With a few strokes at the beginning, this vague and distant ancient meaning is spread out. A flower and a leaf, a view of a scene, are all graceful frames of landscape.
Compared with Zhang Che's stiff bow and hard horse, I like Hu Jinquan's painting and poetry, which is ethereal and profound. Hu Jinquan’s rivers and lakes are elegant, beautiful, and indistinguishable from yin and yang, such as the fan-faced scholar in "The Drunken Man", the Dongchang eunuch in "The Dragon Inn", and the brave and heroic Yang Huizhen in "The Swordsman".
Hu Jinquan pays great attention to the creation of artistic conception. In his films, every shot is a landscape painting, with exquisite composition, good lighting and shadows, character modeling and props and decorations strive to restore history, and the corners and corners also have delicate and appropriate small details. Painting, calligraphy, piano, chess, poems, hops, and hops are indeed inseparable from him. His painstaking effort in the art of film is quite similar to Jia Dao's. Two sentences are three years old, and he shed tears.
Yang Huizhen, who sings on the piano, has full eyebrows, bright eyes and white teeth, as bright as peaches and plums, cold as frost. My song and the moon linger, my dance and shadow are disorderly, and I raise a glass to invite Mingyue, and face the shadows into three people. The moon night private club is photographed without any charm, only the fragrance of the room lotus is left.
When Ouyang Quan saw the identity of General Shi Blind, the autumn rains, the straw paper umbrellas, the reeds floating, the ancient houses were desolate, and even if there was no Qingshiban Street, he felt a sense of remoteness.
Yang Huizhen evades chasing, crossing mountains and ridges, wading through water, white yarn, pine forests, clear springs, and strange rocks. Even if there is no bright moon and night light, she still feels peaceful and indifferent.
The battle between Xia Nu and Dongchang agents in the bamboo forest is even more classic. It was Li Ang's influence that led to the battle between Yujiaolong and Li Mubai in the ethereal bamboo forest.
To the Han people, bamboo is very special. It is better to eat without meat than to live without bamboo. It is not afraid of adversity, not afraid of hardships, open to the outside world, and rather unyielding. This is a spiritual outlook and cultural wealth. The sunlight penetrates the mist of the bamboo forest, and it is ethereal, easily reminiscent of Wang Mojie's Zen poem, "Go back into the deep forest, and reappear on the moss." Braking with static, seeking static while moving, long-term confrontation, fast-paced fights, and instant stagnation and dynamics bring the dramatic tension to the extreme.
"Xia Nv" is undoubtedly a story of a chivalrous man, but it is drawn by Confucianism and ended by Buddhism.
Gu Xingzhai was a poor scholar, a rural literati, "Gou Quan lives in troubled times, does not seek to hear from the princes". When he was involved in the vortex of court party disputes, he used clever tricks and cleverly set traps to help Zhongliang resolutely. This is the entry of Confucianism.
Yang Huizhen, Lu Ding'an, and General Shi can be regarded as quacks and folk righteous men, and they are the thorns of Donglin Yudang and Wei Zhongxian. "Confucianism uses literature to chaos law, chivalry uses martial arts to violate bans." By virtue of a neat skill, it not only becomes urgent and unsupportable, but also secretly plots revenge. Because of the kindness of Gu Sheng, he repays with his body; when in trouble, he ignores his own safety and saves the lives of others. This is a picture of Xia's acquaintance, committing suicide.
The eminent monk Master Huiyuan and others represent the Buddhism Zen Buddhism, and their appearance is just right and just right. Ending the fight like a raging cloud, showing the way for the people in the play to lay down the butcher knife. The sea of bitterness is boundless, and the vulgar relationship has not been cherished. This is the emptiness of Buddhism.
Yang Huizhen saw it through and realized it suddenly, so he converted to the empty gate, and the ancient Buddha in blue light died. Gu Xingzhai couldn't break this mystery, so he took his infant son to search for Yang Huizhen.
"The evil fate is over, take refuge in the empty door, Gu's cigarettes, endless."
At the end of the film, with the lonely smoke in the desert and the sunset over the river, Master Hui Yuan slowly walked up to the top of the mountain, his steps were steady and slow, and he looked solemn and peaceful, and sat down cross-legged. The sun formed a circle of light from the Buddha statue behind him, and the film ended with this, but the ethereal Zen in that moment was shocking and long-lasting.
Enmity and hatred are not happy, how do the rivers and lakes prance horses? And put the sword in the high pavilion, empty Zen with the rest of his life.
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