There are many things in Chinese culture that are known for being "slow". For example, in Peking Opera, one word and nine cavities are chanted in the "Adagio"; The steps are taken in the "slow long hammer", isn't it "slow"? Another example is Go, you can't cast a single piece for half an hour, and if it is not for the "counting" of the regulations, I am afraid that it will be played in the year of the monkey. There is also traditional Chinese medicine, which is even more "slow" to win. Western medicine comes quickly, taking medicine, injections, and even surgery, so people with acute diseases often seek help from Western medicine. However, when people suffer from those "slow" STDs that cannot die at once but cannot be cured, it is necessary to conclude that Western medicine has no choice but to seek treatment from Chinese medicine.
Traditional Chinese medicine also treats "slow" with "slow", so that it pays attention to the work of decoction, and has to use "simmering" to boil slowly, not to mention that these things are "slow", there is another meaning, which is also more important, that is, the work they use is also very "slow".
Chinese art talks about the realm, and the acquisition of this realm is extremely laborious, it is the creation of time, and it is the result of the erosion of time. An actor who has lost his anger and returned to dullness is naturally not something that a hairy young man can fill.
Tan Xinpei, Yang Xiaolou's "Yangping Pass"
Although there is no shortage of young people at the top of the Go ranks, it is none other than Hideyuki Fujisawa who can achieve the layout, mid-game, and official style that can give people a sense of aesthetic enjoyment everywhere. As for traditional Chinese medicine, not to mention the proverb that "Lang Zhong wants to be old", it mostly only refers to a doctor with a real realm of clinical experience, whose prescriptions not only have practical value, but also talk about aesthetic value. Such as the compatibility is orderly, the legislation is strict, concise and concise, etc., in short, the monarch and the minister are all exquisite. Therefore, it is said that a good prescription is like a good poem, which can give people a strong impression and never forget.
Mr. Tong Ning has a discussion of "becoming a garden" in "Jiangnan Garden Chronicles", which can quite explain the process and effort of the generation of this realm:
Don't rush for the garden, 'become' is not necessarily the camp. The mountains and stone pavilions are completed, and the flowers and trees are still to be found; Although the willow is shady, the pine and cypress are still dwarfs. And the moss of the stone path has not grown, and the green pigment of the pavilion is dazzling, not accumulated over the years, and the wind peels off the day and invades, so that the gradual transformation of elegance and taming is not successful.
Chinese Garden
According to Mr. Tong Ning, it is not difficult for us to appreciate that the end of the garden realm is really due to those inconspicuous mosses. Imagine that if there is no such thing, not to mention a bunch of bare mountains and rocks pavilions and ponds to make people lose their appetite, even if the willows are shady, the pines and cypresses are towering, how many interesting meanings and realms can be born? No wonder poets value it very much. Liu Mengde's Burrow Fun is probably inseparable from "moss marks on the green steps"; Lao Du's leisure is also in "casual sitting on berry moss"; Xiao Du's loneliness is completely contained in the "small courtyard without rain and moss".
However, this moss is not "overnight", it is also an authentic "slow" life - not only is it slow to generate, but it is also not fast to step into it. Only like Bai Renfu said, "Light green bamboo, step moss", can we harmonize with it and have a charm. If it is like Cao Xueqin's Grandma Liu, who "fell down" on the mossy ground when she entered the Xiaoxiang Pavilion, then there is only a part called "ouch", what kind of elegance and affection can you talk about? That's a big deal.
In short, the realm is tempered by time, and it cannot come out without a certain amount of time and a certain amount of effort. Several masters in the Peking Opera world attach great importance to this. Yu Shuyan once forbade his high-footed Li Shaochun to sing the plays of "Zhuangyuan Spectrum" and "Hongyang Cave", saying that there were no wrinkles on his face, and this kind of drama was still better to be less moved, at least after the age of forty-five, because there are many mysteries in it, which are by no means something that a young man can understand or imagine. When Yang Xiaolou was dying, he also specially instructed his grandson Liu Zongyang: "Farewell My Concubine" and "Iron Cage Mountain", if you are not old enough, you can't be hot, don't act rashly. As a result, Liu Yin died too early, and these two plays have never been touched.
Yu Shuyan and Zhang Boju's "Shiro Visits His Mother"
In addition to the work of "years of accumulation, wind peeling and sun invasion", there is also a very important point, that is, its natural work, natural interest; It's all happening where people don't know it, not by artificiality. Naturally, this situation is not unique to moss. Or take Peking Opera as an example, an actor's success is quite similar.
In the work of Peking Opera, there are some tangible things that can be practiced vigorously, just like the mountains and rocks in the garden. However, it is an outward thing without life, a part without "God". And the intangible things such as inner life and "God" are by no means desperately cultivated, just like the moss in the garden that "has no roots, no leaves, no traces and no shadows".
When we watch plays, we often say that there is a "typhoon" in such and such a good corner, and this "typhoon" is afraid that it can't be practiced hard - not only hard practice, but also can't be said. What is a "typhoon", who can say clearly? Someone said, I can't say the "typhoon" thing, I know that as soon as Mr. Hou Xirui Hou's Cao Cao came out, several tall Cao Ba generals will all become smaller. Perhaps it can only be said that this is an intangible thing with a special charm. Someone has sung a whole life of opera, and his kung fu is excellent, but he is almost so typhoon, so he can't get on the product for the rest of his life.
Hou Xirui's "Zhan Wan City"
Li Yu once said that the "essential" of a good actor is to have a "state", which is about what we call a "typhoon". In Li's view, this "state" is like the flame of fire, the light of a lamp, and the treasure of pearls, gold and silver, and it is a kind of "intangible thing, not tangible thing". This kind of intangible thing, Kasa Weng also sighed to himself that he couldn't "make it come into existence out of nothing", and of course it was not something that could be practiced in a hurry. Therefore, he asserted that "the state is born by nature and cannot be forced", and "its cultivation is also unintentional; His life is also not intentional. It is all the origin of heaven. ”
Don't get me wrong for Kasa preaching mysticism here. In fact, he does not deny the "learnability" of "state": "To make the stateless and the stately cohabit, to be nurtured day and night, or to be transformed by it." He was merely opposed to "forcible creation": "If you want to mention it, you will face it...... I'm afraid that the more I talk about it, the stronger it will be, but what! ”
It can be seen that this invisible thing is "transformed" inadvertently and inadvertently, and it is born quietly, without a trace, just like the moss that is not noticed—when it grows little by little, no one cares about it; And once one morning, it is covered with mountain and rock paths, people will suddenly find that this garden has given birth to a kind of charm, a lot of fun, and a piece of vitality. "Sitting and looking at the moss-colored, wanting to come to people's clothes" This kind of eager feeling is probably not only the king of Maha.
There is a widely circulated anecdote in the Peking Opera industry, saying that a young actor learned to play Luoshen, and his moves were similar to Mr. Mei Lanfang, but he lacked a little "fairy energy", but he couldn't learn how to imitate it. Mr. Yan Jupeng said one of his personal experiences: "Boss Tan (referring to Tan Xinpei) in his later years, some figures are things that are transformed from daily life, which is not easy to learn. Like the figure of the cuffs of the fan fan, I don't dare to make it, and Shuyan doesn't use it, because without his heat, it is unnatural to make it, and it is better to draw a tiger into an anti-dog, or hide it clumsily. (In terms of hard work, it still feels like this, but what about others?) )
Mei Lanfang's "Roselle"
Mr. Mei's so-called "fairy energy" and Boss Tan's so-called "transformed things" are the "moss" in the garden, which has to be created by the "slowness" of time; There must be an environment and atmosphere to be generated, just as the moss is generated in the secluded and cold silence of "the sun is the yin, and the noise is quiet", and the "moss" on the actor's body must also be created in a place far away from the practice studio - it is the result of cultivation in many aspects, and it is the result of "day and night edification". Without these two layers, whether it is "immortal energy" or "transformed things", it will not fall from the sky.
Article source | Pear Garden