Art Interests and Practices 作品
Sample Poems 诗选
Here are several sample poems written by me, followed by some comments. They represent my current poem writing practice.
这里是我的一些诗歌作品。每首诗将伴以简短的写作背景和创作感想。它们代表我目前的诗歌创作活动。如您想阅读我的更多诗歌作品，您可以访问我的微信公众号诗歌版块。
在形式上我坚信 "No form, no poetry!" 的口号。然而过于严格的传统律诗不免”千篇一律“之嫌。于是许多现代诗人来了个彻底革命，滑向”篇篇无律“的另一极。于收放之间我努力取其中道。所以我博采古今中西的要素，灵活地运用到每首诗作。最终目标是”篇篇皆有律，篇篇律不一“。
思念
思念是一根看不见的蓝线;
这头是远方的游子,
那头是我生命的源泉。
思念的画框里有：
慈爱的温暖，
快乐的童年。
思念是一根看不见的红线;
这头是远方的伴侣,
那头是我生命的姻缘。
思念的画框里有：
午夜的难眠，
灯下的容颜。
思念是一根看不见的绿线;
这头是远方的父亲,
那头是我生命的拓延。
思念的画框里有：
纯真的笑脸，
稚声的甘甜。
思念是一束坚韧的七彩线;
那头是庞大的巡洋舰，
这头是海上的一只船。
任凭海浪无情拍打它的帆，
它不再振颤，
也不再孤单。
(2010)
《思念》
这是我在旅德期间写的第一首诗。95年去美国留学时，血气方刚，正值青春年少。父母亲从老家赶到北京送我。母亲后来告诉我，我进入首都机场安全区连头都没回一下。十五年后再去德国留学，情况大不一样。此时我已年近不惑，身为人父。从机场一登上飞机就开始有了感觉。这首诗就是在从北京到法兰克福的班机上酝酿的。
思念原本是一种痛苦的感觉。这里我试图“化悲痛为力量”，努力赋予思念以新意。在诗中思念被变成了一种纽带，而对亲人的思念则是人际最基本的纽带。亲子和夫妻关系正是人类关系的基本单元。它把个人连到人类共同体的大网之上，个人因此而不孤独。这正如红、绿、蓝三元色编织出绚烂的彩色世界。
该诗在立意和结构上受到余光中《乡愁》的启发。思念与乡愁本来就难解难分。不过这首诗是对相似主题的一个全新的演绎。
深秋卡鲁
深秋卡鲁，
莱茵水枯。
深堤尽露，
商船谨渡。
深秋卡鲁，
集市忙碌。
圣诞购物，
诚盼祝福。
深秋卡鲁，
细雨不住。
落叶秃树，
青苔覆路。
深秋卡鲁，
乡情复出。
孤身独处，
缅念故土。
(2010)
Late Autumn in Karlsruhe 《深秋卡鲁》
I arrived in Karlsruhe in May 2010 and started my life in Germany. In the beginning I lived there on my own. My wife and daughter stayed in Beijing. This poem was composed about half a year later. At this time the Christmas season had barely started. As the warmth of festivity was getting warmer in the air, the feeling of homesickness unwittingly arose and was captured in the poem.
4-character verses were mostly used in very ancient Chinese poems, especially those collected in Shi Jing. Poets added more characters later to obtain more expressive power and hence more freedom. However, given the extraordinary expressive power of Chinese characters, even with just 4 characters we already had significant amount of freedom. In form this poem was apparently not trying to imitate ancient Chinese poems. Although it used 4-character verses I tried to include some modern elements, such as the refrain verse "深秋卡鲁". Also rhyme was profusely used. Unlike ancient Chinese poems, the uniform verse-end rhyme u appeared at each verse end. Besides, inner-verse rhyme and double rhyme were also prevalent.
In content the 4 stanzas of the poem were like 4 drawings hanging on the same string, embodied in the refrain (the first verse of every stanza). The first 3 drawings were of the Rhein, Marktplatz and Stadtgarten, respectively. The fourth one depicted the poet stayed alone, missing his hometown at the view of these three scenes. Therefore it added another layer to the poem. As a result the scenes and the feelings were mixed together.
我于2010年五月抵达德国卡尔斯鲁厄市（简称"卡鲁“），开始了旅德生活。起初我只身前往，妻女留在北京。该诗作于约半年之后。此时我对卡鲁已有了较深入的体验。圣诞季节伊始，佳节气氛渐浓。孤身独处，思乡之情不禁而生。诗亦为即兴之作。
《深秋卡鲁》在意境上接近中国古诗，属于即景生情的一类。但是它在形式上却很特别。全诗采用四言诗行，大量使用叠韵、双韵、同声和内韵，尾韵由单韵从头贯穿到底，读来节奏明快、韵律和谐。全诗的四节由“深秋卡鲁”的叠句联系在一起。在意境上诗的四节宛如悬在同一根线上的四幅素描。“深秋卡鲁”不仅交待了时间和地点，是故事发生的容器，而且就是把四幅素描窜起来的那根线。在四幅素描中前三幅重在写景，对象分别是莱茵河、Marktplatz和Stadtgarten。它们分别使我联想到石坝水库、春节集市和安徽老家阴雨连绵的景象。第四幅素描重在写情，相当于是对前三幅的整合。四节放在一起有情景交融之感。
扬帆
致安娜
你扬起生命的风帆，
开始了人生的旅程。
无论旅途中有多少艰险，
那颗火热的心都要跳动永恒。
人生又如一座高山，
你要努力去把它攀登。
要想领略生命的璀璨，
就必须抵达那高山的顶峰。
你是一块碧钻，
我要把你雕刻作艺术精成。
你是一把宝剑，
我要把你砥砺得光亮清澄。
你是一只雏鹳，
终将飞离父母的小笼。
那时我将无憾，
因为你已能自由地翱翔在天空。
(2008)
Raising the Sail 《扬帆》
This poem was written for my daughter Anna's first anniversary. As a first-time father naturally I had some hope for her life, which barely started, and some thought on the way to realize that. All these could only be based on my own life experience and conception.
I used 5 metaphors in 4 stanzas. The first two stanzas were about human life. It was first compared to a journey and then mountain climbing. Life is a journey without a preset destination. In fact we can't set the destination beforehand. That's our human predicament. In other words, "Life is like a box of chocolates. You never know what you're gonna get." However, life doesn't have to be capricious wandering. The mountain climbing metaphor was a necessary complement. Although one cannot determine his life path, when he looks back at his past he should see someone who stood below him. But this is an ideal, which doesn't come with birth. And this is where education should come into play. Education was the topic of the last two stanzas. The third stanza concerned the means of education. In this respect I am very traditional. I strongly believe that discipline is indispensable for education. If a child had met little frustration in childhood he surely couldn't handle frustration in adult life. If a child had experienced little hardship in childhood he would feel miserable in adult life. This brings us to the end of education, the subject of the fourth stanza. In this respect I am very modern. In my opinion the aim of education is a free individual. There seems to be a conflict between the means and end here, but that's just an illusion. Since frustration and hardship are an inevitable part of life, a person is free only if he is well prepared and can handle them at ease.
In form we also see a combination of freedom and restriction. The number of characters/syllables in the verses was generally free. But the verse-end rhymes followed strict alternating pattern.
初为人父是男人一生中的一个里程碑。恰逢当时奋力练习作诗。曾为艺儿写过几首。此篇写在艺儿周岁生日期间，是其中比较凝重的一首。
《扬帆》借用多个隐喻表达我对艺儿的期望和我的教育理念。诗的前两节构成排比关系。它们分别用旅程和高山的隐喻阐发我对艺儿不畏艰险、勇攀高峰的人生期盼。诗的后两节构成递进关系。第三节意在表明教育的手段应该是雕刻和砥砺。正可谓”玉不琢，不成器“，正统的传统教育理念。第四节是教育的目的。在这里我的教育理念与传统分野。我认为教育的目的不是”为人上人“，而是自由的个体。这是现代的成分。因此，传统中所说的“吃尽苦中苦，方为人上人”变为“吃尽苦中苦，方为自由人”。形式方面，全诗在总体上每行的音节数很自由，而尾韵模式却很规整，为ABAB ABAB ABAB ABAB。其中有较多双声和叠韵词，以及双韵，如“顶峰”、“精成”和“清澄”，“雏鹳”和“无憾”。
生命的气息
再一次别离，
又一次哭泣。
登上远航的班机，
穿越天际。
清晨早起，
透过门窗玻璃，
把这鲜嫩的翠绿，
尽收眼底。
走时还是一片枯黄凄厉，
归来已是一派勃勃生机。
枝头挂满了金钗玉器，
还有那银星遍地。
蜜蜂开始新一轮的努力。
它们在花丛中尽情地寻觅，
嗡嗡不去，
今年又会酿出怎样的甜蜜？
鸟儿在林中不停地鸣啼，
好像在表达无尽的欣喜。
噢，这动听的旋律，
不知出自哪首乐曲。
孩童在游乐场里嬉戏，
爽朗的笑声惊破天宇。
那沙池中的两条沟渠，
可是安娜留下的足迹？
经历了严冬的洗礼，
更能体现生命的意义。
经受了苦难的砥砺，
更能体验幸福的真谛。
就把这盎然的春意，
寄给远方的伴侣。
愿这生命的气息，
抹去你心中的孤寂。
(2011)
The Breath of Life 《生命的气息》
During my stay in Germany, the visa application of my wife and daughter was denied at the first try. I went back to Beijing to reunite with them in March 2011. Several weeks later I flew back to Germany. When I arrived in Karlsruhe from the Frankfurt airport it's already dark. I was greeted with exuberant fresh green when I got up the next morning and looked out of the windows. At the time I left it was still winter. But now the aroma of spring filled the air.
All the main aspects of poetry were demonstrated in this poem. In form the i/ü rhyme ran through the end of all the 32 verses, evenly arranged in 8 stanzas. The generally free verses were dotted with counterpoints. The poem told a story about leaving and longing, but was dominated by the description of the spring scenes. It contained both passionate emotions and calm reflections. The breath of life was embodied in the lush green leaves, the brilliant colorful flowers, the diligently working bees, the delightedly singing birds and the joyously playing children.
旅德期间妻女第一次签证失败，我只得自己回国一趟。这首诗写在从国内归来之际。从法兰克福机场赶到卡鲁已是晚上。第二天早上起来往窗外一看，发现所有的树都长出了叶子。临走时这里还是冬天的景象，二十天回来已经看似春天了。这种感受写在了诗中。
起首的别离和结尾的祝愿把这种感受放在了真实的背景中，从而赋予诗以层次，并且增强了诗的意境。中间的六节在具体描写绿叶、鲜花、蜜蜂、鸟儿和孩童之后有一个意境提升。诗歌的各个主要侧面在这首诗中都很明显。故事叙述在第一、二、三和八节中。景色描述在中间的五节。第七节突出写意。情感则洋溢于诗的始终。在形式上全诗押i/ü尾韵，但是诗行的长短不一，音节数量比较灵活多变。这种活泼的节奏正契合诗的主题意境。
最后一片红叶
枝头的最后一片红叶，
还在秋风中摇曳。
你依然在把谁等待？
莫非还要展示最后的风采？
经历了盎然的春意，
经历了万物吐绿，
接着是鲜花烂漫的时节，
还有那柳絮飘雪。
炎炎夏日的炙热，
点燃你心中的烈火。
鸟儿在身旁的歌唱，
曾使你激情万丈。
所有这一切，
都是为了这最后的壮烈。
你忽然变得如此鲜艳，
比花朵更加耀眼。
有幸走此一回，
也就无怨无悔。
叶儿再一次把周遭领略，
做最后的诀别。
它飞向大地之母，
化入一片沃土。
度过漫长的严冬，
它将在来年再生。
(2011)
The Last Red Leaf 《最后一片红叶》
My doctoral advisor's institute was originally located in KIT Campus Nord, Forschungszentrum. It was circled by a big forest. There were also many trees on the campus. When autumn came the leaves turned from green to red, offering a wonderful view. The several salient trees inside the gate provided inspiration for this poem.
The form of this poem was more Western than Chinese. It consisted of a sequence of verse-end rhymed couplets in a single stanza. But looking closer one will find that it's quite different from Western poems. On the one hand, the meter of the verses was free, unlike the iambic pentameter in the heroic couplets. On the other hand, the ie/üe rhymed couplets were regularly repeated.
Two metaphors on different layers were used in the poem. On the bottom layer human life was compared to the life cycle of a leaf. We saw four corresponding seasons in both cases. On the top layer the sprouting of new leaves in the next year was compared to rebirth. Mapped onto the bottom layer this can only be achieved in spiritual way in the human case. The sequence of verses displayed a time flow, in which I adopted some film editing techniques. It started with the current autumn scene, then was followed by recollections of spring and summer. After it came back to the present and stayed for a while, it finally moved on to the winter. As the poem changed the person from the second to the third, we saw a close-up shot was switched to a long shot. Thus the reader was forced to take a general view of the complete scene.
我博士导师的研究所起先在卡鲁理工学院的北校区Forschungszentrum。它坐落在一个大森林中，园内也是绿树成荫。秋季来临，树叶由绿变红，色彩分外耀眼。校区大门内的几株最显眼的树为该诗的创作带来了灵感。
《最后一片红叶》又采用了一个不同的形式。全诗由不分节的一连串押尾韵的双诗行组成。这是西语诗中一种比较常用的格式。但是我还是不愿完全仿照。其中ie/üe韵有规律地重现，而别的尾韵则没有任何重复。
诗采用一个总的隐喻，以红叶来隐射人生。在这个隐喻之上，春、夏、秋、冬四季被赋予了新意。而沃土和再生则构成第二层隐喻，分别隐射人留下的精神遗产和从中生长出的新成果。诗中的另一个手法是人称变位，从“你”变到“它”。从电影拍摄的角度来说，这是从一个特写镜头切换到远拍镜头。其效果是把读者拉出来让他对对象做整体考察，这也是为了实现一种意境升华。从电影剪辑的角度来看，诗开始于当下的秋景，接着是对春夏的回顾，最后回到当下，然后继续到冬季。
我的照片
近日奋力整理完善摄影书稿。
其间观作品有感。是为记。
在你的方寸之间，
有壮丽的高楼山峦。
借着神奇的光线，
世界被生动地再现。
在你的边框里面，
有美丽的鲜花笑脸。
借着先进的器件，
世界被拷贝进底片。
不要为表象欺骗，
摄影岂是世界翻版？
它是人类的慧眼，
精心地把对象遴选。
一幅幅作品重览，
皆为我心灵的纪念。
凭着诗性的勾连，
历史在想象中重建。
心与物紧密相联，
灵魂之外哪有客观？
回到宇宙的妙玄，
存在本在虚无之间。
(2010)
My Photos 《我的照片》
This poem was composed when I was sorting out photos for my book Fall in Love with Photography. While I was browsing the photos I thought about my basic understanding of photography. And from there my mind wandered farther.
The first two stanzas stood shoulder by shouder. They talked about several key aspects of photography, including light, equipment and the four main photography areas (landscape, architecture, portraiture and still life). Together they provided the foundation for further development. On top of the foundation were stacked several levels of subjects. The third stanza was about the art of photography. Specifically, it's not a direct copy of reality, but an art of selection. The fourth stanza moved from photography to history. It emphasized the role of human mind in the construction of history. At last, the fifth stanza lifted the poem to the level of ontology. It dealt with the relationship between mind and matter, existence and nothingness and the secret of the whole universe.
In form this poem was much regulated and well structured. 7-character verses consistently alternated with 8-character verses. The verse-end rhyme an ran through the whole poem. The 5 stanzas constituted a tower. We saw 2 blocks on the ground and 3 stacked on top.
诗前小引中提到的摄影书稿为《爱上摄影》。该书在国内动笔，在旅德期间才有机会得以完成。我最后整理和完善《爱上摄影》书稿过程中的思想和感受在诗中得到了很好的刻画。
《我的照片》在形式上又比较工整。全诗的诗行长度以七言和八言重复交迭。所有诗行以及标题押统一的尾韵an。其中也不乏双韵和叠韵。诗的首行和末行用同样的“之间”结尾意在首尾照应。一二两节间有明显的排比和对仗关系。
诗的前两节通过排比的方式提到了摄影的四个专题、摄影用光（“光线”）和摄影器材（“器件”）。“高楼山峦”分别代表建筑摄影和风光摄影，“鲜花笑脸”分别代表静物摄影和人像摄影。第三节前两行是转折。前两节给人摄影是世界的简单记录的印象。转折通过对这种印象的反问实现。第三节的后两行是意境提升的第一个台阶。摄影是人类的慧眼对世界的遴选，是一门选择的艺术。这也是《爱上摄影》的一个主题思想。
第四节的前两行是意境提升中的下一个台阶。一幅幅作品皆为心灵的纪念，换句话说，摄影作品是心灵的窗口。选择的艺术还是围绕着对象的，心灵的窗口便完成了对象到创作者的重心转移。后两行一方面推进前两行的议题。一幅幅作品还只是孤立的心灵纪念，但通过诗性的勾连我们可以在想象中重建个体的心灵历史。之所以说是诗性的勾连，是因为诗的意境与这种重建过程有相似的关系。在一首诗中我们所直接说的东西很少。这些说出的东西起到轮廓或骨架的作用，没说的都要由想象来填补。诗的意境主要体现在想象之中。另一方面，这里的历史实际上不只是个体的历史，还隐射到社会文化的历史。由此这就涉及到一种历史观。历史是在想象中建构出来的，也就是说任何历史都是当代人的历史。在任何一个时代我们都只能拥有片断的史料，历史只有在这些分散的史料的基础上用理论想象整合建构出来。这基本上是Collingwood的历史观。显然这两行在意境上又跨上一个新的台阶。
最后一节进一步把诗的意境提升到了宇宙论的层次上。心物紧密地相联系，不可分割。心离不开物，物也离不开心。世界是人类心灵的投射，由此心灵又处于世界之中。这个世界只对人类的心灵有意义，所以只能是人类的世界。离开人类的心灵去谈论世界没有任何意义，人心之外更没有什么客观的世界，只有绝对的虚无。心物两分只是心物同一内核之上的表层假象。至此摄影已经被完全揉进了哲学之中。事实上文、史、哲、艺在诗中都被统一在一起。