After defining the basic categories of emotion and scenery, we can discuss the fusion of these two aesthetic images. This so-called image comes from Liu Xie's sentence, "See the image and carry the weight". The word "Jing" in Wang Fuzhi's poetics also shows this point. He expounded the main ways of combining aesthetic knowledge with aesthetic feeling, the form of aesthetic image and the psychological structure of aesthetic image integration, and put forward the problems of "scenery outside the scene" and "image outside the image", thus completing a relatively complete theoretical system of poetic artistic conception.
1, "Don't be emotional" —— On the combination of scenes
The scene combination discussed in this section is a process related to "Xing".
"Fu Bi Xing" is a very old theory in China's classical poetics. It first appeared in Zhou Li? Spring officials evolved with calendar officials; Different theorists in the early days had different connotations. Literary scholars who pay attention to politics and religion, such as Zheng Xuan, Chen Ziang and Bai Juyi, emphasize the realistic irony of the ideological content of poetry; Literary scholars who are interested in aesthetics, such as Zhong Rong, Jiao Ran, Yin Yun and others, illustrate a specific aesthetic relationship between poets and objects. Wang Fuzhi's views on this issue obviously belong to the latter (see Sanqi's criticism of Han Bixing's cowardice in An Introduction to Evening Hall and Yongri, and the note of Zhai Shi Hua, p. 127). ) and further developed it.
The latter point of view on "sex", such as Li's explanation in the Song Dynasty, is: "Touch things to feel, which means sex, and things have feelings." (Hu Yin: To Li Shuyi, Selected Works, volume 18, page 28, photocopy of Wensi Quanshu. Refers to a psychological process in which foreign objects arouse the poet's feelings. What is its role in creation? Let's start with a little poem:
Guan Heming's osprey, accompanied by the small continent of the river. My fair lady is easy to catch.
This is a typical short poem, which tells that a person is walking by the river and wants to praise a beautiful girl when he hears a pigeon cooing. In art, we can find three characteristics, that is, the harmony of foreign objects, that is, pigeons, to arouse people's feelings. This is a ... Therefore, the cries of the river bank and the pheasant dove are established existence, that is, "there is present significance, ready-made significance and real significance", and foreign objects are sketched and reproduced in the poem. The second is. Therefore, compared with "seeking things and expressing feelings", that is, "birds of a feather flock together", the natural things used by poets are more multifaceted and complete. Images such as pigeons appear in a poem, which is a metaphor rather than a metaphor, a symbol rather than just a symbol. It is a description of the character's environment, not limited to the description of the environment. It is difficult to distinguish the metaphorical meanings realized by poets through intuition rather than logic. This feature can be called versatility and fuzziness. Third.
In the ancient theory of "Xing"; All three characteristics are included.
First, Er Ya and Shuo Wen both taught "sex" into "qi". All theorists admit that it is fair to put things together.
Second, "Xing" emphasizes reappearance: "When you are in Xing, you are at leisure ... You go to those who are exhausted and feel more, and you will understand." ("Wen Xin Diao Long? Find ")
Thirdly, "Xing" is multifunctional and ambiguous: "Although it is metaphorical, Xing is implicit and explicit ("obscure and ambiguous "-Liu Xie), Xing is graceful and straightforward, and Xing is broad and narrow." (Chen Qiyuan's Discrimination of Shi Mao and Ji Gu, Volume 25, Page 6, published in the 18th year of Jiaqing. )
Therefore, we might as well sum up "Xing" in this way: Emotion triggered by external objects is a psychological law, which can be actively applied to poetry creation to make images show reproducibility and versatility; Ambiguous characteristics. Yang Wanli said, "Generally speaking, poetry works are also popular" (Answer to Uncle Xu of Jiankang Mansion, page 5 of Zhai Chengji, vol. 67, and photocopy the Complete Works of Wenyuan Pavilion). ); Luo Dajing said: "Poetry is flourishing" (He Lu Shi Xing, Volume 10, Page 104, collected by the Commercial Press. )。 "Xing" is the gene of China's classical poetry. It is often confused with empathy theory. In fact, it is different from the "empathy theory" under the romantic background in at least two aspects: the empathy theory represented by Lips, Volga and others emphasizes emotional projection, while "Xing" emphasizes feeling; Empathy emphasizes the subjectivity and personification of the object, while "Xing" emphasizes the reproducibility of things and the freedom and unity of human expression. Modern psychology shows that emotion is not the product of active organization, its passivity needs a pre-open state and the directness of experience, while rationality needs a closed and controlled active state. It can be said that "Xing" is the psychological symbol of China's classical poetics, which mainly focuses on lyric poetry. Wang Fuzhi fully integrated the theory of "Xing" in his creative theory, taking "Xing" as the main way of scene combination. Specifically, he expanded the sensibility of "Xing" into the unity of material feeling and emotional projection, the reappearance of "Xing" into an objective lyric way, and the ambiguity and versatility of "Xing" into the understanding of natural beauty and the dialectical structure of poetry.
Wang Fuzhi's emphasis on "Xing" is related to his materialistic aesthetic thought. He believes that the objective world itself has beauty. "The sky is unfavorable to people because of its sunny days, and things are unfavorable to people because of its modality ... It is interesting to people, and it is inherent in two rooms ... Will Xi turn a deaf ear to things and turn a blind eye to them, making them feel good?" ("Poetry Spreading"), Volume 4, Tang Ling, p. 12 1 page, Xiaohua Publishing Company, p. 1964. ) Moreover, he also separated the aesthetic object from the subject like Ji Kang:
Ji Kangri: "There is no sorrow and joy in the sound, and those who mourn are sad and happy, and those who are happy are sad. The sound of ocean music did not give birth to their hearts. What's that noise? " However, no, when you sigh, you don't mean that the singer is also happy. When you mourn, you sing, you don't mean that the singer is also sad ... Things don't fit, things don't make sense ... So, a gentleman values his husband's happiness, and what he gives is not expensive, but what he gives is expensive. The man who recovered from the disease is open to his feelings, and he is called to the victory of physics. Is it evil enough for him? (The Spread of Poetry, Volume III, On Drum and Bell, p. 100, Zhonghua Book Company Edition. )
Ji Kang unilaterally separated the relationship between subject and object in aesthetic activities when he opposed the Confucian thought of ritual and music education, and thought that "heart and sound are two different things. If these two things are true, the intercessor doesn't look at the appearance, and the one who pats the heart doesn't listen to the sound "(On Sound without Sorrow and Music, Selected Materials of Fan Shixue in China, Volume I, page 150, Zhonghua Book Company, version 1980). )。 While affirming the objectivity of beauty, Wang Fuzhi emphasized the induction of the subject's emotion by the object.
"Scenery is the medium of poetry, and love is the embryo of poetry." (Xie Zhen: Four Styles of Poetry, Volume III. Affirming feelings with things does not mean that before touching things, "the empty man has nothing to hide" and his heart is heartless. It is precisely because there may be feelings, when the feelings are stubborn, there will be "things and feelings are not allowed". But the feeling at this time is not the aesthetic feeling expressed in this poem. "Those who want to meet the scenery should follow their own aspirations" (Preface to the Sunset Red, Part IV), Notes on Jiang Zhai's Poems, page 50. ), what Wang Fuzhi wants to discover is such a realm, that is, the poet's mind and the object world are tacit and harmonious; The perception of things and people's emotional projection are unified: "those who are shaped outside me, those who are shaped inside me, and those who are shaped inside my heart are also unified." When they lean down and tilt up, they are connected to each other and they are happy. " (Biography of Poetry, Volume II, On Dongshan, page 68, Zhonghua Book Company. This is related to his philosophy of heaven and man, that is, "man is the master of heaven, not the master of heaven" (Book of Changes, vol. 6,236, Zhonghua Book Company, 1977). ) The attitude is the same. It is similar to Xiao Yi's theory of "feeling inside and outside" (see The Golden House? Make a statement. ), and with extraordinary empathy said:
Only in Ukraine. You have feelings when you cry, but you have no feelings on the set. Happiness is not chaotic. (Selected Poems of Tang Dynasty, Volume I, comments on Li Bai's Night Cry. )
Deliberately or unintentionally, I love the scenery, and I love mustard. ("Poetry Translation" (Liu Yi), "Jiang Zhai Poetry Notes", p. 33. )
..... how natural it is to be mentally and physically involved? (Selected Poems of Ming Dynasty, Volume 5, page 27, Wen Zhiming's review of April. )
He respects "physics" and resolutely opposes imposing subjective feelings on natural objects and distorting them. He dismissed this way as "bending the family's influence", "domineering", "trying to smash the door with a stick" and "expressing affection with ochre", which is a reproducible extension of the above-mentioned "xing":
The inherent nature of the two rooms is beautiful because of the change of flow. As far as the mind is concerned, words look like their own glory when they get there. If it exists, it will shine brightly and move people. The ancients chanted for it, but the spirit was lost, and later people were surprised, but they didn't know how to follow the quality ... Why did it affect when it happened? (Selected Poems, Volume V, Page 12) Comments on Xie Zhuang's The Secret Garden of the North House. )
Because of this, he tends to imitate things instead of personification, even to the extreme. He criticized Tao Qian and Du Fu for saying:
"Good seeds also breed new ideas" is a new phrase. Ling Du got this, so he was moved by flowers and birds with his selfless virtue, and his indisputable heart was arbitrary. I don't know whether the two landscapes are very close, whether there is a limit to my career, whether I will push each other with my own eccentricity, and whether I will understand better than laughing at other people's songs. (Selected Ancient Poems, Volume IV, Page 3, comments on Tao Qian's Thoughts on Tian She in the Early Spring of Guimao. )
Here, personification and personification are not from rhetoric, but from the sense of aesthetic subject-object relationship. The imitation of things emphasizes the sense of things. From things to me, it is the generalization of things and the unity of materialization of people. The theory of "Xing" has been expanded into an objective lyric way.
This is what he called "those who make good use of their feelings will not gather the glory of all things in the world, but gain their own sorrow and joy" (Biography of Poetry, Volume III, page 75, On Picking Wei, Zhonghua Book Company Edition. )。 The representation of "emotion" and "sex" must be unified. How to unify? First of all, we should make use of the fuzziness of "Xing", that is, the fuzziness of natural beauty, which is composed of various connections between nature and human social life:
Prosperity is intentional or unintentional ... When you know that "I am a cloud man" praises people, it will increase people's brilliance. People who are very worried about drought will be conducive to inflammation. If there is no discomfort, there will be no discomfort. ("Poetry Translation" Liu Yi, "Notes on Jiang Shi Hua", p. 33. )
It is also a poem "I am a cloud man" with natural scenery as the theme, in "Elegant? Is this used to praise Zhou Wenwang's works in Bai Pu and Ru Ya? In Han Yun, however, people lament that there is no rain, and the relationship between nature and human society is complicated: "Heaven and nature are physical, but coke is sad, and it can be inexhaustible." (Poetry Translation, ibid., p. 34. ), so "no discomfort. "
However, after all, Wang Fuzhi admitted that "when I am sad, some people are unhappy" ("Biography of Stone Light", Volume III, on picking Wei). ), that is, there will be a situation of "inaccurate perception". Then, how can we make the subject "live outside" and "not gather the glory of heaven and earth"? Here, Wang Fuzhi put forward a proposition that is original in theory and of great significance to artistic phenomena:
"In the past, I'm gone, willow is the one. Now I am thinking that it is raining again. " Write mourning happily, mourn Syaraku sadly, and double its sadness and happiness. Knowing this, "the shadow is still in the thousands of officials, and the heart is in front of the Su Qi School", "Only the scenery of Zhongnanshan is there, and the unfathomable is still full of Chang' an", and the affection is evident. ("Poetry Translation" IV. Notes on Jiang Zhai's Poetry, p. 10. )
This artistic phenomenon existed in a large number of China ancient poems long before Wang Fuzhi's poetics, and seems to have some vague consciousness, but only when Wang Fuzhi realized that "things and feelings are incompatible" can it dynamically evolve into a deeper and more functional structure.
Combining scenes to achieve artistic conception-this is a topic that many people talk about all the time. However, Wang Fuzhi went beyond this general proposition and found the main way of combining scenes, which showed his profound understanding of the artistic tradition of national poetry.
2. "Emotion is born in context, and emotion contains context"-On image form
"The combination of aesthetic knowledge and aesthetic emotion will have different forms," Wang Fuzhi fully noticed this problem:
Two were called at the scene, but they could not be separated. God is infinite to poets, and skilled people have feelings in the middle of the scene. ("The evening hall will last forever" (14) "Notes on Jiang Zhai's Poems", p. 72. )
Wang Fuzhi believes that this is mainly in three forms. The so-called "wonderful infinity" is the highest aesthetic realm in his mind, which is completely consistent with his view that "Xing" is the main way to combine scenes. In this realm, the poet's mind and infinity seem to interact: "drinking too much, flying alone with cranes", his feelings are flying in space like cranes, and he is sipping the crystal-clear beauty of maximization, which is the essence of his mind. For example:
"Spring grass grows in the pond", "butterflies fly to the south garden" and "the moon shines on the snow" all complement each other. You say a word, you will get a round and beautiful pearl, and you will meet the scenery according to your own mind. (Introduction to Evening Class and an Eternal Day is the fourth part, the same book, page 50. )
"Love in the scene" is to express feelings with the scene, "natural feelings", and everything starts from the scene. In the process of casting images, aesthetic knowledge stands out, and after emotional pouring, a new embryo of life images is formed:
Those who fall in love in the scene, such as "a bright moon hanging in the capital", naturally feel lonely and recall distant feelings; "A thousand officials are quiet in the shadows", so it is natural to be happy. ("The evening hall will last forever" (14) "Notes on Jiang Zhai's Poems", p. 72. )
The so-called "love field" is an aesthetic image that focuses on performance and is supplemented by the reproduction of objective life scenes. There is a scene in the middle, which is to let the emotions take shape:
"But my relatives and friends didn't give me any news, and I was old and sick, alone with my boat" ... Try to set yourself as a vision of Ling Du, and then the second language in your mind actually appeared, which is also in the middle of the scene. (Introduction to Water Day in the Evening Hall, compiled in Liu Yi's Biography of Poems in Jiangzhai, p. 74. )
In addition to these three main aesthetic images. Wang Fuzhi also noticed another form of aesthetic image:
..... With the psychological romance of landscape writing, there are few metaphors of body and mind; Pull it out gently. In Shi Mao, Dr. Xie wrote the second poem "The Minister Governing the Country" with the word "Murmur's fate, to tell the truth, the road is long, but Xiu Yuan is Xi", like a string of beads. Therefore, it is in the same strain as "I have been there, Vitamin Yiyi: Today I think it is raining". (Introduction to Water in Evening Class (24), ibid., p. 9 1-92. )
"fangs? These two poems do not describe specific life scenes, but only describe the thoughts of governing the country. However, the poet's feelings are condensed with aesthetic comprehension's so-called "psychological love for scenery (image)", so it can also create an aesthetic realm. The quality of these two poems can certainly be discussed; But what is important is that Wang Fuzhi tells a truth here: even direct lyric works should grasp poetry from the aesthetic feeling of the subject to the object. Materialize emotions.
3. Four images are infinite "-on the image structure.
Wang Fuzhi's poetry creation theory emphasizes artistic conception, which is also reflected in the structural theory. He believes that there are three ways to write poetry:
The combination of scenery and language: the combination of words; Those who are inferior in meaning win; That is, the purpose is the thing, which is self-contained, and there is no need to join cicadas. However, under the chanting, it is natural and wonderful to know that there is something here. "The sun is high, and the shadows of flowers climb" is different from "Flowers fall, stars fall, and the willow blows the flag and dew", which is considered as an evil poem. As a symbol, ""is still intended to be associated with needle and thread. As the saying goes: "A bright light, the breeze is cold", the upper and lower scenes are almost not lasting, but naturally they are connected for a while, naturally harmonious, reasonable in place, reasonable in people's understanding, and have no intention of intimacy. Alas, it's over! ("Selected Ancient Poems", Volume 4, Page 12, comments on Serina Liu's "Giving Five Palace Army Commanders". )
The so-called "conjugator" in a broad sense refers to the "method" of poetry writing in the Song and Yuan Dynasties with the external language structure of the cause as the latitude and longitude, which he scoffed at; The so-called "taking meaning as the second priority" is still half the meaning of prose. The so-called structure of "the purpose is the thing, and it is self-contained and does not need to be linked" is the internal psychological structure or image structure of poetry, which is the real unity of poetry, and the important category of Wang Fuzhi's poetics "pad" is related to this.
"Shi" in the pre-Qin legalists Shen Dao and Han Fei (see Han Feizi? Difficult situation. ); In Liu Zongyuan's feudalism, it refers to objective inevitability; In Liu Xie's Wen Xin Diao Long? Setting "refers to the form required by a certain content; In Wang Fuzhi's philosophy, the unity of reason and reason refers to the inevitability expressed by objective laws (The Complete Works of Reading Four Books, vol. 9, p. 60 1), "With reason, it naturally becomes emotion, and you will see reason where it is inevitable. "Zhonghua Book Company 1975 edition. )。 The "potential" in Wang Fuzhi's poetics is also related to the above meanings of "necessity" and "nature", that is, "from beginning to end, from nothing" and "the cold of the sky, the success of things", which are opposed to the Yellow Valley because of nature, lead to the same artificial methods:
Set a topic, set a person, set a thing, set a thing, and seek form, model, analogy, words and reason on it. For example, if a blunt axe splits oak and oak, and dander is falling, why not move a grain? Meaning comes first, then potential. Those in power are also in their hearts. I just thank Le Kang for taking advantage of this situation, turning around, bending and stretching, so as to do my best. When I have exhausted my intention, I will stop. There is almost nothing to say, the shackles are curled up and the clouds are lingering. It's a real dragon, not a real dragon. ("Preface to the Evening Hall" is biased (3), "Notes on Jiangzhai Poems", p. 48. )
It is impossible to create the life of poetry by carving boats for swords and playing pipa with rubber columns. Poetry is "desirable." "People who follow the inevitable trend are rational and rational people are natural." (On Song, Volume 7, 134, Zhonghua Book Company, 1964. )。 Both reason and potential are natural and both come from "heaven". This so-called man of heaven is inspired by "accidental genius". Therefore, the so-called "taking advantage of the situation" means that when generate was inspired and poetry surged, an organic connection was suddenly established between care and image, and between image and image, which is what Jiao Ran said, "the language is prosperous, the situation is in love, and there is no intention" (Poetry Style, Poems of Past Dynasties, first. )。 This organic connection can also be called logic, but it is by no means an abstract logic or law as some theorists say, but a logic with specific content like dialectical logic, that is, "one chapter has one chapter" (Selected Poems of Ming Dynasty, volume 5, page 24, commenting on Yang Shen's "Returning to the Near"). ), "Don't ask for it by opening and closing the pulse, it is naturally in people's hearts" (Selected Poems of Ming Dynasty, Volume V, page 28, commenting on Zhang Zhi's Jiang Su). ), only the logic of seed selection can make the poem itself alive, and it is a real dragon, not a painting dragon. "This is a kind of emotional logic, which is what we call the image structure, which Wang Fuzhi calls" the divine principle in the heart ":
Putting God and reason together, between far and near ... "Grass by the Green River" and "Continuous Philip Burkart Road", why do they cling to each other and spit on each other? God makes do, naturally. "("Preface to the Evening Hall "consists of eleven chapters," Notes on Poems in Jiangzhai ",p. 63. )
In general, Grass by the Green River and Philip Burkart Road may have no connection. However, at the moment of poetic surge, this grassland suddenly established an organic connection with human feelings. However, there is a rich imagination space between the two: maybe people from the past stayed on this grassland? Perhaps the poet's melancholy is as endless as this grass? Perhaps the germination of grass by the river reminds people of another year's difference? This is the fuzziness of the so-called "xing" mentioned above, but it also reflects the special relationship between reality and emptiness, reality and spiritual realm in poetic potential:
Painter's Day: "There are thousands of pills in hand." The word "potential" should be focused. If no matter what the situation, Wan Li will be close at hand, this is the wide picture of the day before ... such as "Where do you live? Near here, next to the fishing pond? . Let's catch our boat together, let's see if we belong to the same town .. "The ink is direct, the four tables are infinite, and there are no words everywhere.
("Preface to the Evening Hall" is compiled in 42, "Notes on Poems in Jiangzhai", p. 138. )
"Look at its quality from a distance and its potential from a distance." (Tang Dai: A Brief Introduction to the Picture Gallery, edited by Yu Jianhua, Category Theory of Chinese Painting, p. 862, China Classical Art Publishing House, 1957). The "potential" and "quality" in ancient painting theory are relative. "It is difficult to build mountains and rivers, but Wan Li is a thousand miles away" (Tang: On the category of Chinese painting, p. 733. The so-called "potential" refers to the majestic momentum shown in a limited frame through the painter's brush strokes. In Chinese painting, this composition is dynamic and the melody of the soul is playing. ("Mustard Seed Painting", Volume 1) "Ink is expressed by the gas field of the heart and wrist ... the gas becomes momentum, and the momentum resists it." On Chinese painting, page 907. ) Leave it blank. Da Zhongguang, a painter in the Qing Dynasty, said, "Why write when the mountains are beautiful and the waters are beautiful?" It is difficult to draw an empty picture, the real scene is clear, the mountains and rivers are empty, and the gods can't draw it. Truth is forced, and God is born. The position is awkward, and most of the paintings are warts: the virtual and the real are born together, and the paintings are all wonderful. "("Painting Sasakawa ","On Chinese Painting ",page 809. Poets also need to "compose" when creating artistic conception. The difference is that there is a process of compressing space and transforming time into space, and there is also a process of compressing time and transforming space into time series. Therefore, the "blank" left in the artistic conception of poetry is not only a blank of space, but also a blank of time. Wang Fuzhi's poem "Cui Hao" only intercepts a dialogue of boating on the water, but it arouses a wider imagination in readers' minds, that is, "the image outside the image" and "the scenery outside the scene" that he often mentioned in his poetry criticism. Like inside and outside, between scenery and scenery, as he said, "three inches away from the hook, gold scales and gold" ("Tang Poetry Selection" Volume III, Wang Wei's "Hunting"). ), "When we left, it was wonderful" (Selected Ancient Poems, Volume V, comments on Xie Tiao's "Province of Songs and Ji Poems"). ), the artistic conception of poetry is therefore likely to be infinite: "A pen and ink beat, four tables are infinite, everywhere!"
Western poets once praised the rich metaphorical relations of China's ancient poems with "image superposition" and marveled that they could ignore the grammatical and logical relations and exist. In fact, this logic of integrating images is also Wang Fuzhi's "potential". It not only explains the inevitability of image structure, but also summarizes the traditional characteristics and pursuit of China's combination of reality and reality.
4. "Clever is clever, and countless"-On the directness of creation
Pursuing the natural state in creation is a consistent thought in Wang Fuzhi's poetics, which often appears in his poetry criticism:
The scenery of heaven and earth, the author's mind, is ingenious, and you can make up for it if you bump into it. Why hesitate? (Selected Poems of Ancient Poetry, Volume V, Page 3) Comments on Xie Lingyuan's You Nan Ting. )
The incisive language in the poem began in Jingyang ... without thinking and description, it actually speaks for heaven and earth, but the subject and object in the scene complement each other. "Butterflies fly to the South Garden" is really unlike human beings. Xie Ke's "Spring grass grows in the pond" benefits the latecomers, which is almost equal. It is almost a coincidence that the pen is in your heart. How many times? (Selected Ancient Poems, Volume 4, Page 28, comments on Zhang Xie's Miscellaneous Poems. )
Wang Fuzhi called it "heaven" and "number" here. "Before writing, the craftsman's intention is unknown", which is inspiration. It is the natural driving force of creation. Schelling's so-called objectivity in intuitive activities is an unconscious psychological activity that suddenly appears in the poet's mind. This unexpected "ingenuity" is exactly the opposite of artisan's intended production. From the beginning of production, Du's Korean language was regarded as a model, which made the art in the late feudal society increasingly integrated into certain rules. Wang Fuzhi, by denying this model (such as Du Fu's poems), called for the reappearance of the cultural spirit in the rising period of feudal society.
Zhu Fu's explanation of inspiration can also be found in philosophical works. This explanation did not leave the intuition of ancient materialism. He believes that thinking and existence are unified in a certain material form-qi. People's various psychological functions are nothing more than the attribute of qi. Between heaven and man, there will be a mysterious induction due to this isomorphic relationship:
The shape of hair is not heaven; Things become uneven, which is not natural. Two-stage attack and adversity. ("Zhang Zizheng received the note? Big Heart, page 126, Zhonghua Book Company, 1975. )
Gv, the sky is here and people are there. It's no use having nothing to do with heaven. ("Zhuangzi solution? Sheng Da, p. 164, Zhonghua Book Company, 1964. )
This may be the philosophical basis of his superstitious perception and emphasis on "no thinking and no description" in aesthetic activities. He almost attributed creation to a purely natural process. Wang Fuzhi often reminds people of Feuerbach. Feuerbach thought: "Man is his own God", while Wang Fuzhi said: "Man is also a sky" (Reading as a Mirror, Volume XIX, page 142 1, typesetting by Zhonghua Book Company, 1975). ); Feuerbach believes that man is the product of nature. Wang Fuzhi said: "Man is the essence of the two schools, and he is good at heaven" (Volume IV of Poems, On the Yi Emperor, p. 1 19, Zhonghua Book Company Edition. ); Feuerbach believes that rationality is also the attribute of natural products, even "food" ... becomes the essence of thoughts and beliefs ... man is the kind of thing he eats. "Kung Fu said," People who eat are full of qi, and qi is also in God's mood, and God is also in the letter of nature "(On Poetry, Volume V, p. 155).
Like this German humanist philosopher, Wang Fuzhi often uses the view of nature to explain social practice activities, which makes his humanism still naturalism and makes him inevitably ignore the subjective initiative of artists. In poetry creation, this is mainly manifested in imagination. It is the intermediary between subject and object in western poetics (Coleridge).
What is imagination? It is the intermediary of the transformation from unconsciousness to consciousness in creation, and it is the psychological practice process of the poet's analysis, synthesis and transformation of appearances. When Chinese and foreign literary critics talk about imagination, they almost always talk about its relationship with memory representation and its characteristics that it is not limited by body view. For example, Vico thinks: "Imagination is just a memory that is expanded or combined." (Quoted from Foreign Theorists and Writers on Thinking in Images, p. 25. ) Liu Xie described "thinking" in this way: "Above the rivers and seas, under Wei Que ... think after a thousand pieces; Quietly, see Wan Li. " ("Wen Xin Diao Long? Meditate. " )
Wang Fuzhi may not be generally opposed to imagination. However, when he emphasizes the limitations of perceptual opportunity and body view to an inappropriate degree, he is actually rejecting imagination, especially creative imagination.
In Wang Fuzhi's view, not only aesthetic comprehension is a "presence quantity", but also the whole creative process is an "observation quantity". "Present quantity" and "non-quantity" are relative in emphasizing perceptual experience. Among them, the "present quantity" means that "now Bak Yan once took pictures", while the "non-quantity" means that "the five dusts left the shadow of the past, hoping to meet again and make the past appear"; "Current quantity" means "ready-made" and "non-quantity" means "wishful thinking and unreasonable". )。 Studying the meaning of the text carefully, we can easily draw the conclusion that Wang Fuzhi opposes the imagination of unconscious objects. This is also reflected in his poetry criticism. Li Mengyang and others' creative thoughts divorced from life should be criticized, but they are accused of "thinking about the sky on the ground and sailing with bare hands". If it is not raining and dark, clouds and purple fog will rise between households; Where the immortals meet, the trees meet, and Beidou is proud and wants to have it in hand ... "(On the second page of the fifth volume of Selected Poems of Ming Dynasty, Gu Yu commented on" * * * Pan Dong Wang Tanzhi ". ) is unreasonable. Because Wang Li admires Qu Yuan. Li Bai does not doubt this. This stubborn and biased view makes people feel that he is repeating the mistakes of Wang Chong's literary theory.
However, does his biased view of emphasizing perception and body view have any profound meaning? If we look at the problem from the perspective of national art rather than general art, the answer is yes. Any artistic theory is based on certain artistic practice. As the background of Wang Fuzhi's poetics, China's classical lyric poetry has its own characteristics. It's also interesting to compare China's traditional landscape poems to creation: China painter strolls around famous mountains and rivers, "The dispute between mountains and rivers is worrying" (Wang Wei: On the classification of Chinese paintings, pp. 585-586. ), the work was completed between several cases after a complete tour; At that time, "everything was in Fu Ling; Not in the eyes and ears "(rich: preface to Mr. Zhang Wai's painting of turquoise), Classification of Chinese Painting, p. 20. ), the painter "looks at the gods" (Dong Zhao: "Nature in Painting", "On the Classification of Chinese Painting", p. 252); China poets linger in spring and autumn, but they might as well be "everywhere" and "reading" (Zhong Rong: Poetry. ), although it may not be an article, it is often said that the poet "has no chalk in his nose and no membrane in his eyes" for an instant (Ge: Rhyme in Volume 1, He Shi Hua, p. 183, Zhonghua Book Company, 198 1 version. ), "a word is born from the heart to the eyes" (Yuan Haowen: "On Thirty Poems"). ); For a long time, there have been few sketches on the spot, but many poems have been handed down. Therefore, China's landscape painting pursues the continuity of time as a whole, and what the painter uses to observe the rhythm of the universe is what Shen Kuo called "the method of making a big picture small"; Therefore, China's landscape poems pursue the coexistence of fragments of space, and what the poet uses to expand the artistic conception can be Wang Fuzhi's so-called "spreading the god of big scenery with small scenery" (preface to the sunset (25), Jiang Zhai Shi Hua, p. 92). ), and "make a hullabaloo about, but make it fall behind and not kiss" ("Introduction to the Evening Hall and the Sun" (25), "Jiang Zhai Shi Zhu", p. 92. ) ...... All of the above are gundam? Neither Finch's view of poetry and painting nor Lessing's famous works can cover it. It needs our own writers and artists to learn from our own art. Based on the background of surgery, we can draw a conclusion that can summarize this special law, even if it is extreme. Wang Fuzhi has made such valuable efforts in poetry aesthetics. Therefore, we can say that Wang Fuzhi made a mistake in theory, but it was a profound mistake.