarizes the meaning of the whole text, saying that the emperor is respectful and sacrifices to the heavens, the gods rely on it, the blessings are widely blessed, and the descendants are infinite, and echo the beginning of the article. The whole passage is like looking at the long scroll of the canvas, slowly displaying, one by one, showing that all the kings and servants, the chema flag axe, the mountains and rivers, the grass and trees, the thunder and lightning, the palace view, the heavens and the earth, the gods and ghosts, and even the golden man and jade tree, the candle scenery are all complete.
In art, this endowment is exaggerated, rich in imagination, magnificent in boldness, and fluent in words. Ganquan Palace view, luxurious and magnificent, can not be written realistically. Fu Jia is to play the characteristics of the endowment, to virtual reality, exaggerated deformation, select several characteristic objects, sprinkle pen and ink, try to exaggerate, give people a sense of not leaving, plausible. This is the freehand technique of later painting, and was originally used as a pusher.
However, this endowment imitates Sima Xiangru's "Zi Fei Shang Lin Fu" and lacks its own characteristics. In his later years, Yang Xiong realized that the effect of works such as "Ganquan Fu" was counterproductive to the original intention, and was actually "persuading a hundred and ironic one". Yang Xiong was the first Han Fu writer to start the analogy, and "Ganquan Fu" inherited and carried forward the tradition of fu song established by Sima Xiangru, and the techniques were also exaggerated and exaggerated, and the words also tried to be gorgeous, but they flowed into the pile.
In general, Yang Xiong's "Ganquan Fu" can be compared with Sima Xiang's "Zi Xuan Fu" and "Shanglin Fu", which are representative works of Han Fu.
Ant Manor Answer: The idiom is full of whiffs
<h1 class="pgc-h-arrow-right" data-track="24" > guess the idiom Wave Yunwei was originally used to describe? </h1>
Answer: Architecture.
The above is the ant manor title, guess what: the idiom "bo yun wei" was originally used to describe? The answer is parsed, I hope you will like it.