There are 120 guqin poems in "Full Tang Poems" written by Bai Juyi, although they only account for one-tenth of the more than 1,000 guqin poems. . This article intends to analyze the aesthetic connotation in Bai Juyi's guqin poems from the influence of the qin music, qin environment and poetic heart, and aesthetics in Bai Juyi's poems.

01
Songs in Poems

Bai Juyi's guqin poems involve many qin pieces, some of which are more obvious and others more obscure. The more obvious ones are "Playing Autumn Thoughts" and "Listening to the Orchid". I enjoyed two high-quality and elegant Guqin songs - "Autumn Thoughts" and "You Orchid" respectively. The two poems "Listening to Tang Concubine's Resentment" and "Listening to Dan Gulushui" are the aesthetic feelings of listening to "The Resentment of Xiangfei Concubine" and "Gulushui", which express the unique charm of the piano sound. "Bie He Cao" is a sad and desolate qin song in "The Musicians Playing Farewell to the Crane in the Rain". It mainly expresses the pain and helplessness of a husband and wife who are deeply in love but have to be separated due to the etiquette. It's like feeling sorry and sad for this pair of lovers. In "Qingling Shiquan Quotation, Yadan Fengsong Song" ("The Twenty-Three Poems of Hewei·Heshun Zhiqin"), "Shiquan Yin" and "Feng Song Qu" respectively refer to the qin songs composed by Jin Ruanxian "Three Gorges Stone Spring" and "Wind into the Pine" by Jin Jikang. Bai Juyi only used the words "Qingling" and "Yadan" to show the elegant rhythm and poetic quality of these two qin pieces.

Some qin pieces are hidden in poetry. "The seven strings are good friends, and the two ears are bosom friends. When the mind is calm, the sound is light, and there is no past or present" ("Ship Night Aid the Qin") and "But I blame Zhongqi's ears, only listening to the mountains and rivers" ("Listening to Li Shanren at night in the county") Playing Three Music") all reflect the qin piece "High Mountains and Flowing Water". Bai Juyi likes to be friends with the qin, and the blunt and flat voice of the qin always makes people forget the troubles of the world. Bai Juyi's poetry lies in the connection between sight and hearing. It can be said that the qin brought inspiration to Bai Juyi, and it is undeniable that Bai Juyi inherited the beauty of qin music in words. For example, "Tune the clear sound, straight rhyme and sparse rhythm" captures the rhythmic characteristics of a piece of Qiusi to the extreme, and "If you want to know the slow flow, listen to the sparse sound", it reflects the phonological characteristics and emotional performance of ordinary guqin songs.

02
Qin and Poetry

The guqin music ideas reflected in the Tang Dynasty literature can be divided into two types: one is the artistic qin and the other is the literati qin. The "artistic qin" refers to the qin as the musical art, reflecting that the musical art of the guqin realizes the social life, thoughts and feelings of the ancients and contemporary people, and emphasizes the beauty of art and musical skills. The "literati qin" is a hobby of literati, or using the qin for self-cultivation, or using the qin to entertain guests and oneself, or to cherish the saints and think of the wise, or to avoid the world and envy the immortals with the qin. The literary connotation displayed in Bai Juyi's guqin poems shows his life philosophy and philosophy of life after experiencing a unique life experience. It is not only a deep understanding of the sound of the piano, but also a deep understanding of the fate of the world and his thoughts. For example, "Where the dancing waist and singing sleeves are thrown, there is only one piece for the stringless qin" ("Cool of the Night") and "There is a scholar in the hill, who has been guarding the road for a long time. The image of the "stringless qin" proposed by Tao Qian, which can be traced back to Laozhuang and Zhuangzi, frequently appeared in Qiuzhong's One Scholar and Two Songs. It can be seen that when he played the qin, he paid more attention to appreciating the meaning outside the strings.

As a scholar-bureaucrat, Bai Juyi has always advocated the literary concept of "writing for the occasion and writing for the occasion". The sense of responsibility of actively joining the WTO and helping the world is expressed in his guqin poems as "rejuvenating the country with elegant music and music". thought of. He wrote in "Tan Qiu Si", "Recently, no one listens to it, and the quality of the piano is self-aware." After the An-Shi Rebellion, the sound of Hu Le's music attracted the attention of scholars and officials. Bai Juyi used the "guqin" as a way of "right sound" to oppose Hu sound, and practiced the Confucian "music education" thought through self-cultivation and morality, so as to stabilize the country. This kind of thinking is even more clearly reflected in "Abandoned Qin", "If you don't say goodbye to playing for the king, you don't listen to it. What makes it so? Qiang flute and Qin Zheng." Guqin is detested.

Similar to what happened to Guqin, Bai Juyi's disappointment with the current political situation made Bai Juyi, who was exiled, gradually change from the "feeling of joining the world" in active politics to the "feeling of being born" in a leisurely and indifferent manner. The two lines of "Occasionally Recited Two Songs", "The kitchen is fragrant and the millet is mixed with wine, the windows are warm and the strings are wiped and the qin is wiped off." The two lines describe a peaceful life accompanied by wine and tunes and accompanied by the qin, instead of the turbulent feeling of ups and downs in the sea of Huan. The sentence "Old life is only like this, and there is nothing else to worry about", which directly reveals that the poet takes a plain voice as beauty, just as he said, "Now there is clothing and food, and there is no joy or worry in my heart", "Anxiety." The implication of the troublesome things that are beyond the mundane in "Sweeping the Strings" and "Close Your Eyes Quietly" is the embodiment of the poet Bai Juyi's guqin cultivation and Confucianism and Taoism. The realm of Guqin art is precisely on the point of purifying and deepening the mind and the universe. The changes in the qin and poetic conditions reflect the poet's "poetic heart", and the beauty of literary and rhythmic thoughts is in it.

03
Aesthetic influence

Bai Juyi's qin poems highly praised the guqin as the Chinese syllable, revealing the aesthetic tendency of advocating elegance and restraining vulgarity. Although this is to a certain extent the performance of the past and the present, it is also his adherence to the elegant music when the guqin is dealing with the impact of the guqin and the zither. It is precisely because Bai Juyi attaches great importance to the guqin and the tenacious vitality of the guqin itself that the aesthetics of the guqin can be inherited in one continuous line, not annihilated by the drift of history, and deduces complex factions in the process of continuous development. Bai Juyi can be said to be a representative of the literati qin. His aesthetic thoughts also permeated the whole qin music aesthetics of the Tang Dynasty. He loves "qin", and uses it to express his feelings, use it to write his aspirations, to return home with the qin in his arms, and to conceal his own goodness through his qin poems. Bai Juyi's qin music thought integrates all aspects of his life experience and literary quality, and is unique in the Tang Dynasty guqin aesthetics.

With the great changes in the political environment between the Tang and Song Dynasties, the spirit of Bai Shi was gradually absorbed and transformed by the new spirit of Song poetry. Bai Juyi was in the middle Tang Dynasty, and his qin poems were an important part of poetry creation. The characteristics of Bai Shi's "both benefiting and benefiting alone" are naturally also reflected in his qin poems. Bai Juyi's guqin aesthetics has been integrated into the qin learning ideas since the Middle Tang Dynasty, and has a profound influence on the guqin aesthetics of the late Tang Dynasty and later generations.