The branches of the topmost hibiscus flowers are full of scarlet calyx in the mountains.
The mouth of a stream is silent, without a trace. They open and fall.
In the silent mountain stream, magnolia blooms and falls, surviving and dying. It's not fake, it has nothing to do with the world, and no one knows. This is a world far away from the hubbub, and it is also the unique artistic conception of the poet Wang Wei's integration of subject and object, which is simply the symbolic realm of Buddhism's view of emptiness. Therefore, Hu Yinglin, a literary critic in the Ming Dynasty, said that this poem was a work of Zen. "I have forgotten my life experience, and all my thoughts are silent." The artistic conception created by Wang Wei here, born out of the image, is a combination of poetic realm and Zen realm, with profound meaning and strong artistic appeal. This artistic achievement can not but be said to be beneficial to his study of Buddhism and the edification of Buddhist thinking mode.
Wang Wei was called "Shi Fo" by later generations. He believed in Buddhism in his early years. Mother Cui Shi has been practicing meditation for more than 30 years. Wang Wei and his younger brother, Wang Jin, "both worship Buddhism and live on vegetables, so it is better to eat meat and blood" (Biography of Wang Wei in Old Tang Dynasty). When Wang Wei was 3 1 year old, his wife died and he no longer married. He lives alone in a room, and his screen is very tired. "he has no children" ("the list of brothers recommended by the bow"). He also wrote many poems about Buddhism, and he has high attainments in Buddhism.
Among the schools of Buddhism in the Tang Dynasty, Wang Wei believed in Zen, and Nanzong Zen was the main one. Nanzong Zen is the product of the combination of Buddhism, Confucianism and Taoism in China, and its philosophy of destiny and life provides the latest and most complete way for China literati. However, some practice methods of Nanzong Zen have something in common with China's poetry creation. Yan Yu, a literary critic in the Song Dynasty, said: "Generally speaking, Zen is only in the wonderful understanding, and poetry is also in the wonderful understanding" (Cang Hua). Miao Wu is an insight into Zen, and it can also be expressed as an understanding of art. Both poetry and Zen need a keen inner experience, both emphasize enlightenment and metaphor, and both pursue meaning. When talking about "epiphany", Nanzong Zen often uses the expression of images to convey the law, with special emphasis on the role of intuition, suggestion, induction and association in understanding. Wang Wei came from Zen, and naturally he has a deep understanding of this method of grasping the world. He integrated his understanding of Buddhism into his outlook on life and turned religious feelings into poetic thoughts, creating a poetic artistic conception of "emptiness", "quietness" and "leisure". Zen advocates the beautiful style of mountains and rivers, which has also played a guiding and enlightening role in Wang Wei's conscious approach to mountains and rivers and the exploration of their aesthetic value.
Wang Wei described his inner experience in the poem Zhuliguan:
I leaned alone in the dense bamboo, playing the piano and humming a song.
It's too light for anyone to hear, except my partner, Mingyue.
The poet sat alone in the depths of the bamboo forest, playing the piano and whistling. No one knows his existence, only the bright moon accompanies him. Nature knows his inner loneliness best, and the bright moon brings him a quiet happiness. Things and I are one, things and I forget each other. Zen and poetry are in harmony. Chai Lu is also like this:
No one can be seen in the silent valley, only the voice is heard.
The shadow of the sunset shone into the depths of the forest, and the scenery on the moss was pleasant.
There was no one in the empty mountain, only heard intermittent voices floating from the depths of the forest, and a ray of sunset was transmitted on the moss in the depths of the forest, which was so trance-like and sad. This is the ethereal realm that Wang Wei pursues, far away from the hubbub. Although lonely, it is also meaningful.
In the Qing Dynasty, Wang Yuyang said that Wang Wei's poems were "Zen", and "implicit words were tantamount to the laughter of Buddha and Ye Jia" (Continued from Silkworm Tail). In other words, Wang Wei's landscape poems are full of Zen meaning, Zen music and Zen taste, and convey Zen meaning. Nature fully shows the poet's unique taste in the beautiful scenery of mountains and rivers.
Wang Wei doesn't necessarily go to remote places for meditation, but he also sees the vast world and the lively farm life:
After the rain, the new clear sky is particularly open, and the vision is open without any fog and dust. The gatehouse of the outer city is close to the ferry pier, and the trees at the edge of the village connect the stream and the estuary. The silvery white river is shining in the fields, especially bright, and the green mountains stand behind the ridge. It is the busy farming season, there are no idle people, and farmers are busy going to the fields.
-"New Sunshine Wild Hope"
A spring rain washed away the dirt and changed the scene. Busy farming, people and scenery are bathed in fresh air. The phrase "white water" forms a layered picture of close-up and distant view. The water is bright, the mountains are green, and the contrast between light and color is harmonious. On the surface, you can't see the Zen meaning of this poem. In fact, that spring rain was like holy water poured out of a pure Buddhist bottle, which washed everything clean and ethereal. It's just that everything is wonderfully integrated with Zen and poetry, and he doesn't let Zen overwhelm poetry. Of course, what we pay attention to is the kind of praise for farmers' life, and we appreciate the beautiful aura without tirelessly pursuing its Zen philosophy.
Wang Wei is a versatile cultural giant who is good at poetry, music, painting and calligraphy. Su Dongpo, a great writer in the Song Dynasty, said: "There are paintings in Wang Wei's poems; Look at the picture, there are poems in the picture. " (Shu Moran Tian Yan Yu Tu) His words are incisive and to the point. Wang Wei was an accomplished landscape painter in Tang Dynasty. He painted with Xiao Shupu's brushwork of ink and wash, created ink and wash landscapes, and became a family of his own, and was called the founder of landscape painting Nanzong by later generations. His paintings emphasize freehand brushwork, pursue spirit likeness and express subjective feelings. So "draw things, don't ask the four seasons. If you paint flowers, you often take peaches, apricots, hibiscus and lotus flowers as a scene. " "It's hard to ask for shapes and objects." (Shen Kuo quoted Zhang Yanyuan in Mengxi) Therefore, Wang Wei is also known as the originator of China literati's freehand brushwork. Painting can be similar in spirit, so it has the charm and interest of poetry, that is, there is poetry in painting. Staring at the natural landscape with this painting concept is a sigh, and it must have the charm of painting in poetry.
Wang Wei's profound artistic attainments in painting, music and calligraphy enable him to feel and capture the wonderful scenery, magical sound and ever-changing nature more accurately and meticulously than ordinary poets in his poetry creation, and appeal to the pen. I will also use words to set colors and pay attention to the harmony of poetry tones. There are artistic conception of painting, fluency of music and changes of calligraphy in poetry. In this way, his unique poetic artistic style of "painting in poetry" and "hundred warblers, repeated performances by palace merchants" was virtually formed. We should firmly grasp this feature when appreciating his landscape poems.
Wang Wei is good at summarizing magnificent scenery. This kind of poetry is magnificent, with broad artistic conception, simple brushwork, thick lines and changeable angles. Look at Zhong Nanshan:
Its huge height is close to the city of heaven, from the mountain to the corner of the sea. Cloud, when I looked back, it was behind me. I was too young to see anything. The central mountain peaks separate the southwest, and the valleys are different. Want to find a house to live in the mountains, is it convenient for the water guide to ask the woodcutter?
Taiyi Peak is the main peak of Zhong Nanshan Mountain (called Qinling Mountain). Starting from the main peak, the poem dominates the whole mountain and writes the majestic momentum of Mount Zhongnan. The first few sentences are about the majestic Mount Zhongnan, and the last two sentences are about people without mountains, which embodies the grandeur of mountains, just like the contrast between people and mountains in landscape paintings. The phrase "white clouds" is particularly superb. Everyone who has mountain climbing experience will have an immersive feeling when reading this poem. This poem is about climbing a mountain, and the following poem "Looking Down at the Hanshui River" is about water:
Three branches in the south reach Chu territory, and nine branches flow to Jingmen. The river crosses heaven and earth, where the colors of the mountains are yes and no. Human habitation seems to float on the ripples in the distant sky. These beautiful days in Xiangyang have fascinated my old mountain! .
This is a poem describing the scenery of Xiangyang. Write the situation of Chu first, the mighty landscape of the great river in the middle, and the lingering affection at the end. Thick lines are outlined, and the realm is magnificent. It's all line drawings. It doesn't even write whether the mountain is blue or purple, thick or light. It just says, as if nothing happened, it's like an ink landscape painting. The poet grasps the overall impression, and the image is controlled by poetic thinking rather than naked eyes (which is different from the logic of western poetry), showing the artistic effect of scattered perspective of Chinese painting (which is different from the logic of western painting). There are many poems similar to Wang Wei's, such as "Thousands of valleys touch the sky from a tree, cuckoos crow on a thousand peaks", "The rivers and lakes are white at sunset, and the sky is blue when the tide comes", "The desert is lonely and straight, and the long river sets the yen" and so on.
Wang Wei is also good at capturing the touching moments of sound, color, painting and emotion, unifying them in the artistic conception that can best convey emotions and expressing them in appropriate language. Look at his landscape poem Bird Watching Creek:
People are idle, osmanthus flowers fall, and the night is quiet and empty.
When the moon comes out, the birds are startled, and the sound enters the spring stream.
In the silent spring night forest, the laurels of the four seasons fall silently. Suddenly, the bright moon rises, the empty mountain is full of color, the mountain birds wake up and sing in the mountain stream, which is particularly crisp, setting off the quiet beauty of the spring mountain on a moonlit night. Some versions of "human leisure" are called "human world", and its meaning is understandable. "Osmanthus fragrans" can be interpreted as month and month. The combination of static and dynamic, dynamic and static, and dynamic and static brings readers into a more beautiful and profound artistic conception. The poet captured the most expressive and imaginative moment of "a bird awakened by the moon". This is a moonlit scene full of music. Compared with Wu Xinyi's empty meditation, this poem is warm, lively and full of human atmosphere.
Wang Weiyou has a poem describing the late autumn scenery, named "In the Mountains":
The stream of the river has been flowing for less than a day, and white stones are exposed on the riverbed. The weather is getting colder and the red leaves on the branches are becoming scarce.
There is no rain on the winding mountain road, the smoke is misty in the dense pine trees, and the water vapor is heavy, as if to flow, and then the clothes of passers-by.
Jingxi originated in the northwest of Lantian County, Shaanxi Province. Red leaves are maple leaves. Walking in the mountains early and enjoying the mountain scenery all the way, I suddenly felt that my clothes were wet. I thought it was raining, but on closer inspection, it didn't rain. Only the mist on the mountain, my clothes may be wet! The poet condensed this feeling process of tourists into two poems, which are very interesting. This poem has colors: white stone, red leaves and emerald blue. There is a stereo: the stream hits the stone bed. And the feelings of tourists. Although this poem is short, it is rich in connotation. Zhang Xu, a calligrapher and poet in the Tang Dynasty, also wrote a four-line poem "Stay in the Mountain":
The state of mountain light makes spring glow, not for lightness.
Even if it doesn't rain on a sunny and cloudy day, it's too deep in clothes.
The poem "stained clothes" is a real way of writing, which shows another scene of the cloud lock in the mountains. The "wet clothes" in Wang Wei's poems describe illusions and dreamland, and express the poetic meaning of lush mountains and forests. The two poems have similarities and differences, and each has its own brilliance.
Wang Wei's five-character rhythmic poem "Autumn Night in the Mountain" is a masterpiece combining poetry and painting.
The empty mountains are bathed in a new rain, and feel the early autumn at night. The bright moon shed clear light from the cracks and cleared the fountain on the rocks. The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe. Spring spring might as well give it a rest, and the autumn sun can stay on the hills for a long time.
This poem describes the scenery of the mountain village after the rain on an autumn night. Write at will, and the language is natural. In this poem, the cool autumn after the rain in an empty mountain, the bright moon in a pine forest, the sound of clear spring flowing on a stone, the laughter and laughter of a girl who came back from dancing in a bamboo forest, and the mode of a small fishing boat crossing the lotus flower slowly are all harmoniously and perfectly intertwined, like a fresh and beautiful audio picture scroll and a quiet and beautiful lyric poem. We seem to breathe fresh air after the rain.
Some of Wang Wei's famous poems can arouse our wonderful reverie: "Flowers in the pool shadow in the wind", "The branches are noisy and the moonlight is cold", "White water is separated at the boundary, and the heart is in full bloom on the willow tree", "The brook sings on the winding rock, and the sun is reconciled by pines", "A white egret is flying in the quiet swamp, and a mango bird is singing in the summer tree", and so on. There are pictures in poetry, and there is joy in poetry.
Wang Wei's poems pursue freehand brushwork effect, pay attention to seamless integration, and fully convey the poet's subjective interest. There is a poem "Hulin Pavilion" in Wangchuan Collection:
Welcome guests with a light song, and come up to the leisurely lake.
When the porch spilled the bottle, the hibiscus opened on all sides.
Expressed the poet's leisurely and quiet mind. "Living in the mountains is one thing" wrote the poet's mood in more detail:
The door of the hedge is closed, looking at the oblique sunlight in the evening. Crane perches on the surrounding pine trees, and tourists are left in cold and sparse places. Tender bamboo contains new powder, and red lotus loses its clothes. The lights on the ferry are on, and there are bells everywhere.
The boiling life highlights the coldness of the poet's family. Is it an envy, or is it really divorced from reality? Hard to understand. Similarly, there is a letter "My letter to Pei Di at Wangchuan Cabin":
The mountain is cold and blue now, and the autumn water has flowed for a day. Leaning against Chai Men, listening to cicadas in the evening breeze. Sunset set at the ferry, and midnight snack smoke floated out of the house. Oh, when will I make a wish to the great hermit again and sing a wild poem under five willows? .
This poem describes the autumn night scenery in Wangchuan, which is quiet and elegant and picturesque. Pei Di was drunk and sang in front of Wang Wei's door, which was very interesting. The couplet "Watou" was handed down as a swan song. Xiangling in A Dream of Red Mansions once highly praised the picturesque and poetic quality of this poem according to her own life experience. Wang Wei's poems are the easiest to bring readers into the realm of poetry because "there are pictures in poetry". No wonder when Xiangling asked Daiyu how to write poems, Daiyu first asked her to read Tang poems, not the works of Li Bai and Du Fu, but the complete works of Wang Mo (see Chapter 48 of A Dream of Red Mansions).
The Value of Wang Wei's Landscape Poems
The value of Wang Wei's landscape poems should first be recognized in the development history of China's classical landscape poems.
In pre-Qin poems (such as The Book of Songs and Songs of the South), some poems describing mountains and rivers are subordinate in content and not praised as independent aesthetic objects. It was not until the Jian 'an period at the end of Han Dynasty that the earliest complete landscape poems appeared in the history of China's poetry. This is a four-character poem "Viewing the Sea" written by Cao Cao:
On the east coast, climb Jieshi Mountain to see the vast sea. The sea is so vast that the islands stand high on the sea. Trees and paraquat are very lush. Autumn wind makes trees make sad sounds, and the sea is surging. The movement of the sun and the moon seems to come from the vast ocean. A trip to the sun and the moon, if unexpected; Han is a talented star, if you take him by surprise. I am glad to use this poem to express my inner desire.
But this kind of poem was rare at that time.
Landscape poetry began to rise after Wei and Jin Dynasties. Because of the political darkness and social unrest at that time, literati hoped to live in seclusion and send their feelings to the mountains and rivers to avoid disasters. The beautiful natural landscape in the south of the Yangtze River attracts more literati. The prevailing metaphysical trend of thought at that time combined Confucianism's "Ming Jiao" with Taoism's "Nature" and guided the literati to seek philosophy and interest in life from natural landscapes. Advocating the breeze also brings praise for the development of mountains and rivers (see Shi Shuo Xin Yu). There are also beautiful sentences about mountains and rivers in metaphysical poems. After a long period of brewing in many aspects, the first landscape poet was finally produced. This poet is Xie Lingyun at the end of Jin Dynasty and the beginning of Song Dynasty.
Xie Lingyun traveled to famous mountains and rivers for a long time and wrote a lot of landscape poems. His poetic language is rich and delicate, he likes to carve and pursue similarity. The structure of poetry is often a traveling style, and there is always a tail of metaphysical poetry at the end. His poems are often full of sentences. Give a few verses: "Spring grass grows in the pond and willow turns into songbirds in the garden". The spelling of "the wild sand shore is clean and the sky is Gao Yueming" is autumn; In winter, "the bright moon shines on the snow, and the north wind is strong and sad"; "Woods and valleys gather color, and dusk clouds gather"; The spring scenery of "the Spring Festival Evening is green and wild, the rocks are high and the clouds are high". These exquisite poems are like exquisite landscape paintings. Xie Lingyun established the position of landscape poetry.
Later, Xie Tiao, a poet in the Southern Qi Dynasty, also wrote some fresh and beautiful landscape poems, including "The sunset shines in bloom, and the Chengjiang River is quiet as practice", "The river flows day and night, and the guest is sad", "The boat lives in the sky, and the clouds and trees show dignity" and so on. He Xun, a Liang poet in the Southern Dynasties, also wrote some famous scenic sentences: "The grass is exposed in the cold pond, and the moon reflects the Huai River", "The wild shore is flat and the sand is mixed, and even the mountains are far and foggy", "The flowers on the shore are in the water, and the river is flying around", "The river is dark and rainy, and the waves and white winds are beginning to rise", "The night rain falls through the steps, and the dawn lights leave the room". However, all their poems have one flaw.
Landscape poetry did not become a grand view until the prosperous Tang Dynasty. Meng Haoran and Wang Wei created the school of landscape poetry, which was praised by later generations. Meng Haoran is a little longer than Wang Wei, and his excellent landscape works are very artistic. For example, the night berth on Jiande River:
Stop the boat in a foggy small state, when new worries come to the guest's heart.
The vastness of the wilderness is deeper than trees, and the moon is very close to the moon.
I wrote about the traveler's sad mood and subtle feelings about nature. The first four sentences of Dongting Lake's telegram to Premier Zhang:
The autumn water rises and almost blends with the shore, mixing water and sky with the sky.
Ozawa's water vapor transpiration on the cloud soil is white, and the waves seem to shake the whole Yueyang.
Magnificent and majestic. The last four sentences of Watching Tides with Yan Qiantang:
According to the sun and autumn clouds, the floating sky is wide and extensive.
The stormy waves come like snow. If you sit still, you will feel cold.
Write with boldness of vision and feelings. The first four sentences of From a berth on Tonglu to a friend in Yangzhou:
Monkeys whimper on the dark mountain, and the river rushes in the dark.
The wind on both sides of the strait rustled the branches and leaves, and the moonlight reflected on the river, a boat on a river.
It is also full of artistic conception.
Compared with Meng Haoran, Wang Wei is much more outstanding in the artistic conception, meticulous taste of natural beauty, skillful use of poetic techniques, quantity and quality of landscape poems. It can be said that Wang Wei is not only a landscape poet, but also a pioneer of poetry. The schools in the middle Tang Dynasty (Wei and Liu Zongyuan) and Wang Shizhen's theory of verve in the Qing Dynasty all inherited the rest. Li Bai's landscape poems win with momentum and have rebellious spirit. Du Fu's landscape poems are gloomy and profound, worrying about the country and the people. Wang Wei's landscape poems are ethereal, full of Zen and thought-provoking. Although they don't have the soul-stirring ideological light in Li Bai's and Du Fu's poems, they greatly enriched the poetry circles in the prosperous Tang Dynasty in terms of artistic style. If you don't read Wang Wei's landscape poems, you can't see through the essence of China's poetic art.
Wang Wei's landscape poems also have their contemporary value;
It can cultivate our feelings of loving nature. Let us fully appreciate the beauty of nature, and then consciously protect the environment, protect nature, and make it better for the benefit of mankind.
Of course, it can cultivate our patriotic feelings. Patriotism is not abstract. Appreciating Wang Wei's excellent landscape works can enhance our love for the magnificent mountains and rivers of the motherland and our deep attachment to every grass and tree in our hometown. Wang Wei's landscape poems contain rich nutrition of the traditional culture of the motherland, from which we can get the pleasure of exploration and enjoy the nourishment of the excellent culture of the motherland, thus abandoning the nihilistic attitude towards the traditional culture of our nation.
It can cultivate our body and mind. Taste the beautiful artistic conception of Wang Wei's poems and daydream about the magic and mystery of nature, and you will get some spiritual pleasure. Zen and qigong have something in common. Entering the poetic realm, that is, entering the "Zen realm" created by Wang Wei, we may get some kind of "Qigong effect".
hill
1, there is no way to recover from heavy mountains and heavy waters, and there is another village. (Lu You's Tour of Shanxi Village)
Then he disappeared around the corner, leaving only hoofprint. (Cen Can's "Farewell to Tian Shuji, Wu Guixiang, Snow Song")
3. What is water like? What is a mountain island? (Cao Cao's "Watching the Sea")
We looked at the green trees around your village and the pale blue of the distant mountains. (Meng Haoran, "Passing the Old Village")
5. Looking horizontally, the ridge edge becomes a peak, and the distance is different. (Su Shi's topic Xilin wall)
6. Once you climb to the top of the mountain, you will see that all the other mountains look short under the sky ... (Du Fu's "Looking at Yue")
7. Climb Dongshan and Lu Xiao, Mount Tai and the small world. (Confucius)
water
1, Gushan Temple is in the north of Jiating West, and the water level is low at first. (Bai Juyi's "Qiantang Spring Tour")
2. How did the water of the Yellow River flow out of heaven and into the ocean, which is gone forever. (Li Bai's "Into the Wine")
3. Who knows that life is endless? The water in front of the door can still flow west, so don't sing yellow chicken with white hair. (Su Shi)
4. Peach Blossom Pond is deeper than thousands of feet, not as good as Wang Lun. (Li Bai)
5. As for launching Xiangling, it is along the back block. (Li Daoyuan's Three Gorges)
6. The water is blue and the bottom is thousands of feet. You can swim with the fine stones and look directly at them. (Wu Jun and Zhu Shu)
"The sun shines on Qingqiu Island and the dust is flying in Handan. The river moves to the forest bank, and the rock is deep and smoky "("Zhu Fang Road ")
"Mountains overlap far, bamboo forest near the cage. Soak your chest in cold water and take off the breeze "("Wandering Dojo ")
"Long branches sprout purple leaves, and Qingyuan is covered with moss. The mountains are floating and the spring is cold "("Pan Yongkang River ")
There are no birds flying over those mountains, and there are no traces of people in those paths. (Liu Zongyuan: "Jiang Xue")
The sun sets slowly near the western hills, and the Yellow River flows into the East China Sea. (Wang Zhihuan: At Lusu)
Try to climb to the top of the mountain: it dwarfs all the peaks under our feet. (Du Fu: "Looking at Yue")
Chang' an fell, the country was broken, and only the mountains and rivers remained; Spring has come, and the sparsely populated Chang' an city is densely forested. (Du Fu: Hope in Spring)
No one can be seen in the silent valley, only the voice is heard. (Wang Wei: Chai Lu)
A bright moon rises from Qilian Mountain and crosses the vast sea of clouds. (Li Bai: "Guan Shanyue")
You look at me, I look at you, and there are only my eyes and Jingting Mountain's eyes. (Li Bai: "Sitting alone in Jingting Mountain")
I planted beans at the foot of Nanshan, and the weeds in the field were covered with peas. (Tao Yuanming: Return to the Garden)
Castle peak can't cover up, after all, it flows east. (Xin Qiji: "Bodhisattva Xia? Book Jiangxi stoma wall ")
I can't recognize the true face of Lushan Mountain because I am there. (Su Shi: "Title Xilin Wall")
The so-called Iraqis are on the water side. (The Book of Songs? Jia Jian ")
The sea is so vast that the islands stand high on the sea. (Cao Cao: Looking at the sea)
White feathers, floating in green water; The red soles of the feet stir the clear water. (Luo: Singing Goose)
The Yangtze River splits the Tianmen Peak like a giant axe, and the green river flows around the island. (Li Bai: "Looking at Tianmen Mountain")
There is no way to go because of the winding water flow in the mountains, and a mountain village suddenly appears in the willow-green flower bay. (Lu You: "Tour Shanxi Village")
Even if the Peach Blossom Pond is deep, it is not as deep as Wang Lun's sending away my love. (Li Bai: "To Wang Lun")
The willows in Jiang Shuiping are green, and I can hear the songs on the Langjiang River. (Liu Yuxi: "Zhi Zhu Ci")
When spring comes, the sun rises from the river, the flowers on the river are brighter than red, and the green river is greener than the blue grass. (Bai Juyi: "Recalling Jiangnan")
The silence of spring is because I don't want a long stream of water, and the shadow reflected on the water is like sunny days and breezes. (Yang Wanli: "Xiaochi")
Two or three peach blossoms outside the bamboo forest and ducks in the water first noticed the warm spring. (Su Shi: "Hui Chong Chunjiang Night Scene"))