"Yin Window Meeting" is a collection of poems created by the famous painter Shen Zhou in the Ming Dynasty. The book is recorded as a Qing manuscript in the Bibliography of Rare Books of Chinese Ancient Books.
According to Qian Qianyi's "Shen Shitian's Yin Window Xiaohui", the first volume of the book collected many small poems and aphorisms from ancient and modern people, which were all copied by Shen Zhou himself. Later, this book was copied by King Zun, and the later volume was stored in Qianyun Tower, but because of the theft of Liuding, it is now gone.
Originally, the book was divided into two volumes, but unfortunately the second volume was unfortunately destroyed in the fire of the Qianyun Tower. According to the Bibliography of Rare Books of Chinese Ancient Books and the General Catalogue of Ancient Books of China, the manuscripts of the Qing Dynasty were preserved in Anhui, but I have not been able to find them after many searches, and I am afraid that they have been lost.
However, the first volume is fully included in Miao Yuezao's "Notes on Jing Mi Zhai" in the Shanghai Library. This manuscript has seven lines per half page, a total of 19 characters, black and white, left and right, a single fishtail, and the frontispiece is entitled "Shen Zhou of Cheung Chau".
Shen Zhou's book "Yin Window Meeting" records his reading experience in his later years, and contains 115 poems, among which Lu Shidao and Qian Qianyi's essays are also extremely rare.
This book is not only a concentrated embodiment of Shen Zhou's poetic thoughts, but also an important material for the study of the Wu Chinese scene in the Ming Dynasty, and neither Zhou Weide's "Quanming Poetry" nor Wu Wenzhi's "Complete Compilation of Ming Poetry" have not been included.
The "Yin Window Meeting" focuses on commenting on poetry rather than idle talk about skills, and it concentrates on Shen Zhou's poetic theory. Shen Zhou advocated casual improvisation in poetry creation, the pursuit of nature and not artificiality; In terms of poetic aesthetics, he pursues subtle elegance and unexpected taste.
The concept of "nature" has always been included in the theoretical system of ancient Chinese literature, which was put forward by Mr. Liu Shaojin. When Shen Zhou commented on poetry, he often emphasized the importance of "nature".
For example, the first verse he evaluated,"The empty house is lonely and the fireflies enter the bird's nest"、"The fireflies fly through the bamboo"、"Hotaru enters the monk's robe"、"A little lonely firefly shines lonely"These poems are the language of the poets of the Tang Dynasty, and they can see the scenery from the eyes, integrate the scenery and the image, and show the mystery of nature, as if it has not been processed by thought.
Pan Lang's poem "Suxi Zen Temple": "The night is cold and there is suspected rain, and the courtyard is quiet as if there are no monks." This kind of spontaneous sight and casual expression is the embodiment of the natural wonder of artistic creation.
Yang Ning's calligraphy has a similar natural beauty, he once wrote: "The clouds sail and the moon is halo, and the boat moves on the shore." Such works are based on natural and genuine aesthetic feelings, rather than from abstract concepts, traditional dogmas, and book rules.
The core idea: the importance of the wonder of nature in artistic creation, emphasizing that artistic creation should start from natural and real aesthetic feelings, rather than from abstract concepts, traditional dogmas, and book rules.
Shen Zhou once said that "seeing the scene and making love and understanding it through", emphasizing the importance of image intuition in artistic thinking, rather than logical reasoning. Only when the subjective emotion and the objective scenery are in harmony with each other, without the need for hard work, can the scene be blended naturally and produce a strong artistic feeling.
Shen Zhou repeatedly emphasized that poetry creation should be done as you like, as mentioned in the tenth poem, "Monk Jiaoran's "Nostalgia" cloud: 'Don't look for the elderly, nothing will go to the world.'" It was as if the two of them were meeting each other, and they were touching their mouths. ”
The fifty-second poem mentions "Pan Shiji's "Farewell to Fellow Villagers": 'Ask the old and the old, remember the old and half survive. This is a matter of urgency, and it is wonderful and elegant. ”
This kind of creation is to say it casually, and in terms of touch, there is no need to deliberately carve, it is natural, this is the "natural" way of creation.
Shen Zhou advocated that creation should not be constrained by thinking, but should let the beauty of nature flow on the end of the brush. He believes that the poet's excessive carving and deliberate arrangement often make the work lose its original meaning and beauty.
Shen Zhou encourages us to start from the little things in life, express our emotions freely, and let the inspiration flow naturally. Only in this way can we truly write works full of vitality and feel the subtlety of Tang people's works.
Fourth: In his later years, Tang Shen Zhou, through reading Zhou Xuan's "Ganlu Temple", deeply understood the subtleties of language that seem simple but difficult to express, and lamented whether those who only pay attention to carving words really understand the mystery.
Rule 53: Ke Maoqian's "Jiang Xing Morning Hair" mentions that we tend to pay too much attention to things in the distance, but ignore the real feelings in front of us. Only by cherishing the things around us can we truly appreciate the "natural wonder" of poetry.
The deliberate pursuit of the strange and the energy-consuming pursuit of far-reaching poetry often destroys the "natural" beauty of poetry. Only by using the most casual language, without human thinking, can we achieve the immediate understanding, the unity of the characters, and the true meaning of the poem.
For example, he commented on Tang Yanqian's "Changling", which is deeply touching and shows the unique charm of the Tang people.
At the same time, he also praised Liu Changqing's "Dedication to Li Xianggong" with elegant language and rich connotation, showing the superb skills of the Tang people. In addition, he also spoke highly of Chen Jianzhai's "Feelings", believing that its words are concise and far-reaching, which can be called a masterpiece of the Tang people.
The unexpected interest in poetry often stems from the beauty of plain nature. This kind of beauty is tempered and tempered over the years, from clever to clumsy, from deep and shallow dew, to achieve"The simplicity of ingenuity"with"Thick and light"of the situation.
As Zhao Shixiu wrote in "Sending Friends": "Spring is suspicious when the mountains are long, and the river is empty and rainy." "It's an affectionate depiction of natural beauty, and one feels the unexpected interest in poetry.
We can't get to see the whole picture of "The Window Club", but just by looking at the first volume, we can feel its extraordinary. This work is not only an important reference for Qian Qianyi's compilation of the Collected Poems of the Dynasties, but also has a certain influence on Qian Qianyi's poetic thoughts.
Through it, we can have a clearer understanding of the consistent poetic tradition of the Wuzhong region.
The "Yin Window Meeting" not only records the life of Shen Zhou in his later years, but also provides us with valuable materials for the creation of calligraphy and painting. The book was kept in the Qianyun Tower, so Qian Qianyi was able to get a sneak peek of it, and quoted it in the compilation of the Collected Poems of the Dynasties.
For example, in the fifty-ninth article of "Yin Window Meeting", Luo Zhuangyuan Lunyun: "Butterflies in the dust of flowers and trees in the meditation room, and foreign fish in the pure land pond." ”
Luo Lun, whose name is Yizheng, is a native of Yongfeng, Jiangxi, and the champion of Chenghua Bingxu, and serves as the editor of Hanlin. His poem "Butterflies in the Dust of Flowers and Trees in the Zen Room, Fish in the Pure Land Pond" was praised by Shen Shitian, but it was not included in the original collection.
In the Collected Poems of the Dynasties, Qian Qianyi deliberately highlighted the poetic tradition of Wuzhong, and traced, worried and advocated this tradition in depth, which is also an important part of Qian Qianyi's poetic activities and an important intention of the Collected Poems of the Dynasties.
Shen Zhou, as the leader of the Wu Chinese Altar in the middle of the Ming Dynasty, was also the main object of Qian Qianyi's retrospective, so he had a lot in common in poetic thought. Qian Qianyi's poetic thought emphasizes temperament and spirituality, which is reflected in "nature".
He once pointed out in the "Collection of Inscriptions and Grievances": "The poetry of the ancients is better to be natural and innocent, and if it only relies on tailoring, it is not real poetry."
.The works I have selected from "My Burn" are those works that are guided by feelings, suppressed and natural. ”
Under the background of the Tang Dynasty, Shen Zhou was obsessed with Song poetry, and this love for Song poetry was evaluated by Zhu Yunming as "dying in the Song Dynasty". In addition, the style of learning the Song Dynasty led by Qian Qianyi on the occasion of the Apocalypse can also be analyzed in depth from the perspective of Wuzhong's poetic tradition.
The discovery of "The Window Meeting" gives us a more comprehensive understanding of the artistic achievements of Shen Zhou, a top calligrapher and painter in the Ming Dynasty. The records of Shen Zhou's calligraphy and painting creation in this work, such as Ma Yuan's small scene painting mentioned in Article 48, and the poems inscribed by Gaozong in it, all reveal the essence and characteristics of Shen Zhou's calligraphy and painting creation.
This discovery will help us better understand the development of Shen Zhou's calligraphy and painting art and its unique style.
In Zhang Chou's "Qinghe Calligraphy and Painting Boat", volume 12, Shen Zhou's self-composed four-frame ink painting of mountains, forests, trees and stones, one of which is inscribed with the poem "The sky is pure and the bird flies away, and the road is quiet and the flowers are fragrant", which is very poetic.
In the fifty-fourth rule, Yang Ningshi wrote: "The clouds sail and the moon halo, and the boat moves to the shore", expressing the wonder of nature. At the same time, Tao Liang's "Records of Calligraphy and Painting in the Red Bean Tree Pavilion" Volume 2 records the cursive "Drunken Weng Pavilion Record" by Song Su Wenzhonggong, as well as the inscriptions of Zhao Wenmin, Song Changyi, Wu Wending, Shen Shitian and other princes, adding more historical value to this precious painting and calligraphy work.
The work is undoubtedly genuine, but the strokes are distinctive, and they are very different from his usual calligraphic style. I once saw the eight characters "the clouds lack the moon and the boat moves to the shore" in the Dongpo miscellaneous post, and he personally inscribed: "This calligraphy is like Yang Fengzi's work." ”
It turns out that the calligraphy of Young Master Yang (Yang Ning style) was regarded as a treasure by Song Shen Zhou, and it was rarely circulated, is it because he once valued and studied Young Master Yang's calligraphy?
Young Master Yang and Yang Fengzi are the same person, and this was written down by Shen Zhou after seeing Young Master Yang's calligraphy or Dongpo miscellaneous posts.
The second volume of Shen Zhou's "The Little Meeting of the Window" has been lost, but we can extract one of them from other documents. Under Yu Ben's "Yilaotang Poems", there is a record of Uncle Xue Yi's poem "Yongxinxi Xiaofan": "The willow broken bridge is out, and Yunshen Temple wants to float." ”
Shen Zhou called the floating character a way that the ancients could not do. The "Poems" of Shen Zhou mentioned by Yu Ben should be "Yin Window Meeting", which is recorded in the first volume of "Yin Window Meeting", but not recorded in the later volume of the dead one.
Yi Laotang Poems was written in the twenty-sixth year of Jiajing, which is relatively close to the Shen and Zhou eras, so the "Yin Window Meeting" that Yu Ben saw should be the whole book.
It is hoped that the surviving Qing manuscripts in Anhui have not been lost, and will be found again in the future, and after sorting, we can have a deeper understanding and study of Shen Zhou and Wu Chinese.
The Yin Window Meeting is a poem written by Shen Zhou in his later years when he studied works such as "Yingkui Rhythm", which concentrates on Shen Zhou's poetic concept of pursuing "nature", and also provides us with the background of Shen Zhou's reading and calligraphy and painting creation, which is an important material for the study of Shen Zhou and the Wu Chinese world of the Ming Dynasty.