Wang Wei (8th-century poet)

Wang Wei (Chinese王维/王维, Pinyin Wang Wei ) (* 699 or 701, † 759 or 761 ) was a poet, painter, musician and statesman of the Tang Dynasty of China. He is mostly known for his poems, of which 29 in the classical and widely used anthology Three Hundred Tang Poems were taken. He is next to Li Bai, Du Fu and Meng Haoran, with whom he was friends, as one of the greatest poets of the Tang period. Likewise, Wang Wei is considered one of the greatest painters, calligraphers and musicians of his time, but these works are not known.

As Wang Wei was close to Chan Buddhism and Daoism and trained in meditation, his work is inspired by these and presses among other things, spiritual from experience. So he tries to break through the outer form of things and to make the true reality, the essence of things in his art visible. From this spiritual point of view also results in Wang Weis poetic nature, subject and object, feeling and landscape to coalesce and present in their interconnectedness.

He creates a world of harmony and suggestive imagery in his poetry. Wang Wei is indeed often classified as a nature poet because his poetry is permeated with images of nature, but he rarely describes the outer shape of nature, but it is a metaphor for the expression of spiritual reality. Thus, in many of his works, for example, the white clouds above, which arise spontaneously out of the blue emptiness of the sky and disappear again. You put in his poetry is a symbol for the consciousness of the Enlightened One, freed from identification with his outward appearance condition. The ' realm beyond the white clouds ', which frequently is mentioned with him, represents the realm of transcendence, but the experience can not be uttered.

In Wang Weis nature poetry, two trends can be observed, the transfiguration of nature in its beauty and nature as a place of rural life in peace. A striking element in Wang Weis nature poetry is that nature is described in its natural beauty and purity and the blending of emotion and nature is not in the foreground, but shows rather than harmony of self and world, and not as a representation of nature expression of one's interior. In many of Wang Weis poems, the subject is barely noticeable and only consists of a look that sweeps across the landscape. This may be derived from knowledge of the Weis Wang Chan, in which the objective is to arrive at the pure perception of things and abandon subjectivity. However, Wang Weis Buddhist impetus also comes in many poems explicitly to the fore, in which nature is occupied with Buddhist terms or is represented as a place of meditation. In many poems of Wang Weis also enigmatic aspect, nature is mystified and described as numinous appears. A main concern seems to be the representation of the Far and expansive Wang Wei.

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