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Wang Wei (Chinese: 王維; –) was a Chinese poet, musician, painter, and politician during the Tang dynasty. He was one of the most famous men of arts.
Table of contents
- Wang Wei (eighth century poet)
- Wang Wei (eighth century poet)
- Asnet Art Gallery: Wang Wei (王维) as a painter
- A portrait of Fu Sheng (伏生授經圖)
At the end of this section she explains what this basic orientation meant when it came to the actual writing of poems: In sum, this conception of literature was grounded in Poetry embodies this intuitive union in an analogously intuitive manner: it relies on suggestive images which evoke qualities or essences of things rather than precise mimetic description or discursive, prop- ositional language, and thus creates an open-endedness which extends the bounds of any poem to the actualizations of all possible readers.
Because the poet can integrate emotion and scene, he can similarly transcend the limits of individual thoughts and feelings by objectifying them in an apparently impersonal manner; each poet's manner, however, characterizes his work pp. Yan Yu's Chan is very much second-hand, and, while it certainly influenced post-Song poetry and poetics greatly, his work seems hardly an appropriate source to cite to help us understand what Wang Wei, a Tang poet who had first-hand knowledge and experience of Chan during its so-called "golden age," was trying to do with it in poetry.
Although she cites statements by Jiaoran and Sikong Tu, neither of them discussed poetry in terms of Chan; rather, they seem to have had a purely Taoist orientation that harked directly back to the Zhuangzi. Although it is difficult to determine what influence Buddhist thought in general and Chan thought in particular might have had on Tang poets, there are a few statements made by such figures which suggest that this influence was at times profoundly effective in shaping a specific theory of poetry.
The following preface to one of his poems by Liu Yuxi 81Jf is evidence for this: The term? When they enter it, there is sure to be something which will break out, and it is this which consequently will take form in verbal expression. If verbal expression would be marvelous miao zP and profound shen one must be sure to make it fit with the rules of tonal prosody. Thus, from the time of? Through samadhi ding X , a composed mind one achieves a visaya jing t , a mental realm which consequently reaches a purity through a soaring freedom and which, in accordance with prdjna wisdom , charges words with meaning.
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Therefore, such a one attains beauty through the essence of art. Believe in the flowers which bloom in the forest of Chan and shun the pearl or jade which might be fished up out of the river! Quan Tang shi [Peking, ], Professor Yu's survey would have been more effective for the purposes of this book if she had explored more statements such as these from the Tang which reveal Chan affiliations, since they surely would have provided a more direct look into the theoretical concerns of the day which probably lay behind Wang's own practice of poetry.
As well-written as this section is, it should be pointed out that almost all of the sixty-four long and short passages of criticism and philosophical statement presented in it have been translated at least once before-some several times-and whereas Professor Yu identifies the translator and source of all translated passages she borrows intact and acknowledges the fact that certain passages for which she presents her own versions have had previous translators, other such passages are presented with no indication they have been done before.
Another problem concerns the sources upon which Professor Yu has based her translations of Wang Wei's poetry.
In the preface p. However, since the presentation of these poems involves far more than merely dealing with minimal problems of "textual variants" as she puts it -the far more difficult problems of selection, interpretation, and annotation-three other works should have been acknowledged here and not just relegated to the Selected Bibliography pp. Taipei, and reprt. Only six poems-No. Whereas the annotations to the poems in Fu Donghua's anthology presented by her do not add a great deal to the standard commentaries by Zhao Diancheng MtR , they are still useful in more cases than not; the notes by Chen Yixin to the eighty-eight of the poems in her selection should have been very helpful, since they include interpretation of lines and ex- planations of terms as well as the identification of allusions; and of the are translated some only partially into French and annotated by Mlle.
Chen Yixin's selection and that of Mlle.
Wang Wei (eighth century poet)
Liou's overlap a great deal, but between the two of them of the are covered. Except for this work, Mlle. Liou is unknown to me; I was able to determine that Liou Kin Ling is a mademoiselle and not a monsieur by reference to Biblio: Cataloguedes ouvragesparusen languefranCaise dansle mondeentier,8 ,p. Liou's work was either longer as a dissertation or she had intended to expand it when published, for the list of poems supposedly translated in the book pp.
I also find it curious that the titles of all the poems Professor Yu presents appears on this list. If we take this into consideration along with the fact that forty-seven of the fifty poems presented in the first two chapters, Exercisesand Court Poems appear first in Mlle. Liou's French versions, poems which generally are not found among the other modern selections of Wang Wei's work, it seems clear that she very much used Mlle. Liou's work as a guide to her own selection. I must immediately add, however, that Professor Yu's versions on the whole are far more accurate, for, in spite of always conveying a correct sense of the general drift of the poems, Mlle.follow url
Wang Wei (eighth century poet)
Liou indulges far too much in paraphrase to be acceptable by contemporary standards. Professor Yu has also improved a great deal on the quantity and quality of the annotations to the poems. Sections Two and Three of the Critical Introduction contain, to my knowledge, one of the most sophisticated comparative analyses of Chinese and Western poetics to appear in print to date. Her extensive knowledge of both traditions is readily apparent throughout.
A careful reading of these pages is recommended to both the specialist in Chinese literature and to the non-specialist but serious "competent" reader of literature who wishes to acquire a well-grounded approach to Chinese poetry.
Professor Yu's contribution to the understanding of these issues as they relate to Wang Wei's poetry represents a veritable quantum leap in the understanding of him from the comparatist's point of view; moreover, it should dispel, once and for all, the superficiality and distortion of the "oriental mysticism" approach to Wang which has plagued a true appreciation of his poetry for so long. It would have been very much to Professor Yu's advantage if she had consulted the wealth of Japanese scholarship on Wang, for the areas which she here explores for the first time in English have already been extensively treated there.
There is also a more extensive biographical treatment of Wang and a This content downloaded from Her presentation of the Court Poems could have especially profited by consulting Hiraoka Takeo , ed. Kyoto, , in particular vol. There is also the matter of Buddhism. Whereas the introduction of BuddhistPoems pp. Soothill and L. Taipei, and This might be the first place to look when confronted with a Buddhist term or allusion, but it certainly should not be the last. Buddhist lexicography is very much a Japanese field, and there are several works done by Japanese scholars, both before and after this dictionary, that are far more extensive and sophisticated.
Shanghai, , reprt.
Asnet Art Gallery: Wang Wei (王维) as a painter
Taipei, , even though it too is not as thorough as one would like. A simple physical comparison of the two works surely suggests that there might be ten times as much material in Ding's work and that one should thus use it to double check anything that smacked of Buddhism in the poems.
Yamada's dic- tionary of Chan is especially helpful in reading poetry and critical texts which employ such terms, since an entry usually cites, if not the actual locus classicus, at least a significant occurrence in an important Chinese Chan text, thus, more often than not, providing a sense of the context which one's author might well have had in mind when he employed the term.
The other dic- tionaries listed here can often provide the same kind of help as well-something, of course, which the Soothill and Hodous work does not do at all. It is very much to Professor Yu's credit that she tries to preserve as much as possible a sense of the original diction of Wang's poems-including the finding of syntactic equivalents in English of the structures in Chinese.
This is a great advance over the earlier Western monographs on Wang which too often either dilute or distort the diction by paraphrase or are based upon faulty conceptions of the relation that literary Chinese syntax has to the diction of classical verse shi. Nevertheless, I seem to be more of a fundamentalist when it comes to matters of rendering elements of Chinese diction into English, and many of the suggestions for improvement that follow should be seen in this light. Some differences in interpretation are not worth pointing out, however; for example, I would say that rendering the expression MT as "below the nests of crows" No.
Although the fol- lowing list of suggested improvements might seem rather lengthy, in comparison to the total This content downloaded from I also wish to say here that I realize that it is far easier to improve on the lapses in an overall fine set of translations than to have done them all in the first place! Kobayashi, pp. In No. The line means that she has sat up all night, kept company by her lamp which now burns out just as sunlight begins to flood her window.
As she is a neglected wife, I take a to be the husband's amusements, for she certainly does not seem to be having a very good time! This makes better sense.
A portrait of Fu Sheng (伏生授經圖)
I suggest "jewel-tasselled cap. In this is translated: "How can they match the three beauties grown at Jade Hall? The title of No. TOdaino Chdan to Rakuyo, vol, 3, map 2 and Kobayashi, pp. EM4i here must mean "in the arcades"-i.
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The commentators take this to refer to the pure mind, brilliant in its serenity. Further on, the line is translated as: "At every chance you perfect your discipline. Moon-rise: shocks the mountain birds. Bells stir in the mouth of the gorge. Few fishermen and woodcutters are left. Far off in the mountains is twilight. Alone I come back to white clouds. Weak water chestnut stems cant hold still. Willow catkins are light and blow about. To the east is a rice paddy, color of spring grass. I close the thorn gate, seized by grief.