Playing zither in the mirror

Playing zither in the mirror

Jingjingmingqin is one of the 40 sceneries of Yuanmingyuan.

The main building of Jiajing Mingqin is a bridge pavilion with double eaves and four slopes across the water. The plaque of "Jiajing Mingqin" written by Emperor Qianlong is hung on the pavilion. Here, Jiajing refers to the bridge between Fuhai in the north of the bridge and Neihu in the south of the bridge, while Mingqin refers to the self singing of the small waterfall on the hillside in the east of the bridge.

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Cultural relic landscape

Jingjingmingqin, on the South Bank of Fuhai. To the East is Nanping evening clock.

In a bridge pavilion across the water in Hainan Province, Li Bai's poem "two waters with bright ytterbium, two bridges with rainbow" is taken. In the East, there are Nanping evening bell, Xishan picturesque, mountain water state, and in the west, there are lakes and mountains in sight, beautiful landscapes, and Dongli Changchun.

Interpretation of word meaning

Playing zither in the mirror: romantic feelings of literati

Yuanmingyuan Fuhai south bank "jiajingmingqin" scenic spot is a typical example, the main scene is a double eaves across the water, four slopes of zanjianding Bridge pavilion, enriching the landscape outline of the west section of Fuhai south bank. The so-called "Jiajing" refers to the vast water surface of Fuhai in the north and neigang in the south, and the bridge pavilion with circular arch holes between them, combined with the reflection of the water surface, is just like a circular mirror; the so-called "Mingqin" refers to the sound of a flowing spring falling on the East Cliff, rushing into the rocks and making a sound like a Mingqin. Whether it's climbing up the bridge pavilion or crossing the bridge cave, you can appreciate the designer's ingenuity: on one side is Fuhai, which is flat and wide, and on the other side is the harbor, which is winding and narrow. The contrast between the two makes the atmosphere very different.

In the forty scenes of Yuanmingyuan, Jiajing Mingqin, painted by the court painters Shen Yuan and Tang Dai of the Qing Dynasty, Qianlong wrote a special inscription for the scene, which chanted the water fairy, clearly mentioning the original intention of creating Jiajing Mingqin: "take Li Qinglian's poetic idea of" two rivers and two mirrors ", set up a Hongqiao to build a Jiege, overlooking Chenghong, the reflection of the painting column, the waterfall hanging on the side cliff, the stone rush, and Chengcong sing, I'm still aware of it. " In his words he wrote:

In the wind, the Mulan boat pats the flying Fu to break the smoke. Linyuan has no intention of being envied by fishermen. It is empty of water and sky. Don't talk about that year. Empathy far away, not in the string, pay with the company.

The poem "chuisi" comes from Li Bai's poem "chuisi baichi diaoying" and Yong Tao's poem "smoke willow wind blowing bank slanting"; Fengli comes from Laihu's poem "falling flowers wind counting Flute"; and "Mulan boat" comes from Shuyi Ji: "Luban carved Mulan as boat, in Qili boat". As the poet said, "this is the Mulan boat." As well as Li Shangyin's poem "several times on the Mulan boat, I don't know yuan is the flower body."

"Paipai Fei Fu" is derived from Su Shi's poem "spring wind is flowing, Fu Yan Pai first" and Ni Zan's poem "jiuxiao morning dew is flying Fu"; "Pozhu Yan" is derived from Fan Chengda's poem "Sun foot baking clear has broken smoke" and Liu Yuxi's poem "Zhu Yan Huilan move"; "Linyuan has no intention of fishing people's envy" is derived from "Linyuan envies fish, it's better to retreat and form a net" and "Liezi"“ "The empty water and the sky" is originated from Su Shi's Chibi Fu, which "strikes the empty light and traces the flowing light" and Mi Fu's jingmingzhaiji, which "the water and the sky are clear and broad-minded".

"Qin" is an important symbol of Chinese literati culture. It is a typical tool to express literati's leisurely mentality of "forgetting both favours and Disgraces". The theme of Qin has appeared many times in Chinese classical gardens. The words "Qin Xin" refer to the words "it's for Huang Ting, it's called neipian, it's called the inner chapter, it's called the triple dance of Taixian" in Huangting Neijing Jing Jing, and the words "Qin Xin is neither happy nor surprised" in Li Xian's shuixiancao. The words "that year" refer to the words "Emperor Wu planted Liuling in front of the hall, and often said: This willow is romantic and lovely, just like that year of Zhang Xu"

The "Empathy" and "chenglian" mentioned in the article are from the story of Yuefu Guti Yaojie, which says: "Bo Ya's study of Guqin was made in three years by Mr. chenglian (in the spring and Autumn period). As for the loneliness of spirit, single-minded, has not yet been able to. Cheng Lianyun: junshizichun in the sea, can move human feelings. No one came to Penglai mountain. He said, "I will welcome my teacher.". The thorns are gone, but ten days never come back. But when I heard the sound of the sea water, the mountains and forests were in the dark, and the birds were crying, I sighed sadly, "Sir, I've moved my feelings!" After his soul was agitated, Boya "came to the aid of Qin song". At the end of the song, Cheng Lian comes back by boat and meets his apprentices. After this cultivation, Boya finally became a master of piano playing in the world.

Here, allusions, as a kind of activity of thinking consciousness full of historical romantic color, are free from the time and space of history. Naturally, they are also easy to become tools for aesthetic subject to express their feelings. In the process of constant interpretation, allusions also get constant sublimation.

A few verses, which are organized and condensed with emotional fragments, show a beautiful and moving picture through the vague and flexible grammatical arrangement of ancient Chinese and the uncertain and free interaction between words and aesthetic subjects. "Jiajing Mingqin" is a re creation closely around the allusions of chenglian's empathy, which makes people feel as if they are in Boya's situation and mobilizes the space of readers' imagination.

The natural beauty in the garden is often only the aesthetic relationship of representation. The key to understand the garden is to analyze the ideal of the subject under certain historical conditions and cultural background. There are five plaques in "Jiajing Mingqin", they are: Enguang Renzhao, Xishan picturesque, Hushan in sight, Jiashan, Dongli Changchun. Combined with the contents of these plaques and the allusions used in the poems, we can clearly see that the aesthetic subject pursues a kind of ancient gentleman's hermit thought, and the "hermit" thought is the important cultural psychology of ancient Chinese scholar bureaucrats. Such a theme is always in line with the ideal realm of scholar bureaucrats. The gardening art of an era always reflects the ideals and feelings of the people who dominated the culture at that time. In the above, the scene elements of weeping willow, Hefeng, water surface, boat (often representing reclusion), singing Qin (actually the sound of water), Jiajing (actually the reflection of water surface), Dongtian (just the symbol of ancient seclusion), feifu, Zhuyan, fishing, Linyuan, etc. are all set off. In the face of the three islands of Penglai, Fuhai, vision and hearing are integrated A picture of reclusive emotion with both sound and emotion. The interpretative aesthetics in Chinese classical gardens often builds an aesthetic bridge across historical time and space with the hint and analogy of key scene symbols.

To sum up, the arrangement of "Jiajing Mingqin" scenic spot in Yuanmingyuan is guided by the language of space environment and the title of spot scenery, which implies the description of history and culture, connotes the personality vision of pursuing noble life, plays a profound and long time and space, expresses the extraordinary garden artistic conception, fully embodies the infinite charm of interpretative aesthetics in Garden Aesthetics, and highlights the charm of China Excellent design tradition of classical garden.

Current situation of cultural relics

In 1860, Yuanmingyuan was burned, and there are still some lime soil piers on the site.

Emperor Qianlong's Poems

Qianlong's poems from the forty pictures of Yuanmingyuan

"Jingjingmingqin"

Li Qinglian's two rivers are taken as a mirror of poetry. A rainbow bridge is built on the top of a Jiege Pavilion, overlooking Chenghong, the reflection of the painting column, the waterfall hanging on the side of the cliff, rushing the stone, and the sound of Chengcong.

In the wind, the Mulan boat pats the flying Fu to break the smoke.

Linyuan has no intention of being envied by fishermen. It is empty of water and sky.

Don't talk about that year. Empathy far away, not in the string, pay with the company.

Address: Yuanming new garden at the junction of Lanpu road and Baishi Road, Jiuzhou Avenue, Xiangzhou District, Zhuhai City

Longitude: 113.53788926984

Latitude: 22.23997841612

Tel: 0756-8610388

Ticket information: free.

Chinese PinYin : Jia Jing Ming Qin