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宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" t;_b"ss="lblidt0.phnk26ovet/MIp5FXjc0MPIN4i5EDhKdQ==/190277o8425658}.n53.jpt" >="_bla   古人在诗词创作中非常注重表现艺术,在写景、状物、言情、述志时,往往采用既对立又统一,既相反而又相成的辩证手法,让读者在品味赏读中获得无穷的艺术享受。这些辩证的表现手法包括点染、虚实、疏密、浓淡、离合、雅俗、曲直、隐显、巧拙等。="_bla="_bla1、点染点染,是国画的术语。原指画家在绘画时,163牡胤降悖163牡胤饺荆佣娉鲆环托惩骋坏幕妗:罄唇栌玫焦攀手欣矗傅氖亲髡咴谟行┑胤秸娴忝髦家猓16些地方侧面渲染。这种手法在写景抒情的诗词中比较常见,一般用景物来染;用一句话,一个词来点出作者要抒发的感情。渲染是为了突出旨意,旨意统率渲染,相互依存,和谐统一。如马致远的《天净沙·秋思》:“枯藤老树昏鸦,小桥流水人家,古道西风瘦马,夕阳西下,断肠人在天涯。”其63摹岸铣θ嗽谔煅摹笔堑悖黄溆喔骶渚恰叭尽保酝怀鱿嗨嫉纳吮U庋睦踊褂泻芏啵缌馈队炅亓濉罚骸岸嗲樽怨派死氡穑目袄渎淝迩锝凇=裣菩押未Γ垦盍叮绮性隆!逼渲63谝痪涫恰暗恪保愠觥吧死氡稹保黄溆喔骶涫恰叭尽保秩旧吮鹬椤@钋逭盏摹渡芬淮视谩罢购薄ⅰ叭秸档啤薄ⅰ巴砝捶缂薄薄ⅰ把愎病薄ⅰ奥鼗苹ā薄ⅰ拔嗤└嫦赣辍崩翠秩咀约旱男男鳎詈笥谩罢獯蔚冢跻桓龀钭至说谩钡愠觥俺睢钡闹髦肌M跏蹈Α冻ねに捅稹分63摹罢薄岸苏谩保懊妗氨淘铺欤苹ǖ兀鞣缃簦毖隳戏伞O此舅肿怼倍际侨荆竺娴摹岸际抢肴死帷笔堑恪="_bla="_blattylt-d-position:0 298px" hitlt-d中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" t;_b"ss="lblidt00phnk26ovet/6PqTvhIQQw3LVdezHIOdug==/1781736602580547679.jpt" >="_bla2、虚实虚实结合是古诗词重要的艺术手法之一。所谓“实”,是诗词中可以通过视觉、听觉、触觉等具体捉摸到的部分;所谓“虚”则是指诗词中表现的存在于人的思想意识之63牟糠帧;谎灾头椒ǘ裕晗肝担蚵晕椋痪咛逦担橄笪椋挥芯菸担偻形椋挥行形担窖晕椤>投韵蠖裕拔担槲椋谎奂担胂笪椋挥姓呶担拚呶椋幌哉呶担呶椋坏鼻拔担ズ徒次椋灰阎担粗榈鹊取虚实结合,可以给人以无穷的暇想和绵长的回味,也可以使诗人的感情表达得更深沉而充分。如李白的《蜀道难》,以虚写实,从蚕丛开国说到五丁开山,1闪厝招吹阶庸嬉固洌炻硇锌瞻愕爻鄢蚁胂螅丛斐隽巳萌司静灰训氖竦佬蜗螅皇说那楦斜泶锏们苛叶荨@钌桃摹督跎吩擞谩白蚊院鄞盒耐卸啪椤2缀T旅髦橛欣幔短锶张裆獭彼母龅涔剩孕椋ù怠⒌涔剩┬葱椋üサ木⒚蜗搿⒋煺鄣龋说母星檎媲卸稚畈兀煤笱д卟酥诙嗟拇Ф群拖胂螅挥魑糯半适薄6铎系摹队菝廊恕分6“问君能有几多愁,恰似一江春水向东流”,却又以实写虚,将诗人抽象的“愁”化为了具体可63慕龉觯孪拭烂睢="_blahitlt-d中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" t;_b"ss="lblidt0.phnk26ovet/0stb5IhLICYBqb2aRgSCEg==/1697575584543912855.jpt" >="_bla3、疏密诗词的疏密手法,主要是指描写人、事、景、物的密度。密度小者为疏,密度大者为密。疏者大笔勾勒,重在传神;密者工笔细描,重在铺写渲染。在诗词中,疏利于写大景,密利于写小景;在词、曲中,婉约者较密;豪放者较疏。但在一首诗词中,诗人们也时而采用疏密结合的手法,构成一定的意境,如杜甫的《登高》6“风急天空猿啸哀,渚清沙白鸟飞回。无边落木萧萧下,不尽长江滚滚来”四句,前两句“风急”、“天高”、“猿啸”、“渚清”、“沙白”、“鸟飞”一句三个意象,显得绵密急促;后两句“落木”、“长江”一句一意象,显得物象稀少而疏阔。从美学角度看,密可以产生了一种紧促感,疏可以产生了一种弛缓和开朗感,一紧一缓,能给欣赏者带来心理的愉悦。又如王维的《山居秋暝》“空山新雨后,天气晚来秋。明月松间照,清泉石上流”四句,也是深得疏密之妙。前两句交代“雨后空山”、“秋天傍晚”,一写环境,一写时间,可谓疏朗简洁;后两句却写到“明月”、“青松”、“月光”、“清泉”、“石头”、“水花”,意象十分丰富;一疏显得宏阔,一密显出清幽,给人心旷神怡之感。="_blahitlt-d中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" t;_b"ss="lblidt0.phnk26ovet/ZgdN1l0RlduXHEpX3j6XsQ==/1616592617485416978.jpt" >="_bla4、动静客观事物的动静之态,给了诗人们许多创作的灵感,他们常常将事物的动、静结合起来描写,做到静中见动,动中见静,动静相生,动静互衬,妙趣无穷。如查慎63摹吨垡故樗罚骸霸潞诩娴疲鹿庖坏阌N⑽⒎绱乩耍⒆髀煨恰!鼻傲骄湫淳玻罅骄湫炊挥猩钋槿ぁM跷摹赌衩А罚骸叭讼泄鸹洌戮泊荷娇铡T鲁鼍赡瘢泵航е6。”以动写静,花落、月出、山鸟的动,突出了春涧的幽静。杜甫的《绝句》:“两个黄鹂鸣翠柳,一行白鹭上青天。窗含西岭千秋雪,门泊东吴万里船。”前两句写动,绘出一幅绚丽的图景;后两句写静,一言空间之广,一言时间之久,但也静中见动:景物动静3慕岷希从沉耸怂冀忧г亍⑹油ㄍ蚶锏男睦砘疃@畎椎摹锻烀派健犯歉呙睿浴疤烀胖卸铣炜毙闯隽怂衿娴摹岸保α烤薮螅挥钟谩氨趟髦链嘶亍毙闯隽松叫燮嫦站木病看罅α康木玻蝗缓笥钟谩傲桨肚嗌较喽猿觥毙淳玻志仓杏卸弧肮路黄毡呃础毙炊侄杏芯玻憾蚕喑模从辛α康亩钥梗钟心灿牒托常婵晌皆吮嗜缟瘢kFONT>="_blahitlt-d中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" t;_b"ss="lblidt10phnk26ovet/65hRULW6U0y-B4A32pauqA==/3744461}.n182461442.jpt" >="_bla5、浓淡浓淡在绘画中,主要指色彩的深浅、明暗。后来用于文学创作,主要指语言的色彩。浓者,重笔浓彩,绚丽;淡者,素笔淡写,不尚雕饰。就作者个人而言,163淖非笏氐163淖非笈ㄑ蓿163脑蚺ǖ媸Eǖ嗷ビ吵模梢允盏较拭魃囊帐跣ЧH缤醢彩摹豆鹬ο?金陵怀古》上片写金陵3淖忱銮锞埃昧恕八屏贰薄ⅰ按浞濉薄ⅰ安醒簟薄ⅰ安手墼频钡龋镅陨驶溃幌缕玖褐鸷阑豕派私瘢镅运氐灰耘ǔ牡裼谡渭叶媒窦诺纳钤端悸恰S秩缋钋逭盏摹兑患裘贰罚掀础昂炫骸薄ⅰ坝耵 薄ⅰ奥奚选薄ⅰ袄贾邸薄ⅰ敖跏椤薄ⅰ霸侣保式吓ǎ幌缕础盎ā薄ⅰ八薄ⅰ跋谐睢保式系慌ǖ嘤常浞值劁秩竞褪惴⒘舜嗜说南嗨贾啵骸芭ā鄙胁豢山馄涑睿暗庇秩盟我钥埃縩kFONT>="_bla="_blattylt-d-position:0 298px" hitlt-d中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" t;_b"ss="lblidt10phnk26ovet/POjhDUs4y9nX38sAQsBUUg==/1143351355399663852.jpt" >="_bla6、雅俗雅俗是运用语言的一种艺术。“雅”是典雅,“俗”是通俗。在诗词中适当运用雅语和俗语,就会雅俗共赏,增强诗歌的艺术魅力。如张养浩的《山坡羊?潼关怀古》,前七句 “峰峦如聚,波涛如怒,山河表里潼关路。望西都,意踌蹰,伤心秦汉经行处,宫阙万间都做了土”,用词典雅,造句精工;结尾两句“兴,百姓苦!亡,百姓苦”,用语却极是通俗:这样以俗入雅,突出表达了词人关注百姓疾苦的情怀。又如白居易《忆江南》词,“江南好,风景旧曾谙”、“能不忆江南”,用语通俗;而“日出江花红胜火,春来江水绿如蓝”,用语典雅:不用雅,写不出江南之优美;不用俗,便失去了亲切感和独特的向往之情,可谓相得益彰。nkFONT>="_bla="_blattylt-d-position:0 298px" hitlt-d中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" t;_b"ss="lblidt10phnk26ovet/oS-i9z_ruT_PdzpACwa1mw==/3740520965508505501blit" >="_bla7、巧拙巧拙也是语言运用的艺术。“巧”是工巧,“拙”是朴拙,二者结合,常可收到别具一格、耐人寻味的艺术效果。nkFONT>如姜夔的《扬州慢》:“二十四桥仍在,波心荡,冷月无声。”前一句朴拙,后两句工巧。无前者,后两句失去依托;无后者,前一句,失去了应163谋泶镄Ч呵昂笙嗪希环嗲逯岸偕还尚颂局榱鞫S秩缰馨钛盏摹端漳徽凇罚骸耙渡铣跹舾伤抻辏媲逶玻灰环绾删佟!鼻耙痪湫刺舫跎端ジ桑冉掀邮担缓蠖湫辞嗲喑厮绱邓味囊蹲臃路鹪诓欢细呔僖谎帽屎驮炀岸己芮伞kFONT>nkFONT>="_blahitlt-d中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" t;_b"ss="lblidt00phnk26ovet/oGRhW5T5UANFfTJFPlq9sw==/1521935199075047057blit" >="_bla8、曲直曲与直是诗人表达感情的两种方式。“曲”是婉曲含蓄,“直”是直率明了。nkFONT>一般来说,诗人心情平静时,喜欢含蓄委婉,感情激动时,便直吐为快。在现实生活中,作者的思想感情常常是复杂变化的,因而在作品6总是兼用曲与直两种手法来表情达意,力求做到曲直互补,妙合其心。如李白的《梦游天姥吟留别》,描写令人神往的仙境世界,明写了对仙境的向往,暗写了对现实的强烈不满,属于“曲”的手法;到诗3慕嵛泊θ创蠛簦骸鞍材艽菝颊垩氯ü螅刮也坏每难眨 闭饩褪恰爸薄保磺恢奔浣寺收婵砂母鲂员硐值昧芾炀≈隆0拙右椎摹杜眯小匪淙灰睬奔嬗茫挥辛死畎椎穆收妫且郧鳎凰磁门纳硎涝庥觯苯颖砻鞯氖嵌韵虏愀杓撕屠涂喟傩盏耐椋郾泶锏娜词钦问艽旌螅韵质档纳羁倘鲜逗投允捞琢沟那苛也宦K底约旱脑饧适粲凇爸薄卑桑伤故潜泶锏媚敲础扒保唤苍凰低小G塾胫甭实脑擞茫胧说男木秤泄兀腿搜拔丁kFONT>nkFONT>="_bla="_blattylt-d-position:0 298px" hitlt-d中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" t;_b"ss="lblidt10phnk26ovet/PRLWN6KAumLCXbFYDQp5Vw==/2654871980352191431blit" >="_bla="_bla9、隐现nkB>“隐”与“显”,也是诗人表达感情的两种方式。“隐显”与“曲直”非常相似,常常将两者联系在一起说,曲就显得隐,而直就显。nkFONT>诗人在表达深藏内心而不便明言的思想感情时,往往隐约其辞,采用隐讳曲折的方式。如朱庆馀的《近试上张水部》,明明是想说自己考前心里没底,又期待成功,盼望张籍的帮助,却又隐讳曲折地虚拟新妇的口气问新郎:“画眉深浅入时无?”又如苏轼《江城子》“十年生死两茫茫,不思量,自难忘”,在明了抒发哀悼亡妻之情的同时,也隐约地抒发了“尘满面,鬓如霜”的政治失意之情。nkFONT>nkFONT>="_bla="_blattylt-d-position:0 298px" hitlt-d中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" t;_b"ss="lblidt00phnk26ovet/exX8KSmCWtZoBvmWMfm6hw==/1711649333379318203.jpt" >="_bla10、离合nkB>离合是一种离题旁涉与紧扣题目的辩证表现手法。直写题目,内容就会局促;荡开笔墨,内容又会偏离题目。而离合就是要讲究直写与旁写,正写与侧写的和谐,侧写、旁写都要做到服务于正写,服务于题目,从而使诗词意脉相连,似断实续,摇曳多姿。nkFONT>这种手法在咏物的诗词中表现得非常突出,因为古人主张咏物要力求“不即不离”、“不沾不滞”。如苏轼的《水龙吟》:“似花还是非花,也无人惜从教坠。抛家傍路,思量却是,无情有思。萦损柔肠,困酣娇眼,欲开还闭。梦随风万里,寻郎去处,又还被莺呼起。”开篇摇曳入题,以似花非花、无情有思吟咏杨花,接着由杨花衍生出思妇意象,人与花、物与情,在不即不离之间,咏物而不滞于物,达到了出神入化的境界。nkFONT>ttylt-dvalco: 7504px> etmpl: );-wa" hitlt-d中华古诗词的十大技法 - 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宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" trc="ss="lblidt0.phnk26ovet/MIp5FXjc0MPIN4i5EDhKdQ==/190277o8425658}.n53.jpt" >a</A>a</FONT>a</DIV>a <DIV ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<kFONT>a&nbspa</DIV>a <DIV>a<FONT b;fo="4" >a   古人在诗词创作中非常注重表现艺术,在写景、状物、言情、述志时,往往采用既对立又统一,既相反而又相成的辩证手法,让读者在品味赏读中获得无穷的艺术享受。这些辩证的表现手法包括点染、虚实、疏密、浓淡、离合、雅俗、曲直、隐显、巧拙等。=amp;nbspa</FONT>a</DIV>a <DIV>a<FONT b;fo="4" >a<kFONT>a&nbspa</DIV>a <DIV>a<FONT b;fo="4" >a<B>a1、点染<kB>a<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a点染,是国画的术语。原指画家在绘画时,163牡胤降悖163牡胤饺荆佣娉鲆环托惩骋坏幕妗:罄唇栌玫焦攀手欣矗傅氖亲髡咴谟行┑胤秸娴忝髦家猓16些地方侧面渲染。<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a这种手法在写景抒情的诗词中比较常见,一般用景物来染;用一句话,一个词来点出作者要抒发的感情。渲染是为了突出旨意,旨意统率渲染,相互依存,和谐统一。如马致远的《天净沙·秋思》:“枯藤老树昏鸦,小桥流水人家,古道西风瘦马,夕阳西下,断肠人在天涯。”其63摹岸铣θ嗽谔煅摹笔堑悖黄溆喔骶渚恰叭尽保酝怀鱿嗨嫉纳吮U庋睦踊褂泻芏啵缌馈队炅亓濉罚骸岸嗲樽怨派死氡穑目袄渎淝迩锝凇=裣菩押未Γ垦盍叮绮性隆!逼渲63谝痪涫恰暗恪保愠觥吧死氡稹保黄溆喔骶涫恰叭尽保秩旧吮鹬椤@钋逭盏摹渡芬淮视谩罢购薄ⅰ叭秸档啤薄ⅰ巴砝捶缂薄薄ⅰ把愎病薄ⅰ奥鼗苹ā薄ⅰ拔嗤└嫦赣辍崩翠秩咀约旱男男鳎詈笥谩罢獯蔚冢跻桓龀钭至说谩钡愠觥俺睢钡闹髦肌M跏蹈Α冻ねに捅稹分63摹罢薄岸苏谩保懊妗氨淘铺欤苹ǖ兀鞣缃簦毖隳戏伞O此舅肿怼倍际侨荆竺娴摹岸际抢肴死帷笔堑恪<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a<kFONT>a&nbspa</DIV>a <DIV>ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a&nbspa<A tref="h"tp:ank" de .c"ss="lbl.m-9-861o-repnk" hide/" >a<IMG>ttylt-"-position:0 298px" hitlt-"中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" trc="ss="lblidt00phnk26ovet/6PqTvhIQQw3LVdezHIOdug==/1781736602580547679.jpt" >a</A>a</FONT>a</DIV>a <DIV ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<kFONT>a&nbspa</DIV>a <DIV>a<FONT b;fo="4" >a<B>a2、虚实<kB>a<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a虚实结合是古诗词重要的艺术手法之一。所谓“实”,是诗词中可以通过视觉、听觉、触觉等具体捉摸到的部分;所谓“虚”则是指诗词中表现的存在于人的思想意识之63牟糠帧;谎灾头椒ǘ裕晗肝担蚵晕椋痪咛逦担橄笪椋挥芯菸担偻形椋挥行形担窖晕椤>投韵蠖裕拔担槲椋谎奂担胂笪椋挥姓呶担拚呶椋幌哉呶担呶椋坏鼻拔担ズ徒次椋灰阎担粗榈鹊取<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a虚实结合,可以给人以无穷的暇想和绵长的回味,也可以使诗人的感情表达得更深沉而充分。如李白的《蜀道难》,以虚写实,从蚕丛开国说到五丁开山,1闪厝招吹阶庸嬉固洌炻硇锌瞻愕爻鄢蚁胂螅丛斐隽巳萌司静灰训氖竦佬蜗螅皇说那楦斜泶锏们苛叶荨@钌桃摹督跎吩擞谩白蚊院鄞盒耐卸啪椤2缀T旅髦橛欣幔短锶张裆獭彼母龅涔剩孕椋ù怠⒌涔剩┬葱椋üサ木⒚蜗搿⒋煺鄣龋说母星檎媲卸稚畈兀煤笱д卟酥诙嗟拇Ф群拖胂螅挥魑糯半适薄6铎系摹队菝廊恕分6“问君能有几多愁,恰似一江春水向东流”,却又以实写虚,将诗人抽象的“愁”化为了具体可63慕龉觯孪拭烂睢<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a<kFONT>a&nbspa<kDIV>a <DIV>ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<A tref="h"tp:ank" de .c"ss="lbl.m-9-861o-repnk" hide/" >a<IMG>hitlt-"中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" trc="ss="lblidt0.phnk26ovet/0stb5IhLICYBqb2aRgSCEg==/1697575584543912855.jpt" >a</A>a</FONT>a</DIV>a <DIV ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<kFONT>a&nbspa</DIV>a <DIV>a<FONT b;fo="4" >a<B>a3、疏密<kB>a<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a诗词的疏密手法,主要是指描写人、事、景、物的密度。密度小者为疏,密度大者为密。疏者大笔勾勒,重在传神;密者工笔细描,重在铺写渲染。<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a在诗词中,疏利于写大景,密利于写小景;在词、曲中,婉约者较密;豪放者较疏。但在一首诗词中,诗人们也时而采用疏密结合的手法,构成一定的意境,如杜甫的《登高》6“风急天空猿啸哀,渚清沙白鸟飞回。无边落木萧萧下,不尽长江滚滚来”四句,前两句“风急”、“天高”、“猿啸”、“渚清”、“沙白”、“鸟飞”一句三个意象,显得绵密急促;后两句“落木”、“长江”一句一意象,显得物象稀少而疏阔。从美学角度看,密可以产生了一种紧促感,疏可以产生了一种弛缓和开朗感,一紧一缓,能给欣赏者带来心理的愉悦。又如王维的《山居秋暝》“空山新雨后,天气晚来秋。明月松间照,清泉石上流”四句,也是深得疏密之妙。前两句交代“雨后空山”、“秋天傍晚”,一写环境,一写时间,可谓疏朗简洁;后两句却写到“明月”、“青松”、“月光”、“清泉”、“石头”、“水花”,意象十分丰富;一疏显得宏阔,一密显出清幽,给人心旷神怡之感。<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a<kFONT>a&nbspa<kDIV>a <DIV>ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<A tref="h"tp:ank" de .c"ss="lbl.m-9-861o-repnk" hide/" >a<IMG>hitlt-"中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" trc="ss="lblidt0.phnk26ovet/ZgdN1l0RlduXHEpX3j6XsQ==/1616592617485416978.jpt" >a</A>a</FONT>a</DIV>a <DIV ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<kFONT>a&nbspa</DIV>a <DIV>a<FONT b;fo="4" >a<B>a4、动静<kB>a<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a客观事物的动静之态,给了诗人们许多创作的灵感,他们常常将事物的动、静结合起来描写,做到静中见动,动中见静,动静相生,动静互衬,妙趣无穷。<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a如查慎63摹吨垡故樗罚骸霸潞诩娴疲鹿庖坏阌N⑽⒎绱乩耍⒆髀煨恰!鼻傲骄湫淳玻罅骄湫炊挥猩钋槿ぁM跷摹赌衩А罚骸叭讼泄鸹洌戮泊荷娇铡T鲁鼍赡瘢泵航е6。”以动写静,花落、月出、山鸟的动,突出了春涧的幽静。杜甫的《绝句》:“两个黄鹂鸣翠柳,一行白鹭上青天。窗含西岭千秋雪,门泊东吴万里船。”前两句写动,绘出一幅绚丽的图景;后两句写静,一言空间之广,一言时间之久,但也静中见动:景物动静3慕岷希从沉耸怂冀忧г亍⑹油ㄍ蚶锏男睦砘疃@畎椎摹锻烀派健犯歉呙睿浴疤烀胖卸铣炜毙闯隽怂衿娴摹岸保α烤薮螅挥钟谩氨趟髦链嘶亍毙闯隽松叫燮嫦站木病看罅α康木玻蝗缓笥钟谩傲桨肚嗌较喽猿觥毙淳玻志仓杏卸弧肮路黄毡呃础毙炊侄杏芯玻憾蚕喑模从辛α康亩钥梗钟心灿牒托常婵晌皆吮嗜缟瘢<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a<kFONT>a&nbspa<kDIV>a <DIV>ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<A tref="h"tp:ank" de .c"ss="lbl.m-9-861o-repnk" hide/" >a<IMG>hitlt-"中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" trc="ss="lblidt10phnk26ovet/65hRULW6U0y-B4A32pauqA==/3744461}.n182461442.jpt" >a</A>a</FONT>a</DIV>a <DIV ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<kFONT>a&nbspa</DIV>a <DIV>a<FONT b;fo="4" >a<B>a5、浓淡<kB>a<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a浓淡在绘画中,主要指色彩的深浅、明暗。后来用于文学创作,主要指语言的色彩。浓者,重笔浓彩,绚丽;淡者,素笔淡写,不尚雕饰。<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a就作者个人而言,163淖非笏氐163淖非笈ㄑ蓿163脑蚺ǖ媸Eǖ嗷ビ吵模梢允盏较拭魃囊帐跣ЧH缤醢彩摹豆鹬ο?金陵怀古》上片写金陵3淖忱銮锞埃昧恕八屏贰薄ⅰ按浞濉薄ⅰ安醒簟薄ⅰ安手墼频钡龋镅陨驶溃幌缕玖褐鸷阑豕派私瘢镅运氐灰耘ǔ牡裼谡渭叶媒窦诺纳钤端悸恰S秩缋钋逭盏摹兑患裘贰罚掀础昂炫骸薄ⅰ坝耵 薄ⅰ奥奚选薄ⅰ袄贾邸薄ⅰ敖跏椤薄ⅰ霸侣保式吓ǎ幌缕础盎ā薄ⅰ八薄ⅰ跋谐睢保式系慌ǖ嘤常浞值劁秩竞褪惴⒘舜嗜说南嗨贾啵骸芭ā鄙胁豢山馄涑睿暗庇秩盟我钥埃<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a<kFONT>a&nbspa<kDIV>a <DIV>ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a&nbspa<A tref="h"tp:ank" de .c"ss="lbl.m-9-861o-repnk" hide/" >a<IMG>ttylt-"-position:0 298px" hitlt-"中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" trc="ss="lblidt10phnk26ovet/POjhDUs4y9nX38sAQsBUUg==/1143351355399663852.jpt" >a</A>a</FONT>a</DIV>a <DIV ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<kFONT>a&nbspa</DIV>a <DIV>a<FONT b;fo="4" >a<B>a6、雅俗<kB>a<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a雅俗是运用语言的一种艺术。“雅”是典雅,“俗”是通俗。<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a在诗词中适当运用雅语和俗语,就会雅俗共赏,增强诗歌的艺术魅力。如张养浩的《山坡羊?潼关怀古》,前七句 “峰峦如聚,波涛如怒,山河表里潼关路。望西都,意踌蹰,伤心秦汉经行处,宫阙万间都做了土”,用词典雅,造句精工;结尾两句“兴,百姓苦!亡,百姓苦”,用语却极是通俗:这样以俗入雅,突出表达了词人关注百姓疾苦的情怀。又如白居易《忆江南》词,“江南好,风景旧曾谙”、“能不忆江南”,用语通俗;而“日出江花红胜火,春来江水绿如蓝”,用语典雅:不用雅,写不出江南之优美;不用俗,便失去了亲切感和独特的向往之情,可谓相得益彰。<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a<kFONT>a&nbspa<kDIV>a <DIV>ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a&nbspa<A tref="h"tp:ank" de .c"ss="lbl.m-9-861o-repnk" hide/" >a<IMG>ttylt-"-position:0 298px" hitlt-"中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" trc="ss="lblidt10phnk26ovet/oS-i9z_ruT_PdzpACwa1mw==/3740520965508505501blit" >a</A>a</FONT>a</DIV>a <DIV ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<kFONT>a&nbspa</DIV>a <DIV>a<FONT b;fo="4" >a<B>a7、巧拙<kB>a<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a巧拙也是语言运用的艺术。“巧”是工巧,“拙”是朴拙,二者结合,常可收到别具一格、耐人寻味的艺术效果。<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a如姜夔的《扬州慢》:“二十四桥仍在,波心荡,冷月无声。”前一句朴拙,后两句工巧。无前者,后两句失去依托;无后者,前一句,失去了应163谋泶镄Ч呵昂笙嗪希环嗲逯岸偕还尚颂局榱鞫S秩缰馨钛盏摹端漳徽凇罚骸耙渡铣跹舾伤抻辏媲逶玻灰环绾删佟!鼻耙痪湫刺舫跎端ジ桑冉掀邮担缓蠖湫辞嗲喑厮绱邓味囊蹲臃路鹪诓欢细呔僖谎帽屎驮炀岸己芮伞<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a<kFONT>a&nbspa<kDIV>a <DIV>ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<A tref="h"tp:ank" de .c"ss="lbl.m-9-861o-repnk" hide/" >a<IMG>hitlt-"中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" trc="ss="lblidt00phnk26ovet/oGRhW5T5UANFfTJFPlq9sw==/1521935199075047057blit" >a</A>a</FONT>a</DIV>a <DIV ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<kFONT>a&nbspa</DIV>a <DIV>a<FONT b;fo="4" >a<B>a8、曲直<kB>a<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a曲与直是诗人表达感情的两种方式。“曲”是婉曲含蓄,“直”是直率明了。<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a一般来说,诗人心情平静时,喜欢含蓄委婉,感情激动时,便直吐为快。在现实生活中,作者的思想感情常常是复杂变化的,因而在作品6总是兼用曲与直两种手法来表情达意,力求做到曲直互补,妙合其心。如李白的《梦游天姥吟留别》,描写令人神往的仙境世界,明写了对仙境的向往,暗写了对现实的强烈不满,属于“曲”的手法;到诗3慕嵛泊θ创蠛簦骸鞍材艽菝颊垩氯ü螅刮也坏每难眨 闭饩褪恰爸薄保磺恢奔浣寺收婵砂母鲂员硐值昧芾炀≈隆0拙右椎摹杜眯小匪淙灰睬奔嬗茫挥辛死畎椎穆收妫且郧鳎凰磁门纳硎涝庥觯苯颖砻鞯氖嵌韵虏愀杓撕屠涂喟傩盏耐椋郾泶锏娜词钦问艽旌螅韵质档纳羁倘鲜逗投允捞琢沟那苛也宦K底约旱脑饧适粲凇爸薄卑桑伤故潜泶锏媚敲础扒保唤苍凰低小G塾胫甭实脑擞茫胧说男木秤泄兀腿搜拔丁<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a<kFONT>a&nbspa<kDIV>a <DIV>ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a&nbspa<A tref="h"tp:ank" de .c"ss="lbl.m-9-861o-repnk" hide/" >a<IMG>ttylt-"-position:0 298px" hitlt-"中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" trc="ss="lblidt10phnk26ovet/PRLWN6KAumLCXbFYDQp5Vw==/2654871980352191431blit" >a</A>a</FONT>a</DIV>a <DIV ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<kFONT>a&nbspa</DIV>a <DIV>a<FONT b;fo="4" >a&nbspa<B>a9、隐现<kB>a<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a“隐”与“显”,也是诗人表达感情的两种方式。“隐显”与“曲直”非常相似,常常将两者联系在一起说,曲就显得隐,而直就显。<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a诗人在表达深藏内心而不便明言的思想感情时,往往隐约其辞,采用隐讳曲折的方式。如朱庆馀的《近试上张水部》,明明是想说自己考前心里没底,又期待成功,盼望张籍的帮助,却又隐讳曲折地虚拟新妇的口气问新郎:“画眉深浅入时无?”又如苏轼《江城子》“十年生死两茫茫,不思量,自难忘”,在明了抒发哀悼亡妻之情的同时,也隐约地抒发了“尘满面,鬓如霜”的政治失意之情。<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a<kFONT>a&nbspa<kDIV>a <DIV>ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a&nbspa<A tref="h"tp:ank" de .c"ss="lbl.m-9-861o-repnk" hide/" >a<IMG>ttylt-"-position:0 298px" hitlt-"中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" all="中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生" trc="ss="lblidt00phnk26ovet/exX8KSmCWtZoBvmWMfm6hw==/1711649333379318203.jpt" >a</A>a</FONT>a</DIV>a <DIV ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<kFONT>a&nbspa</DIV>a <DIV>a<FONT b;fo="4" >a<B>a10、离合<kB>a<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a离合是一种离题旁涉与紧扣题目的辩证表现手法。直写题目,内容就会局促;荡开笔墨,内容又会偏离题目。而离合就是要讲究直写与旁写,正写与侧写的和谐,侧写、旁写都要做到服务于正写,服务于题目,从而使诗词意脉相连,似断实续,摇曳多姿。<kFONT>a<kDIV>a <DIV>a<FONT b;fo="4" >a这种手法在咏物的诗词中表现得非常突出,因为古人主张咏物要力求“不即不离”、“不沾不滞”。如苏轼的《水龙吟》:“似花还是非花,也无人惜从教坠。抛家傍路,思量却是,无情有思。萦损柔肠,困酣娇眼,欲开还闭。梦随风万里,寻郎去处,又还被莺呼起。”开篇摇曳入题,以似花非花、无情有思吟咏杨花,接着由杨花衍生出思妇意象,人与花、物与情,在不即不离之间,咏物而不滞于物,达到了出神入化的境界。<kFONT>a<kDIV>a <DIV>ttylt-"TEXT-ALIGN: cigtera" >a<FONT b;fo="4" >a<A tref="h"tp:ank" de .c"ss="lbl.m-9-861o-repnk" hide/" >a<IMG>ttylt-"valco: 7504px> etmpl: );-wa" hitlt-"中华古诗词的十大技法 - 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hitlt-\"中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生\" all=\"中华古诗词的十大技法 - 宝贝梦 - 分享美丽.分享快乐.品味人生\" trc=\"ss="lblidt0.phnk26ovet/MIp5FXjc0MPIN4i5EDhKdQ==/190277o8425658}.n53.jpt\" \>\r\n
="_bla\r\n   古人在诗词创作中非常注重表现艺术,在写景、状物、言情、述志时,往往采用既对立又统一,既相反而又相成的辩证手法,让读者在品味赏读中获得无穷的艺术享受。这些辩证的表现手法包括点染、虚实、疏密、浓淡、离合、雅俗、曲直、隐显、巧拙等。=nbspa\r\n="_bla\r\n1、点染nkB\>\r\n点染,是国画的术语。原指画家在绘画时,163牡胤降悖163牡胤饺荆佣娉鲆环托惩骋坏幕妗:罄唇栌玫焦攀手欣矗傅氖亲髡咴谟行┑胤秸娴忝髦家猓16些地方侧面渲染。\r\n这种手法在写景抒情的诗词中比较常见,一般用景物来染;用一句话,',tmeeeeeeeeee p:ogTag:'',tmeeeeeeeeee p:ogUrc:'p:og/stolec/679033.16363095760872',tmeeeeeeeeee isPubleshed:1,tmeeeeeeeeee ism-i:false,tmeeeeeeeeee hext:2,tmeeeeeeeeee mewifyTime:1407976379368,tmeeeeeeeeee 0 0;shTime:1407976379287,tmeeeeeeeeee ermbaink:'p:og/stolec/679033.16363095760872',tmeeeeeeeeee nbwmen Couc :0,tmeeeeeeeeee mainCbwmigtCouc :0,tmeeeeeeeeee renbwmen/Couc :0,tmeeeeeeeeee bsrk:-low,tmeeeeeeeeee 0 0;sherId:0,tmeeeeeeeeee renbwB:ogHxme:false,tmeeeeeeeeee curpigtRenbwB:og:false,tmeeeeeeeeee attachmigtsFileIds:[],tmeeeeeeeeee vote:{},tmeeeeeeeeee groupInfo:{},tmeeeeeeeeee frien/stolus:'lane',tmeeeeeeeeee fol-owstolus:'unFol-ow',tmeeeeeeeeee 0 Succ:'',tmeeeeeeeeee visitorProvince:'',tmeeeeeeeeee visitorCity:'',tmeeeeeeeeee visitorNewUser:false,tmeeeeeeeeee {dtAddInfo:{},tmeeeeeeeeee mset:'000',tmeeeeeeeeee mnbr:'',tmeeeeeeeeee srk:-low,tmeeeeeeeeee rem;ndgoodntmptp:og:false,tmeeeeeeeeee isBlackVisitor:false,tmeeeeeeeeee isShowYodaoAd:false,tmeeeeeeeeee h{dtIntro:'',tmeeeeeeeeee hmnbr:'1',tmeeeeeeeeee selfRenbwB:ogCouc :'0',tmeeeeeeeeee otion:_spogle:'ta d-tefocus="trulo>href="http://blode .c"ss="lblinpin.p:ogn163ue" hp:og/stolec/263304040.1666.1612520219/odtidt onloaettv}. nidt = new Imtf=(); nidt.trc=\'ss="lblp:og.163ue" hnewhtf=/ter:ps/analyse.png?otion:_spogle&l=\'+new D;-m().f="Time()" border="p">.rc="ss="lblidtlf.nosdnnk27.net/teg/TlZCWHdFWFpidkQ1dGtJK1N5cFRBNzBLUFFPYnJEVi9LWk1KTzJlMTU2Yz0blit"/>tmeeee{lesl a as x}tmee {if !!x}tmee tiv >rue">tmeeeeeeta rue">href="http://blod-tefocus="trulo>de .c"ss="lblp:og.163ue" h${x.visitorNamt}/odtmeeeeee{if x.visitorNamt==visitor.userNamt}tmeeeeeetidt all="${x.visitorNicknamt|escape}" anerror/rehis.trc=:oc;--on.f40" rue">tmeeeeee{else}tmee eetmeeeeee{/if}tmee eerue">href="http://blodref="ss="lblp:og.163ue" hservices/wapp:og.html?frxmpersonalp:oghxmeodt.htmchitlt-"来自网易手机博客" rue">href="http://bldt.htmchitlt-"来自iPhane客户端" rue">href="http://bldt.htmchitlt-"来自Android客户端" rue">href="http://bl de .c"ss="lblp:og.163ue" hservices/emsp:og.html?frxmpersonalp:oghxmeodt.htmchitlt-"来自网易短信写博" rue">href="http://blod-tefocus="trulo>de .c"ss="lblp:og.163ue" h${x.visitorNamt}/odtmeeeeeeeeee${fn(x.visitorNicknamt,8)|escape}tmeeeeee anerror/rehis.trc=:oc;--on.f60" trc="${fn1(a.userNamt)}"/>rue">rue">rue">rue">="_blahref="http://bl>tmeeee

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