When did Xin Qiji write Tai Chang Yin?
Xin Qiji had many Taichang Yins, and different Taichang Yins were created at different times. "Taichang Yin·Fu to Lv Shuqian on the Mid-Autumn Night of Jiankang" was written on the Mid-Autumn Night of 1174 A.D.(the first year of Chunxi of Emperor Xiaozong of Song Dynasty); another "Taichang Yin" was written in 1188; and another "Taichang Yin" was written on the anniversary of the victory of the Anti-Japanese War, but this was a modern creation and had nothing to do with Xin Qiji's creation time.
Tai Chang leads Xin Qiji's rhythm division
Taichang cited the mid-autumn night of Jiankang as Lu Shuqian's Fu Xin Qiji [Song Dynasty]. The rhythm is divided into: One round/Autumn shadow/Turning golden wave, Flying mirror/Regrinding. He took the wine and asked Liu E: What should I do if I have white hair and deceive others? With the wind/good go, the sky/ten thousand miles, straight down/to see the mountains and rivers. Chop off the osmanthus tree, the way is clear, the light is more.
Tai Chang Yin Daquan
Taichang Yin was the name of the Ci, also known as "Taiqing Yin" and "Laqian Mei". At first, there were forty-eight words, forty-nine words, fifty words, flat rhyme and oblique rhyme. Later, most of the Song and Yuan Dynasties filled in forty-nine characters, and only two styles were recorded in the Imperial Ci Pu. Xin Qiji's "Tai Chang Yin·Immortal Ji seems to want to weave silk" is the main body, and his representative works include Xin Qiji's "Tai Chang Yin·Jiankang Mid-Autumn Night Fu for Lv Shu Qian," Nalan Xingde's "Tai Chang Yin·Self-Inscribed Small Picture," Xiang Hongzuo's "Tai Chang Yin·Guest Wen Song," Wang Yun's "Tai Chang Yin Feng Ji (Zhu Xiao Yun Feng Ji two words doubt Yan) Political Li," etc. The works of Taichang Yin written by different poets had their own characteristics in content, artistic conception and emotion expression. For example, Xin Qiji's "Tai Chang Yin·Jiankang Mid-Autumn Night Fu for Lu Shu Qian","A round of autumn shadow turns into golden waves, flying mirror grinds again." He took the wine and asked the girl: What should I do when I am bullied by my white hair? It's good to ride the wind, thousands of miles in the sky, looking down at the mountains and rivers. Chop off the osmanthus trees, and the human path is more clear."He expressed his feelings through the description of the Mid-Autumn Festival night scene.
Xin Qiji's "Taichang Yin" poem with painting
"Tai Chang Yin·Fu for Lu Shu Qian on the Mid-Autumn Night of Jiankang" was a poem full of romanticism and vigorous artistic conception by Xin Qiji. If he wanted to create poems and paintings for her, he could start from the following aspects: * * 1. Main Element of the Picture ** 1. * * Bright Moon ** - The beginning of the poem,"A round of autumn shadows turning into golden waves, flying mirrors grinding again," depicted the scene of the Mid-Autumn Moon. There was a huge and bright moon in the picture. The moonlight shone with golden light, like golden waves flowing. The moon had to be smooth and round, just like a freshly polished bronze mirror. This was the most prominent element in the painting, occupying the main part of the sky. 2. * * Character (Xin Qiji himself)** - "I took the wine and asked the girl: What can I do if I'm bullied by my white hair?" He could draw a scene of Xin Qiji holding a wine cup, standing in the courtyard or on a high platform, looking up at the moon. His expression was slightly melancholic and unwilling, because his white hair was growing and his ambition had not been fulfilled. The costumes of the characters could be the typical attire of the Song Dynasty literati, with wide robes and large sleeves, and a scarf hat on their heads. 3. * * Mountains and rivers ** - "It's good to go with the wind. The sky is thousands of miles wide. Look down at the mountains and rivers." At the bottom or the distant part of the picture, you can draw continuous mountains, vast land, surging rivers, etc. The description of these mountains and rivers should reflect the grand momentum and show the magnificence of the mountains and rivers of the motherland. 4. * * Osmanthus tree ** - "Chop down the osmanthus tree, and the human way is, there will be more clear light." A osmanthus tree could be drawn on the moon, and the branches and leaves of the osmanthus tree swayed (showing the posture of "whirling "). Xin Qiji might hold a sharp axe and make a gesture of chopping down the osmanthus tree, or he might just stare at the osmanthus tree with a firm gaze, symbolizing his desire to eliminate the crafty sycophants and make the world clearer. * * 2. Picture color and atmosphere ** 1. * * Color ** - The overall color scheme was mainly cool, and blue and silver could be used to represent the night sky and moonlight. The moon itself was a bright golden color, and the clothes of the characters could be plain or light blue to reflect a cold and elegant temperament. Mountains, rivers, and earth could be represented by different shades of gray and green. Gray represented the shadow of the mountain range, and green represented the vitality of the earth. The color of the laurel tree could be dark green, contrasting with the golden color of the moon. 2. * * The atmosphere ** - The atmosphere of the picture should be filled with poetic romance, but also with a trace of heroism and melancholy. The brightness of the moonlight contrasted with the loneliness of the characters. The magnificence of the mountains and rivers echoed the ambition in Xin Qiji's heart, creating a grand and deep artistic conception.
Information on Xin Qiji
Xin Qiji (1140 - 1207), also known as Youan, was a writer, poet and military strategist in the Southern Song Dynasty. He was one of the famous bold and unconstrained poets in the history of Chinese literature. His Ci style was vigorous and unrestrained, with strong patriotic feelings and rebellious spirit, known as the "peak of the Southern Song Dynasty literature." Xin Qiji was born in Wuyuan, Jiangxi Province. He was intelligent since childhood. When he was middle-aged, he went into exile overseas for a long time because he opposed the powerful ministers at that time. During the Southern Song Dynasty, he held many official positions, such as the head of the Ministry of Agriculture, the transport envoy of Fujian Road, the governor of the state, and the prefect. His political career suffered many setbacks. Xin Qiji's representative works included "Sapphire Case·Yuanxi","Shuidiao Getou·Bingchen Mid-Autumn Festival","Nian Nujiao·Red Cliff Memories", etc. These works not only occupied an important position in the history of Chinese literature, but were also deeply loved and respected by later generations. Xin Qiji was not only an outstanding writer, but he also had a strong interest in military and political fields. He had participated in the war against Jin and Yuan in the Southern Song Dynasty. He was a historical figure with many talents and contributions.
What expression technique did Taichang Yin Xin Qiji use?
In "Tai Chang Yin·Jiankang Mid-Autumn Night Fu to Lu Shu Qian", Xin Qiji used a variety of expression techniques. The first technique was to stir up the mood, using the 'a round of autumn shadow turning into golden waves, flying mirror grinding again' of the bright moon to stir up the emotions behind. Then, he used the technique of transformation, using Xue Neng's poem to express his melancholy of wasting his time and the difficulty of realizing his ideals. He also used myths and legends to create a realm that was beyond reality. He used the legend of Chang'e and Houyi's separation to express his desire for the country's division to be unified as soon as possible and for the displaced people to be reunited. He used the legend of Wu Gang's crusade against Gui to express the pain in his heart, his passion for serving the country that no one understood, and his state of mind that was ostracized by villains. At the same time, there was also a certain imagination in the poem, such as " riding the wind, thousands of miles in the sky, looking down at the mountains and rivers ". Imagine yourself riding the wind and looking down at the mountains and rivers, reflecting the love for the beautiful rivers and mountains of the motherland. This kind of imagination also swept away the loneliness and depression before, making the emotions richer and more diverse.
Tai Chang Yin Qu Pai Ge Lu
There are 49 words and 50 words in the meter. Forty-nine characters: the first four sentences have four flat rhymes, the second five sentences have three flat rhymes, and the first and second sentences are all upper three lower four sentences. The lyrics were as follows: (Ping) Ping (Ze) Ze Ze Ping Ping,(Ze) Ze-Ze Ping Ping. (Ze) Ping (Ping) Ze,(Ze) Ping (Ping) Ze. The 50-character font was the 49-character font A, and the second sentence of the first paragraph was changed to (flat)(flat) Ze-Ze Ping Ping. In the rhythm,(flat) or (Ze) means that the words in the bracket can be used as flat tone words or sound tone words, but the marked words are the positive examples; The words before the double vertical sign are all rhymes, and the rhyme must be Ye Yun. Some words in the ancient words had different pronunciations from the present, so they had to be determined according to the rhyme of the words. It could not be simply suspected that the ancients used them wrongly.
What's the meaning of the word 'Chang Tai Yin'?
You may want to ask about "Tai Chang Yin", which is the name of the Ci. It was transferred to Xianlu Palace, also known as "Tai Qing Yin". Because Han Wei's Ci had the sentence "La Qian Mei in the early spring", it was also known as "La Qian Mei". There are only two types of words in the Imperial Cipu, and the only difference is the second sentence of the first paragraph, which is either five words (49 words in total) or six words (50 words in total). The original form is a double-tone forty-nine words, the first piece is Siping rhyme, the second piece is Sanping rhyme. The second last word of the two sentences must be dropped. Occasionally use long and short sentences, no antithesis requirements. At the beginning of the second half of the song, there were two four-character sentences, some of which were antithetical and some of which were not antithetical. The third and fourth sentences of the second half were two five-character sentences, because there was a full stop in the middle (the ancients should have divided the sentence meaning), which could not be matched. The last seven sentences of the first and second chapters were both upper three and lower four. The first three words were beans, and the meaning could not be broken. The last four words were flat and unchangeable. This tune is suitable for light and leisurely content, but also suitable for graceful and restrained, faint hidden bitterness. Send words do not need to be too heavy, too fierce. There could be waves, but there was no need for huge waves.
Xin Qiji's Imagery
Xin Qiji's sweetheart
Xin Qiji's sweetheart was a beautiful woman. In his poem, he described how he looked for her in the crowd, but unexpectedly found her in a place where the lights were sparse and dim. Some annotations interpreted this " he " as a " beauty " or " lover ", believing that Xin Qiji was looking for a lonely and unique woman. However, his specific identity or name was not mentioned in the information provided.
Xin Qiji, Fan Ruyu
Xin Qiji's wife, Fan Ruyu, was Xin Qiji's second wife. She was Fan Bangyan's daughter and was born in Xingzhou, Tang Shan. Fan Ruyu was a talented woman. When Xin Qiji went out to drink, she could write words at home to persuade Xin Qiji not to drink to his heart's content. She and Xin Qiji had been together for many years and had gone through many hardships. They held a birthday celebration together. Fan Ruyu played a supporting and encouraging role in Xin Qiji's life. She was an important existence in Xin Qiji's life, and their relationship was deep. Fan Ruyu's talent and wisdom made her a good wife in Xin Qiji's heart.