In contemporary China, Ye Wenfu is a poet and artist with a unique embrace of nature. Many of his creations were inspired by the gods of nature.

Through the art of poetry, he has successfully captured the human light of nature, and what he has returned to nature is eternal passion creation. His creation is the ignition of nature, so that all life is incarnated in nature, and all nature is incarnated in life.

In On Art, Rodin recounts the idea that nature is the "only goddess", and he wants people to be convinced that nature is never ugly, and to be faithful to nature wholeheartedly. He believes that "art, that is, the so-called contemplation and contemplation, is the pleasure of going deep into nature, penetrating nature, and assimilating with it." For the great artist, Rodin said, "everything in nature has a character,-- because of his resolute and straightforward observation, his ability to see the meaning of things". As a sculptor, Rodin's artistic aesthetics come from his sculptural art practice, and the "one and only goddess of nature" he believes in is also the aesthetic realm in the eyes of sculptors.

Rodin's natural aesthetics are also reminiscent of the Chinese Book of Songs and Chu Ci. If we compare the time when the Book of Songs and Chu Ci were produced with Rodin's On Art, the latter is more than 2,000 to 3,000 years late. Reading the works in "The Book of Songs: National Style", you will touch the tremor of the natural heart, and you will vaguely hear thousands of things singing; There are many works in "Chu Ci" that are also full of English and fragrant, such as: "Yulan soup is fragrant, and the clothes are beautiful." The spirit is curled up, and the rotten is not clear. ("Nine Songs: Jun in the Clouds"). The four lines of poetry are also looking for each other, and Tsinghua's temperament is very good. In ancient Chinese poetry and art, it also reflects the aesthetic idea that nature is the "only goddess".

In contemporary China, Ye Wenfu is a poet and artist with a unique embrace of nature. Many of his creations were inspired by the gods of nature. Ye Wenfu's poetry collection "The Sun of the Male" published by the Writer's Publishing House in October 1986 has a total of 66 poems, including 15 poems with the name of a plant, 4 poems with the name of an animal, and 28 poems with the name of other natural scenes. Such as "Wild Lily", "Wild Rose", "Old Tree", "Mountain Stone", "Thunderstorm", "Spring Silkworm", "Seagull" and so on. According to Rodin, Ye Wenfu's observation of nature is firm and straightforward, and he achieves the pleasure of assimilating the mind to nature. Through the art of poetry, he has successfully captured the human light of nature, and what he has returned to nature is eternal passion creation. His creation is the ignition of nature, so that all life is incarnated in nature, and all nature is incarnated in life.

He wrote in "Green Leaves": "In the pasture I am grass, on the river I am mulberry / shaping lake smoke waves, I am lotus --/...... Neck in the steel knife, I am a leek --/cut a stubble of snow in June, and a stubble of August fragrance". Two years ago, he was suffering from cancer, lying on the sickbed, and chanted the life quatrain of "I was born a great hero, born like a sea and died like a rainbow". All the objects of nature show the tragedy and splendor of the poet's life.

When Ye Wenfu returned to his hometown of Chibi in the south of the Yangtze River, he wrote a poem "Beauty Willow": "Willow, willow, Willow/Jiangnan Wine/The world does not see the sky/Xi Shi Soul/Wang Chang's hand/Daiyu Spring Heart Chang'e Sleeve/Far like smoke/A touch of green and a little sorrowful/Close as a dream/Ten thousand wisps of acacia are soft/Drink the apricot blossom rain in March/Green in the branches/Crazy in the heart/The rain slanting wind is leisurely/Dancing freely/Pretty and shameful/A simple body/Ten thousand kinds of romance/Endure three nine for ninety-nine/Spring Future/Winter is not gone/Four nine fifty-nine/Looking at the willows by the river/Smile from the elegance/Love is quiet/Leave people unintentionally inserted/Sleep buds are intentionally smoking/Fragrant spring dreams are hard to wake up/Drunk on the grass bank Drunken Tingzhou/Green Spring/Yellow Newspaper Autumn/ A body of Ling/Newspaper and the wind and snow in the world/Willow, willow, willow/Jiangnan wine/I don't know if you see it/Before and after the village/Around the stream/Hometown is everywhere/Jiangnan wine/Willow, willow, willow......" This is a natural work of ancient words and ink rhyme and new poetry tone. Green and green, mellow and fragrant, faint and melancholy, and the feelings are infiltrated with poetry. The wine is transcendent, and the willows are poignant, which is not uncommon in ancient poetry. Wine and willow into the poem together with Su Shi, his "Wangjiangnan" has "spring is not old, the wind is thin and the willows are oblique", "poetry and wine take advantage of the youth" two lines of poetry. And the wine and willow pen is written by Lu You, and future generations will not forget the poem "Hairpin Phoenix" written on the wall of Shen Yuan: "Red crisp hands, Huang Teng wine, the spring palace wall of the city and willow ......" are all in the past! --Ye Wenfu integrates "beauty willow" and "Jiangnan wine" into the pen, he hides his boldness, appreciates the willow as he likes, cares freely, praises the Qingzhen, and finally gets the true taste of the willow in the thousand-year-old homeland! --The "Goddess of Nature" once again relied on Ye Wenfu!

All things return to the heart, and things and I are one. Ye Wenfu breathes the great beauty of the natural world. He trusts nature and conquests nature with his life. He wrote at the beginning of "Huangguoshu Waterfall": "The sky is full of clouds and waves - rolling in, whistling down, and going away!" / It's as if there is a lake of life in the sky, and here, it's a break! The poet writes about "waterfalls", but also celebrates life. You can feel the artistic spirit of the poet "cage the world in the form, frustrate everything in the pen" from the empty and straight beginning sentence of "the sky and the clouds are in the sky--", you can feel the artistic spirit of the poet. is like Liu Bang's "Song of the Great Wind", as soon as you read "The wind is blowing and the clouds are flying", and you don't need to rush to read the back "Weijia Hai is returning to his hometown, and the warriors are guarding the Quartet", you have already appreciated the heroic spirit in the poem early. -- These are the miraculous and subtle perfections bestowed by the "Goddess of Nature" on the art of life.

Ye Wenfu once wrote a poem "Fishing Song", the whole poem is only 44 lines, including the title is only 222 words, the whole poem alternates long and short sentences, the poem is generous, the poetry is pale and yellow, and the poetry is sad. The poet once again experienced nature, and when he was fishing with a friend, he was like receiving an oracle ,-- the shore of the lake, only to see the poet suddenly wave his rod and sigh to the sky, which is to get this poem: "Life is rare and everything is rest/Unloading the armor/Hanging the tassel gun/Being a prisoner/Chudi wilderness/Wind and rain are flooded/Half a graceful taste/A rod is idle/Fishing wild horse ferry/Forget Yannan's night talk/Spit out all the worries of the jade horse/Zong Yuan fishes the snow and I fish in the autumn/The mountains are far away/The water is near/Fish swimming/Good at shooting the sun/Fishing a river backwards/Who expects in this life/Majestic and strong/Retired at the age of thirty-eight/Laughing at the golden carp not taking the bait/The golden carp is not hooked/Don't look at the fishing rod quiet/The silk thread is soft/The reed floats/The crossbow is drawn and the bow is zhang/The water is deep/Hanging conspiracy/The East China Sea should be a whale/Once the fate runs to the Yellow Spring/ Just to swallow a bite by mistake / Pity a lifetime / Only for fishing Weng three cups of wine / Catch the breeze and two sleeves / Like a full fish basket / I have one less harvest / One more day of freedom for fish / The crescent moon is floating in the sea of clouds / A good boat / There is still juvenile blood gushing all over the body / Jump on the bow of the boat / Swing the rod and laugh vertically and horizontally / A line of poems / Fishing for the stars in the sky"!

What a "Fishing Song"! It is really the creation of heaven and earth! It even reminds one of Dante's Divine Comedy. People say that the Divine Comedy is a difficult book to read, and it is a wonderful poem. Although this is related to the fact that the "Divine Comedy" involves too many studies such as astronomy, geography, history, philosophy, theology, ethics, etc., there is another important reason, that is, there is an undue deviation in the logic of our thinking. In other words, if we are too rational, or even interpret the Divine Comedy with complete scientific logic, we will inevitably get lost in Dante's "dark forest". But if we understand the Divine Comedy as a dreamlike journey of the poet's mind, we will realize that one thing is certain, from "hell" to "pure realm" and then to "heaven", this is a tragic spiritual journey of the poet in nature. Such a process can be seen at any time in the Divine Comedy, such as: "We turned our backs and climbed up the embankment that surrounded him towards the miserable ditch. We crossed the embankment and said nothing. It is not night, nor is it day, so I cannot see far away, but I hear a high trumpet blowing in my ears......" ("Hell - Chapter 31") Reading "The Song of Fishing", we also see the poet's "journey of the heart". From the poetic realm, the poet also seems to have experienced the process of "fugue" from "hell" to "pure world" and then to "heaven". In the first mile (Hell), the main image of "iQue" is the poet himself, and the painful state of the soul in the poem is inspired by "Zongyuan Fishing Snow". "Zong Yuan fishes for snow and I fish for autumn", a vast and solemn snow realm disturbed the autumn realm of the poet's heart. In the second

Duan mileage (pure boundary), the main image of "iQue" is transformed into "Golden Carp". The poem uses a witty and quiet tone to describe the state of "golden carp" or repentance, or baptism, or enlightenment. In the third mile (Paradise), the main image of "iQue" returns to the poet himself. The poet relies on his genius,

The artistic conception of the poem is suddenly lifted from the ground to the sky, and the poet's soul is also suddenly ascended to a spiritual paradise where people can look back and look down on the world. And the ascension of poetry also benefited from that boat. The poet leaps onto the bow of the ship and pushes our imagination into the vast...... Is it Dante's boat that crosses the "dead river", or is it the "paper boat" in Tagore's dream? What an amazing thing! --The three parts of the Divine Comedy all end with "brilliant stars", and Dante says: "It is love, which moves the sun and moves the stars." Qin Geer also said that he dreamed that his paper boat "floated forward in the midnight starlight...... and now, it was finally Ye Wenfu's turn to jump on the bow of his boat: "Swing the rod vertically and horizontally, laugh vertically and horizontally, a line of poetry, and fish the sky full of stars"! --At this time, the heavens and the earth, the water and the sky are the same color, the heart and the moon are shining, and the poetry is mighty. "Fishing Song" is dense but atmospheric, and it is argumentative but shaking. Ye Wenfu's "fugue" was a natural moment, but nature gave him too much "fascination".

Poets sometimes seem to be rushing towards the unknowable and incomprehensible realm of art, but they will not step on the situational dignity of the "goddess of nature" at will, they will elevate poetry to the lofty bearing of heroes, and their illusions, confessions, wills, desires, and love will also be splendidly sublimated! --It is the supreme sublimation of the great artistic scene of human life given by nature!

Two

The "self-nature" in Ye Wenfu's poems is a "great abstraction" on the basis of "great personality", which is the focus of the philosophical light of a certain era. His "self-nature" is impulse, agitation, struggle, longing, and a return to the splendor of the meaning of human nature.

Ye Wenfu, a poet who likes to add a "small preface" to his poems from time to time. In retrospect, the "Ye Wenfu phenomenon" that appeared in the Chinese poetry circle is not unrelated to this "small preface". If there is a "small preface", there will be a big work. A very well-known person in the cultural circle once proposed for "General, Can't Do This": "Small preface" is not added, it is something outside the poem. Ye Wenfu did not comment. However, he wrote these verses: "The wind roars and the clouds run and the lightning strikes / My pen is a lightning rod that leads the day's turmoil / To the poem, which is my deep earth / ......" ("Thunderstorm"). There are two lines in "In Memory of Yeats" written by the famous English poet Auden: "Toil the poetry and turn the curse into a vineyard." Ye Wenfu's "small preface" is like a soil that can reproduce art, it has been interdependent on the life of the poem and cannot be separated. It really reminds people of the "vineyard" that has been transformed from a "curse".

In his Introduction to Literary Research Methods, the British writer and literary theorist William Henry Hudson repeatedly emphasized the proposition that "literature is the expression of personality". He believes that the greatness of a work should be attributed first of all to the great personality that gives it life. When we read Ye Wenfu's poems, we also feel the existence of "great personality" in them all the time. In order to correspond to the three propositions of "strong artistic emotion, strong spirit of life, and strong natural consciousness" in the previous article, we find a word with the same or similar meaning as "great personality", that is, "fiery self-nature" as the fourth proposition, which is also our fourth discovery of the aesthetic characteristics of Ye Wenfu's poetry.

Of course, the "three propositions" discussed earlier and the proposition of "self-nature" are unified and interconnected. We have expanded it for the convenience of discussion only. However, we should also understand that the previous "three propositions" can all echo and relate to the proposition of "self-nature". In a sense, without the manifestation of individuality, there can be no art; The contribution of any artist can be understood as the contribution of individual art; The aesthetic interest in art also goes in the direction of individuality, because there the true source of aesthetics can be found and excavated.

In our Chinese language, there are many words to describe personality, such as "unique", "maverick", "self-contained" and so on. In fact, to explore further, personality is essentially an integrated concept. For any artist, his "personality" is a "synthesis of magic", that is, the light of the artist's thoughts, emotions, character, temperament, talent and other aspects are gathered and reflected. The core of personality is character. Different personalities have different personalities. The style of a work of art is also influenced by the character and personality of the author. For example, without the variety of flower pigments, there would be no thousands of purples and reds under the sun.

Eliot once believed that "the development of the artist is a constant self-sacrifice, a constant annihilation of individuality". The first half of this view is true, and the second half is wrong. Without the self-sacrifice of artists, there would be no birth of artists. However, Eliot regarded the transformation of the artist's personal feelings and experiences into artistic feelings and experiences as "the elimination of individuality", and he even considered it an "impersonal process". Eliot ignored the great creative role of the artist's personality. Although the artist's personality will be transformed or modified in the process of "transformation" or "creation", it does not mean that the "individuality is extinguished". Eliot could not justify himself, and without his personality as an artist, his "Waste Land" era would not have been created.

As mentioned earlier, Ye Wenfu's poems are very intoxicating and artistic, which is also what we get from his artistic personality and deep thinking. Anyone who has come into contact with Ye Wenfu will say that he is a genius poet. This is because his personality and the art of poetry can shine on each other. Although we will inevitably use ancient and modern Chinese and foreign art theory thinking to expound Ye Wenfu's poetic aesthetics, the only starting point for all our discourse is the poetic art created by Ye Wenfu, and nothing else. Even without the help of theories such as the so-called "tragic spirit" from the West, we still have to fulfill our aesthetic mission. It's not that we haven't seen that Ye Wenfu is still continuing to walk the spiritual journey of Chinese poets. His artistic personality has gone through the whole process of destruction, smelting, and nirvana from the great suffering from the depths of human nature. Starting from the natural creation of the great poet, Ye Wenfu is extremely lucky, his artistic personality has entered a free state of mind, and it will inevitably tend to be great and classic.

Reading Ye Wenfu's poems, we will have the feeling that "no self" is not a poem. Understanding the meaning of "I" in Ye Wenfu's poems is also the meaning of understanding his artistic personality. Although "Me and Individuality" is a subject that involves the definition of aesthetics, as long as we connect with Ye Wenfu's specific works, we will gain new understanding. For example, "Song of the Mountain": "I confront the mountain / You are the mountain / I am also the mountain / You --/ are the still mountain / the dead mountain / the mountain of tears / I --/ is the mountain of singing / the mountain of galloping / the fresh and lively mountain / ......" It is affirmed that the "artistic me" in the poem is the poet's self-shaping, the sustenance of "me", the regeneration of "me", and the sublimation of "me". Despite this definition, we sometimes reluctantly distinguish the "art me" from the "life self" - Ye Wenfu. But for aesthetic reasons, distinction is necessary; The difference is to better connect. Just as one cannot say that the image in the mirror is the same as oneself, the "art me" cannot be equated with the "life self". We can only say that the "art of me" is the spiritual sublimation of the "true self of life" ,-- the creation of poetry art. In other words, in "Song of the Mountain", the self who "confronts the mountain" is the belief of the poem, the soul of the poem, the belief of the poet, and the soul of the poet.

In Ye Wenfu's poems, some poems that seem to be "selfless", such as some poetry of songs, actually imply the existence of "me". For example: "I really want to be a reef on the island/Kiss the sea passionately day and night/Every kiss is a wet poem/Love is full of holes, that is to remove dirt/No hero's body stands out from the sea/How can you get such a loyal ...... of love" ("The Island"). Sometimes, he will use the second person "you", which is also another name for "me", a different feeling for "me". For example: "Silently you lie in the thoughts of the bamboo, rotting and sorrowful, breastfeeding and thinking about ......" ("The Sentiment of the Bamboo Shoot Shell").

In order for a poet to express his thoughts and feelings, he must use poetry and a specific form of language. The poet's creation is always to creatively transform his life perception into poetic artistic imagery. This kind of imagery is also an artistic mark deliberately erected by poetic works. Such artistic marks draw the reader's attention and help the reader understand the profound meaning contained in the work of art.

In the art of ancient poetry in our country, the frequency of the appearance of "I" is very high. For example: "My heart is a stone, and I can't turn it." My heart is a bandit, and it cannot be rolled" ("The Book of Songs, Baizhou"). However, the "I" in this kind of ancient works is different from the "I" in Ye Wenfu's poetic works, the "I" in the former is the narrative subject, and the "I" in the latter is mostly lyrical subjects. The former is closer to the true portrayal of life, while the latter is a spiritual reflection with human significance. Zhu Guangqian once quoted "The Book of Poetry: Cai Wei": "In the past, I went back, and the willows were still there; Now I think about it, the rain and snow Feifei" poem, expounding the core image status of "me", he pointed out that it is the two groups of natural images "Yang Liu Yiyi" and "Yu Xue Feifei" that express the state of mind of "me". Obviously, the "I" of this kind of work is still at the realistic level of "life true self", and has not yet leapt to the realm of incarnating a great spirit like Ye Wenfu's poetic imagery.

The famous Russian painter Vasily Kandinsky wrote a book called "On the Spirit in Art". In his book, he talks about the characteristics of a great spiritual age that can be seen in contemporary art, the most important of which he considers to be "in the present day the whole storehouse of matter is governed by the spirit", and the spirit extracts form from the great treasury of matter. Vasily helps us to further understand the meaning of the "I" in Ye Wenfu's poems. However, we must not simply revert to the so-called "small self" and "big self". Objectively, any ordinary person or a poet is a "social person" with a social significance, and he has become a symbol of life in a certain society or a certain era without being transferred by personal will. That is to say, a person living in society objectively already has the meaning of socialization, but such socialization does not erase the existence of individual values. If a poet enters the state of creation, his personality, that is, his true self, will be revealed in the work, and without the persistence of individualized characteristics, the social meaning of "me" will naturally disappear.

The "self-nature" in Ye Wenfu's poems is a "great abstraction" on the basis of "great personality", which is the focus of the philosophical light of a certain era. His "self-nature" is impulse, agitation, struggle, longing, and a return to the splendor of the meaning of human nature. His "Forget Me...... is a display of the poet's "self-nature": "Let the moss erode my forehead/Let the ruins desolate my tenderness/I laugh wildly and turn the pages and pages of insomnia/Sell and distort me/Cover the footprints of dreams/Forget me, please forget me/Like a snow-capped mountain and forget the excited sea/Like the sun forgetting the stars/Like the south wind forgetting the green trees/Like the green pine forgetting the kudzu vine/Just don't forget, I once had/The beauty of the morning glow, the crystal ...... of dewdrops"

We have been told not to explore the soul of an artist, or we will make a mistake. At first, he couldn't help but feel at a loss when he heard this, but his next words were relieved. He wants to emphasize that an excellent artist will only care about creation, and will not have time to think about his immortal soul, just like for the woman he loves in his heart, he pours all his emotions into creation.

--Yes, we are all fortunate to see that in our nation there is a great poet and artist, whose soul is already shining on the poems that are as bloody as autumn leaves!