三月初三
《搜神记》里年纪七十,看上去像十五六的神女成公知琼,因“天帝哀其孤苦,遣令下嫁从夫”,于是成为北郡从事掾弦超的妻子。曾自言“我,天上玉女,见遣下嫁……然我神人,不为君生子,亦无妒忌之性,不害君婚姻之义。遂为夫妇”听上去像是一份前卫的的婚前告知[思考]
婚后知琼“夜来晨去,倏忽若飞,唯超见之,他人不见。虽居闇室,辄闻人声,常见踪迹,然不睹其形”,就连分离后重归于好,也是“每于三月三日,五月五日,七月七日,九月九日旦,十五日辄下,往来经宿而去”,有种虚无缥缈、如梦似幻、若即若离、无法掌控的朦胧灵异感。
●蟠桃会
钟师奏道:“左卷帘大将军冲和子,因三月三日在蟠桃会上与云阳子醉夺蟠桃,打碎玻璃玉盏,冲犯元始天尊圣驾,贬在下方韩家为男子,名叫韩愈,这便是韩湘的叔父。云阳子贬在下方林家为男子,叫名林圭。如今罪限将满,合还旧职,只是无人前去度他。”(《韩湘子全传》)
●赛宝会
却说三十三天玉皇上帝,起一赛宝会,出下玉旨,令集三界神祗,及西天诸佛,俱各要赴金阙,各带宝贝赴会,三月三日,大开天门,西天世尊同上帝首坐,众神挨次序而进,山呼礼毕,依次而立。(《南游记》)
●斋三月三
老人曰:“老夫此处乃是雍州地界。老夫姓孙名皓,一家七口俱斋三月三日。”祖师问曰:“斋三月三日为何?”老人曰:“老夫闻言说,有一人为武当山中修行成道,今已上天,我等求其福庇,故斋他的生日。”(《北游记》)
●贾琼受《童子箓》验
成都贾琼,年三岁。其母因看蚕市,三月三日,过龙兴观,门众齐受箓,遂诣观,受《童子箓》一阶。十余年后,因女兄有疾,母为请处士吴太玄,为入冥看检致疾之由,仍看弟兄年命凶吉。经宿太玄还,言疾在江渎,求之即差,籍中不见有贾琼之名。父母愈忧,复请太玄看之。时太玄每与人入冥检事,必锁于一屋中,安寝而往,不复人惊呼,候其自醒,唤人开门,乃开之,历历说冥中之事,有如目击,言必信验。或两宿,然后回尔。既再往检琼名字,云年三岁时,三月三日,于龙兴观受《正一箓》,已名系天府,不属地司,籍中不见名字,于天曹黄簿之内,检得其名。(《云笈七签》)
●紫书存思九天真女法
《紫书诀》言,凡修上真之道,常以九月九日、七月七日、三月三日,此日是九天真女合庆玉宫,游宴霄庭,敷陈纳灵之日。至其日,五香沐浴,清斋,隐处别室,不交人事,夜半露出,烧香北向。仰思九天真女,讳字,身长七寸七分,著七色耀玄罗袿、明光九色紫锦飞裙,头戴玄黄七称进贤之冠,居上上紫琼宫,玉景台七映府,金光乡无为里中。时乘紫霞飞盖、绿軿丹举,从上宫玉女三十六人,手把神芝五色华幡,御飞凤白鸾,游于九玄之上,青天之崖。思毕,心拜真女四拜,叩齿二十四通。仰祝曰:
天真回庆,游宴紫天。敷陈纳灵,合运无间。上御玉宫,下眄兆臣。八会开张,九愿同缠。思微立感,上窥神真。流精陶注,玉华降身。万庆无量,长种福田。毕,仰引气二十四咽止。如此,真女感悦,神妃含欢。上列玉帝,奉兆玉名,记书东华,参篇玉清也。修之九年,面发金容,体映玉光,神妃交接,身对灵真,克乘飞盖,游宴紫庭。此法高妙,世所不行。若有金名,书字紫简,得见秘文,骨挺应仙。宝而密修,计日成仙。轻泄非真,罚以神兵,长役幽泉,七祖受累,万劫不原。(《云笈七签》)
●轶事
话说洪锦与龙吉公主成了姻亲,乃纣王三十五年三月初三日。(《封神演义》)
贞元十年三月三日,移入金泉道场。其日云物明媚,异于常景。自然云:“此日天真群仙皆会。”(《太平广记》)
巴不得到三月三日,辞了端公,往东峰东岱岳烧香。上得岳庙,望那左廊下,见九子母娘娘,拜祝再三。(《警世通言》)
今因心月狐光芒已退,特嘱小弟前来暗暗通知:明年三月初三桃会之期,一同起兵,先把武氏弟兄四座大关破了,诸事就易如反掌。(《镜花缘》)
二鬼禀曰:“纵然天王要在此处安身,此处可好。这里乃是千田国王管,被我二人作乱,托他的梦,每年三月三日,要办童男童女来此祭赛,我二人保全他国家风调雨顺;国泰民安。”华光曰:“自管今为始,吾与你三个,今后可去千田国王宫室,托他的梦,从今不用童男童女祭赛,要他立我庙宇,刻我三人宝像,春秋二祭,何不好也。”三人说罢,当夜便托梦千田国王不题。(《南游记》)
萧让写毕告示,差人去附近州郡及四散村坊,尽行贴遍。发库内金珠、宝贝、彩段、绫罗、纱绢等项,分散各头领并军校人员。另选一分,为上国进奉。其余堆集山寨,尽行招人买市十日。于三月初三日为始,至十三日终止。宰下牛羊,酝造酒醴。但到山寨里买市的人,尽以酒食管待,犒劳从人。至期,四方居民,担嚢负笈,雾集云屯,俱至山寨。宋江传令,以一举十。俱各欢喜,拜谢下山。一连十日,每日如此。十日已外,住罢买市,号令大小,收拾赴京朝觐。(《水浒传》)
余十一二岁时,闻从叔灿若公言:里有齐某者,以罪戍黑龙江 ,殁数年矣。其子稍长,欲归其骨,而贫不能往,恒蹙然如抱深忧。一日,偶得豆数升,乃屑以为末,水抟成丸,衣以赭土,诈为卖药者以往,姑以绐取数文钱供口食耳。乃沿途买其药者,虽危症亦立愈。转相告语,颇得善价,竟藉是达戍所,得父骨以箧负归。归途于窝集遇三盗,急弃其资斧,负箧奔。盗追及,开箧见骨,怪问其故,涕泣陈述,共悯而释之,转赠以金。方拜谢间,一盗忽擗砞大恸曰:此人孱弱如是,尚数千里外求父骨,我堂堂丈夫,自命豪杰,顾及不能耶?诸君好住,吾今往肃州矣。语讫,挥手西行,其徒呼使别妻子,终不反顾。盖所感者深矣,惜人往风微,无传于世,余作滦陽消夏录诸书,亦竟忘之。癸丑三月三日,宿海淀直庐,偶然忆及,因录以补志乘之遗,傥亦潜德未彰,幽灵不泯,有以默启余衷乎?(《阅微草堂笔记》)
魏济北郡从事掾弦超,字义起,以嘉平中夜独宿,梦有神女来从之。自称:“天上玉女,东郡人,姓成公,字知琼,早失父母,天帝哀其孤苦,遣令下嫁从夫。”超当其梦也,精爽感悟,嘉其美异,非常人之容,觉寤钦想,若存若亡,如此三四夕。一旦,显然来游,驾辎軿车,从八婢,服绫罗绮绣之衣,姿颜容体,状若飞仙,自言年七十,视之如十五六女。车上有壶榼,青白琉璃五具。食啖奇异,馔具醴酒,与超共饮食。谓超曰:“我,天上玉女,见遣下嫁,故来从君,不谓君德。宿时感运,宜为夫妇。不能有益,亦不能为损。然往来常可得驾轻车,乘肥马,饮食常可得远味,异膳,缯素常可得充用不乏。然我神人,不为君生子,亦无妒忌之性,不害君婚姻之义。遂为夫妇。”赠诗一篇,其文曰:“飘浮勃逢敖,曹云石滋芝。一英不须润,至德与时期。神仙岂虚感,应运来相之。纳我荣五族,逆我致祸菑。”此其诗之大较,其文二百余言,不能尽录。兼注易七卷,有卦,有象,以彖为属。故其文言既有义理,又可以占吉凶,犹扬子之太玄,薛氏之中经也。超皆能通其旨意,用之占候。作夫妇经七八年,父母为超娶妇之后,分日而燕,分夕而寝,夜来晨去,倏忽若飞,唯超见之,他人不见。虽居闇室,辄闻人声,常见踪迹,然不睹其形。后人怪问,漏泄其事;玉女遂求去。云:“我,神人也。虽与君交,不愿人知,而君性疏漏,我今本末已露,不复与君通接。积年交结,恩义不轻;一旦分别,岂不怆恨?势不得不尔。各自努力!”又呼侍御下酒,饮啖,发簏,取织成裙衫两副遗超。又赠诗一首,把臂告辞,涕泣流离,肃然升车,去若飞迅。超忧感积日,殆至委顿。去后五年。超奉郡使至洛,到济北鱼山下,陌上西行,遥望曲道头有一马车,似知琼。驱驰至前,果是也。遂披帷相见,悲喜交切。控左援绥,同乘至洛。遂为室家,克复旧好。至太康中,犹在。但不日日往来,每于三月三日,五月五日,七月七日,九月九日旦,十五日辄下,往来经宿而去。张茂先为之作神女赋。(《搜神记》)
《搜神记》里年纪七十,看上去像十五六的神女成公知琼,因“天帝哀其孤苦,遣令下嫁从夫”,于是成为北郡从事掾弦超的妻子。曾自言“我,天上玉女,见遣下嫁……然我神人,不为君生子,亦无妒忌之性,不害君婚姻之义。遂为夫妇”听上去像是一份前卫的的婚前告知[思考]
婚后知琼“夜来晨去,倏忽若飞,唯超见之,他人不见。虽居闇室,辄闻人声,常见踪迹,然不睹其形”,就连分离后重归于好,也是“每于三月三日,五月五日,七月七日,九月九日旦,十五日辄下,往来经宿而去”,有种虚无缥缈、如梦似幻、若即若离、无法掌控的朦胧灵异感。
●蟠桃会
钟师奏道:“左卷帘大将军冲和子,因三月三日在蟠桃会上与云阳子醉夺蟠桃,打碎玻璃玉盏,冲犯元始天尊圣驾,贬在下方韩家为男子,名叫韩愈,这便是韩湘的叔父。云阳子贬在下方林家为男子,叫名林圭。如今罪限将满,合还旧职,只是无人前去度他。”(《韩湘子全传》)
●赛宝会
却说三十三天玉皇上帝,起一赛宝会,出下玉旨,令集三界神祗,及西天诸佛,俱各要赴金阙,各带宝贝赴会,三月三日,大开天门,西天世尊同上帝首坐,众神挨次序而进,山呼礼毕,依次而立。(《南游记》)
●斋三月三
老人曰:“老夫此处乃是雍州地界。老夫姓孙名皓,一家七口俱斋三月三日。”祖师问曰:“斋三月三日为何?”老人曰:“老夫闻言说,有一人为武当山中修行成道,今已上天,我等求其福庇,故斋他的生日。”(《北游记》)
●贾琼受《童子箓》验
成都贾琼,年三岁。其母因看蚕市,三月三日,过龙兴观,门众齐受箓,遂诣观,受《童子箓》一阶。十余年后,因女兄有疾,母为请处士吴太玄,为入冥看检致疾之由,仍看弟兄年命凶吉。经宿太玄还,言疾在江渎,求之即差,籍中不见有贾琼之名。父母愈忧,复请太玄看之。时太玄每与人入冥检事,必锁于一屋中,安寝而往,不复人惊呼,候其自醒,唤人开门,乃开之,历历说冥中之事,有如目击,言必信验。或两宿,然后回尔。既再往检琼名字,云年三岁时,三月三日,于龙兴观受《正一箓》,已名系天府,不属地司,籍中不见名字,于天曹黄簿之内,检得其名。(《云笈七签》)
●紫书存思九天真女法
《紫书诀》言,凡修上真之道,常以九月九日、七月七日、三月三日,此日是九天真女合庆玉宫,游宴霄庭,敷陈纳灵之日。至其日,五香沐浴,清斋,隐处别室,不交人事,夜半露出,烧香北向。仰思九天真女,讳字,身长七寸七分,著七色耀玄罗袿、明光九色紫锦飞裙,头戴玄黄七称进贤之冠,居上上紫琼宫,玉景台七映府,金光乡无为里中。时乘紫霞飞盖、绿軿丹举,从上宫玉女三十六人,手把神芝五色华幡,御飞凤白鸾,游于九玄之上,青天之崖。思毕,心拜真女四拜,叩齿二十四通。仰祝曰:
天真回庆,游宴紫天。敷陈纳灵,合运无间。上御玉宫,下眄兆臣。八会开张,九愿同缠。思微立感,上窥神真。流精陶注,玉华降身。万庆无量,长种福田。毕,仰引气二十四咽止。如此,真女感悦,神妃含欢。上列玉帝,奉兆玉名,记书东华,参篇玉清也。修之九年,面发金容,体映玉光,神妃交接,身对灵真,克乘飞盖,游宴紫庭。此法高妙,世所不行。若有金名,书字紫简,得见秘文,骨挺应仙。宝而密修,计日成仙。轻泄非真,罚以神兵,长役幽泉,七祖受累,万劫不原。(《云笈七签》)
●轶事
话说洪锦与龙吉公主成了姻亲,乃纣王三十五年三月初三日。(《封神演义》)
贞元十年三月三日,移入金泉道场。其日云物明媚,异于常景。自然云:“此日天真群仙皆会。”(《太平广记》)
巴不得到三月三日,辞了端公,往东峰东岱岳烧香。上得岳庙,望那左廊下,见九子母娘娘,拜祝再三。(《警世通言》)
今因心月狐光芒已退,特嘱小弟前来暗暗通知:明年三月初三桃会之期,一同起兵,先把武氏弟兄四座大关破了,诸事就易如反掌。(《镜花缘》)
二鬼禀曰:“纵然天王要在此处安身,此处可好。这里乃是千田国王管,被我二人作乱,托他的梦,每年三月三日,要办童男童女来此祭赛,我二人保全他国家风调雨顺;国泰民安。”华光曰:“自管今为始,吾与你三个,今后可去千田国王宫室,托他的梦,从今不用童男童女祭赛,要他立我庙宇,刻我三人宝像,春秋二祭,何不好也。”三人说罢,当夜便托梦千田国王不题。(《南游记》)
萧让写毕告示,差人去附近州郡及四散村坊,尽行贴遍。发库内金珠、宝贝、彩段、绫罗、纱绢等项,分散各头领并军校人员。另选一分,为上国进奉。其余堆集山寨,尽行招人买市十日。于三月初三日为始,至十三日终止。宰下牛羊,酝造酒醴。但到山寨里买市的人,尽以酒食管待,犒劳从人。至期,四方居民,担嚢负笈,雾集云屯,俱至山寨。宋江传令,以一举十。俱各欢喜,拜谢下山。一连十日,每日如此。十日已外,住罢买市,号令大小,收拾赴京朝觐。(《水浒传》)
余十一二岁时,闻从叔灿若公言:里有齐某者,以罪戍黑龙江 ,殁数年矣。其子稍长,欲归其骨,而贫不能往,恒蹙然如抱深忧。一日,偶得豆数升,乃屑以为末,水抟成丸,衣以赭土,诈为卖药者以往,姑以绐取数文钱供口食耳。乃沿途买其药者,虽危症亦立愈。转相告语,颇得善价,竟藉是达戍所,得父骨以箧负归。归途于窝集遇三盗,急弃其资斧,负箧奔。盗追及,开箧见骨,怪问其故,涕泣陈述,共悯而释之,转赠以金。方拜谢间,一盗忽擗砞大恸曰:此人孱弱如是,尚数千里外求父骨,我堂堂丈夫,自命豪杰,顾及不能耶?诸君好住,吾今往肃州矣。语讫,挥手西行,其徒呼使别妻子,终不反顾。盖所感者深矣,惜人往风微,无传于世,余作滦陽消夏录诸书,亦竟忘之。癸丑三月三日,宿海淀直庐,偶然忆及,因录以补志乘之遗,傥亦潜德未彰,幽灵不泯,有以默启余衷乎?(《阅微草堂笔记》)
魏济北郡从事掾弦超,字义起,以嘉平中夜独宿,梦有神女来从之。自称:“天上玉女,东郡人,姓成公,字知琼,早失父母,天帝哀其孤苦,遣令下嫁从夫。”超当其梦也,精爽感悟,嘉其美异,非常人之容,觉寤钦想,若存若亡,如此三四夕。一旦,显然来游,驾辎軿车,从八婢,服绫罗绮绣之衣,姿颜容体,状若飞仙,自言年七十,视之如十五六女。车上有壶榼,青白琉璃五具。食啖奇异,馔具醴酒,与超共饮食。谓超曰:“我,天上玉女,见遣下嫁,故来从君,不谓君德。宿时感运,宜为夫妇。不能有益,亦不能为损。然往来常可得驾轻车,乘肥马,饮食常可得远味,异膳,缯素常可得充用不乏。然我神人,不为君生子,亦无妒忌之性,不害君婚姻之义。遂为夫妇。”赠诗一篇,其文曰:“飘浮勃逢敖,曹云石滋芝。一英不须润,至德与时期。神仙岂虚感,应运来相之。纳我荣五族,逆我致祸菑。”此其诗之大较,其文二百余言,不能尽录。兼注易七卷,有卦,有象,以彖为属。故其文言既有义理,又可以占吉凶,犹扬子之太玄,薛氏之中经也。超皆能通其旨意,用之占候。作夫妇经七八年,父母为超娶妇之后,分日而燕,分夕而寝,夜来晨去,倏忽若飞,唯超见之,他人不见。虽居闇室,辄闻人声,常见踪迹,然不睹其形。后人怪问,漏泄其事;玉女遂求去。云:“我,神人也。虽与君交,不愿人知,而君性疏漏,我今本末已露,不复与君通接。积年交结,恩义不轻;一旦分别,岂不怆恨?势不得不尔。各自努力!”又呼侍御下酒,饮啖,发簏,取织成裙衫两副遗超。又赠诗一首,把臂告辞,涕泣流离,肃然升车,去若飞迅。超忧感积日,殆至委顿。去后五年。超奉郡使至洛,到济北鱼山下,陌上西行,遥望曲道头有一马车,似知琼。驱驰至前,果是也。遂披帷相见,悲喜交切。控左援绥,同乘至洛。遂为室家,克复旧好。至太康中,犹在。但不日日往来,每于三月三日,五月五日,七月七日,九月九日旦,十五日辄下,往来经宿而去。张茂先为之作神女赋。(《搜神记》)
〖七侓~浮笔三千浪墨意〗
(一)
临轩抒阙孤芳凝,花絮香齐醉恋歆。
浮笔三千浪墨意,穷思倩茹忆诗深。
书吟素简温眉月,多少矜容听泊心。
满腹长歌衫作曲,清衣瘦影语何音。
(二)
谁在清调和奏曲,笙嫣箫语借妆栽。
花辰月下砚池境,玉女心萦陌上才。
三径伊帆含蕊子,红笺小字韵柯来。
风摇叶漫诗作画,柳絮低眉浅笑开。
(三)
轻风妩媚千娇娆,云水西窗夜话啼,
瘦影几多倾相忆,阑珊一梦诺涯兮。
问君情醉红尘客,晓韵铃花会怅笛。
满纸书魂靡缱绻,半阙柔谧次地犀。
………………………………………………..
一(平水韵~十二侵) 二(中华新韵~四开)三(中华通韵~四衣)【情感侓诗,倾城午后时光恣情小屋书雅,在一纸画卷间低眉提笔抒作芳容】——倾城之语~✧原创作品#倾城之语[超话]#
(一)
临轩抒阙孤芳凝,花絮香齐醉恋歆。
浮笔三千浪墨意,穷思倩茹忆诗深。
书吟素简温眉月,多少矜容听泊心。
满腹长歌衫作曲,清衣瘦影语何音。
(二)
谁在清调和奏曲,笙嫣箫语借妆栽。
花辰月下砚池境,玉女心萦陌上才。
三径伊帆含蕊子,红笺小字韵柯来。
风摇叶漫诗作画,柳絮低眉浅笑开。
(三)
轻风妩媚千娇娆,云水西窗夜话啼,
瘦影几多倾相忆,阑珊一梦诺涯兮。
问君情醉红尘客,晓韵铃花会怅笛。
满纸书魂靡缱绻,半阙柔谧次地犀。
………………………………………………..
一(平水韵~十二侵) 二(中华新韵~四开)三(中华通韵~四衣)【情感侓诗,倾城午后时光恣情小屋书雅,在一纸画卷间低眉提笔抒作芳容】——倾城之语~✧原创作品#倾城之语[超话]#
#双语阅读#【古文里的高级审美词汇,怎样翻译成英文?】品佳作,赞盛景,本想脱口而出,奈何词穷无言。中华文化广而博,这里整理了一些古文中高级审美词汇表达,学起来吧!
1.洗炼 Terseness / Make Writing Succinct
精简词句,提炼要义。洗炼是一种文字干净、主旨鲜明的文学风格。
This term means that wording should be refined to highlight the essential message. Terseness is a mark of neat and thematically explicit writing.
▌引例
不洗不净,不炼不纯。惟陈言之务去,独戛戛乎生新。(孙联奎《诗品臆说》)
Nothing will be clean until it is cleansed. Nothing will be pure until it is refined. Only by ridding ourselves of any banality, can we become truly original.
2.雄浑 Powerfulness
指雄健有力、浑厚自然的艺术风格与审美气象。
This term, which literally means power and splendor, refers to a natural and powerful artistic style and aesthetic taste.
▌引例
大力无敌为雄,元气未分为浑。(杨廷芝《 <二十四诗品> 浅解》)
Powerfulness means invincible power and indivisible mass of vital energy.
3.纯素 Pure and Unadorned
纯粹而素朴。指纯然素朴、不加人工雕饰的本色之美。
This term refers to natural, unadorned beauty.
▌引例
纯素之道,惟神是守。守而勿失,与神为一。 (《庄子·刻意》)
Within spiritual being lies the value of pure simplicity. If you retain your spirit without fail, you became one with it.
4.隐秀 Latent Sentiment and Evident Beauty
诗歌与文章既隐含丰富的思想感情,又有秀美的名言佳句。
This term means that prose and poetry may contain latent sentiments and thoughts, as well as expressions and sentences that present an apparent sense of beauty.
▌引例
情在词外曰隐,状溢目前曰秀。 (张戒《岁寒堂诗话》卷上引刘勰语)
Latency happens when feelings and thoughts are hidden between the lines of a literary work. Evident beauty occurs when messages of sentiment and feelings are vividly portrayed by the images the author creates.
5.飘逸 Natural Grace
指诗歌作品中所表现出的逍遥自适、超凡脱俗、无拘无束的审美情趣和艺术风格。
Natural Grace refers to free and unconstrained aesthetic style and artistic appeal in poetic works.
▌引例
子美不能为太白之飘逸,太白不能为子美之沉郁。 (严羽《沧浪诗话·诗评》)
Du Fu could not write as freely and unconstrained as Li Bai, while the latter did not possess the style of melancholy and profoundness typical of Du Fu’s poems.
6.空灵 Ethereal Effect
空灵用笔洗练,重在传达神韵,具有空灵特点的作品澄澈透明、飘逸灵动,能使人体悟到自由超脱的审美愉悦。
The notion of ethereal effect values simple layout and economical use of details, seeking to convey character and imagination. Works that make use of ethereal effect convey a wonderful lucidity, and possess openness, freedom, and natural grace. Such works enable viewers to appreciate the aesthetic joy of free imagination.
▌引例
古人用笔极塞实处愈见空灵,今人布置一角已见繁缛。(恽格《南田画跋·题画》)
When painting, classical artists made use of ethereal effect all the more where a dense collection of objects normally was required. However today’s artists no sooner begin to paint than they fill the space with elaborate details.
7.枯淡 Dry Plainness
指诗文作品所呈现的质朴干枯、平和清淡的艺术风格。
This refers to a literary style that appears plain and dry, mild and moderate.
枯淡不是枯涩寡味、平庸浅薄,而是指外表看似干枯平淡、内里丰腴醇厚的一种表现手法,旨在用质朴平淡的语言和描写来表现丰富深刻的思想内容,创造出含蓄深邃、醇厚高远的意境。
▌引例
所贵乎枯淡者,谓其外枯而中膏,似淡而实美,渊明、子厚之流是也。(苏轼《评韩柳诗》)
I value the style of dry plainness because it looks withered and dry outside but is rich inside; it appears plain but is in fact beautiful. Poetry by such writers as Tao Yuanming and Liu Zongyuan is like this.
8.畅神 Free Flow of One's Mind
指精神与自然合一时所达到的自由舒畅的一种审美状态。
The term describes a state of mind one achieves when appreciating an artwork, in which process one's inner feelings interact freely and joyfully with nature.
▌引例
圣贤映于绝代,万趣融其神思,余复何为哉?畅神而已。(宗炳《画山水序》)
As sages of remote past already discovered the philosophical wisdom inherent in nature through imagination and contemplation, what more do I need to do now? All I have to do is relishing the joy when my mind interacts freely with the depicted landscape.
9.高古 Unadorned Antiquity
高远古朴,高雅简古。用于文艺批评,主要指文艺作品中所体现出的意蕴高远古朴、情志高雅,凝重而又深具历史感的艺术风格。
This term describes the quality of loftiness or primitive simplicity, and is used primarily in literary criticism to refer to an ancient nobility, an aspiration or sentiment, or an artistic style of historical gravity.
它有时也指高人雅士独具的一种人格境界。
This term is also used to refer to an elevated state of being attained by noble-minded persons.
▌引例
汉人诗文,存于今者,无不高古浑朴。(章学诚《文史通义·内篇五·妇学篇书后》)
Prose and poetry by Han Dynasty authors, so long as they have survived to this day, all show a lofty adherence to an unadorned antiquity and a charming rusticity.
10.气象 Prevailing Features
原是自然界中景色物候的总称,也指某个时期社会的总体精神风貌。
Qixiang (气象), originally a term about the general state of scenery and physical objects in nature, also refers to the prevailing features of a society in a given period of time.
具体到艺术领域,指艺术作品所呈现出的风格与气概,内涵偏重于宏伟壮大,多用“雄浑”(heroic)“浑厚”(immense)“峥嵘”(sublime)等来修饰。
▌引例
盛唐诸公之诗,如颜鲁公书,既笔力雄壮,又气象浑厚。(严羽《答出继叔临安吴景仙书》)
Works of many poets during the prime of the Tang Dynasty struck readers with their powerful expression, just like the calligraphy of Yan Zhenqing.(内容来源于中国日报网英语点津)
1.洗炼 Terseness / Make Writing Succinct
精简词句,提炼要义。洗炼是一种文字干净、主旨鲜明的文学风格。
This term means that wording should be refined to highlight the essential message. Terseness is a mark of neat and thematically explicit writing.
▌引例
不洗不净,不炼不纯。惟陈言之务去,独戛戛乎生新。(孙联奎《诗品臆说》)
Nothing will be clean until it is cleansed. Nothing will be pure until it is refined. Only by ridding ourselves of any banality, can we become truly original.
2.雄浑 Powerfulness
指雄健有力、浑厚自然的艺术风格与审美气象。
This term, which literally means power and splendor, refers to a natural and powerful artistic style and aesthetic taste.
▌引例
大力无敌为雄,元气未分为浑。(杨廷芝《 <二十四诗品> 浅解》)
Powerfulness means invincible power and indivisible mass of vital energy.
3.纯素 Pure and Unadorned
纯粹而素朴。指纯然素朴、不加人工雕饰的本色之美。
This term refers to natural, unadorned beauty.
▌引例
纯素之道,惟神是守。守而勿失,与神为一。 (《庄子·刻意》)
Within spiritual being lies the value of pure simplicity. If you retain your spirit without fail, you became one with it.
4.隐秀 Latent Sentiment and Evident Beauty
诗歌与文章既隐含丰富的思想感情,又有秀美的名言佳句。
This term means that prose and poetry may contain latent sentiments and thoughts, as well as expressions and sentences that present an apparent sense of beauty.
▌引例
情在词外曰隐,状溢目前曰秀。 (张戒《岁寒堂诗话》卷上引刘勰语)
Latency happens when feelings and thoughts are hidden between the lines of a literary work. Evident beauty occurs when messages of sentiment and feelings are vividly portrayed by the images the author creates.
5.飘逸 Natural Grace
指诗歌作品中所表现出的逍遥自适、超凡脱俗、无拘无束的审美情趣和艺术风格。
Natural Grace refers to free and unconstrained aesthetic style and artistic appeal in poetic works.
▌引例
子美不能为太白之飘逸,太白不能为子美之沉郁。 (严羽《沧浪诗话·诗评》)
Du Fu could not write as freely and unconstrained as Li Bai, while the latter did not possess the style of melancholy and profoundness typical of Du Fu’s poems.
6.空灵 Ethereal Effect
空灵用笔洗练,重在传达神韵,具有空灵特点的作品澄澈透明、飘逸灵动,能使人体悟到自由超脱的审美愉悦。
The notion of ethereal effect values simple layout and economical use of details, seeking to convey character and imagination. Works that make use of ethereal effect convey a wonderful lucidity, and possess openness, freedom, and natural grace. Such works enable viewers to appreciate the aesthetic joy of free imagination.
▌引例
古人用笔极塞实处愈见空灵,今人布置一角已见繁缛。(恽格《南田画跋·题画》)
When painting, classical artists made use of ethereal effect all the more where a dense collection of objects normally was required. However today’s artists no sooner begin to paint than they fill the space with elaborate details.
7.枯淡 Dry Plainness
指诗文作品所呈现的质朴干枯、平和清淡的艺术风格。
This refers to a literary style that appears plain and dry, mild and moderate.
枯淡不是枯涩寡味、平庸浅薄,而是指外表看似干枯平淡、内里丰腴醇厚的一种表现手法,旨在用质朴平淡的语言和描写来表现丰富深刻的思想内容,创造出含蓄深邃、醇厚高远的意境。
▌引例
所贵乎枯淡者,谓其外枯而中膏,似淡而实美,渊明、子厚之流是也。(苏轼《评韩柳诗》)
I value the style of dry plainness because it looks withered and dry outside but is rich inside; it appears plain but is in fact beautiful. Poetry by such writers as Tao Yuanming and Liu Zongyuan is like this.
8.畅神 Free Flow of One's Mind
指精神与自然合一时所达到的自由舒畅的一种审美状态。
The term describes a state of mind one achieves when appreciating an artwork, in which process one's inner feelings interact freely and joyfully with nature.
▌引例
圣贤映于绝代,万趣融其神思,余复何为哉?畅神而已。(宗炳《画山水序》)
As sages of remote past already discovered the philosophical wisdom inherent in nature through imagination and contemplation, what more do I need to do now? All I have to do is relishing the joy when my mind interacts freely with the depicted landscape.
9.高古 Unadorned Antiquity
高远古朴,高雅简古。用于文艺批评,主要指文艺作品中所体现出的意蕴高远古朴、情志高雅,凝重而又深具历史感的艺术风格。
This term describes the quality of loftiness or primitive simplicity, and is used primarily in literary criticism to refer to an ancient nobility, an aspiration or sentiment, or an artistic style of historical gravity.
它有时也指高人雅士独具的一种人格境界。
This term is also used to refer to an elevated state of being attained by noble-minded persons.
▌引例
汉人诗文,存于今者,无不高古浑朴。(章学诚《文史通义·内篇五·妇学篇书后》)
Prose and poetry by Han Dynasty authors, so long as they have survived to this day, all show a lofty adherence to an unadorned antiquity and a charming rusticity.
10.气象 Prevailing Features
原是自然界中景色物候的总称,也指某个时期社会的总体精神风貌。
Qixiang (气象), originally a term about the general state of scenery and physical objects in nature, also refers to the prevailing features of a society in a given period of time.
具体到艺术领域,指艺术作品所呈现出的风格与气概,内涵偏重于宏伟壮大,多用“雄浑”(heroic)“浑厚”(immense)“峥嵘”(sublime)等来修饰。
▌引例
盛唐诸公之诗,如颜鲁公书,既笔力雄壮,又气象浑厚。(严羽《答出继叔临安吴景仙书》)
Works of many poets during the prime of the Tang Dynasty struck readers with their powerful expression, just like the calligraphy of Yan Zhenqing.(内容来源于中国日报网英语点津)
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