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宋 Song · 诗 Poem

饮湖上初晴后雨

Drinking on the Lake: First Sunny Then Rainy

苏轼

Su Shi

写景Scenery 西湖West Lake 比喻Metaphor

水光潋滟晴方好，山色空蒙雨亦奇。
欲把西湖比西子，淡妆浓抹总相宜。

The shimmering water looks fine in sunny day;
The misty hills are also wonderful in rain.
If you compare West Lake to the beauty Xizi,
She looks charming either in light or heavy makeup.

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Meaning

On a sunny day the lake shimmers brilliantly; in the rain the mountains are misty and also fascinating. If one compares West Lake to the beautiful Xizi, she looks charming whether lightly or heavily made up.

晴日里湖水波光闪动，正觉明媚；雨中山色云雾迷茫，也别有奇趣。若把西湖比作美人西施，那么无论淡雅妆容还是浓艳打扮，都同样相宜动人。

Appreciation

The poem describes a day trip on the lake: first sunny, then rainy. Both scenes are beautiful. The final couplet compares West Lake to the beauty Xizi, saying she is charming in any makeup. This metaphor captures the essence of the lake's beauty and has become a classic appraisal. The poet's appreciation of both sunny and rainy scenes shows his open-mindedness and deep love for the landscape.

【白话串讲】晴天的西湖波光粼粼，雨天的西湖山色空蒙，苏轼看着看着，觉得西湖就像西施——“淡妆浓抹总相宜”。从此，西湖有了最美的广告词。【意象与手法】比喻新奇而贴切，是全诗灵魂。以绝代美人西施喻湖，将无生命的山水写得有神韵、有性情【情感与主旨】苏轼两任杭州（通判与知州），对西湖爱之深切。此诗约作于杭州任上，记一日湖上宴饮，初晴后雨，诗人即景赋诗【名句点睛】常考：①西湖比作西施的巧妙比喻及其效果；②「淡妆浓抹总相宜」的普遍美感（不拘条件皆美）；③炼字「潋滟」「空蒙」

Background

Su Shi served twice in Hangzhou and deeply loved West Lake. This poem was written during his tenure, recording a banquet on the lake where the weather turned from sunny to rainy. He was then dredging the lake and building Su Causeway, forming an inseparable bond with the landscape. The poem reflects his leisurely and appreciative mood.

此诗约作于宋神宗熙宁四年至七年（一〇七一—一〇七四）苏轼任杭州通判期间，记一日西湖湖上宴饮，初晴后雨，诗人即景赋诗。苏轼两度任职杭州（先通判、后知州），对西湖爱之深切，筑苏堤、浚西湖，留有大量西湖诗篇。北宋杭州已是东南都会，西湖为游观胜地，然其自然风貌与人文题咏至宋方臻极盛。诗中「西子」之喻使西湖得「西子湖」别称，遂成西湖代名词，影响至今。在文学传统上，咏西湖之作六朝已有（如钱塘湖诗），至唐白居易《钱塘湖春行》《春题湖上》奠定西湖仙都之誉，苏轼此诗则以「淡妆浓抹总相宜」将西湖之美凝为美人意象，既承白氏「未能抛得杭州去，一半勾留是此湖」之眷恋，更以新奇比喻将西湖审美推至人格化高度。宋诗善以寻常事物作惊人之喻（苏轼尤工比喻），此诗即「苏门喻体」的代表，亦体现宋人「以俗为雅」、于山水间见性情的审美取向。其写作背景的闲适，与苏轼杭任时期相对从容的心境相表里。

Art

The metaphor is novel and apt, the soul of the poem. It personifies the lake as a beauty, giving it charm. The first two lines describe actual scenes, the last two conclude with a metaphor. The poem seamlessly integrates scenery, metaphor, and emotion, establishing a timeless verdict on West Lake.

此诗仅四句，却尺幅千里，章法极妙。前两句「水光潋滟晴方好，山色空蒙雨亦奇」分写晴、雨二态：晴日以「潋滟」写波光闪动之美，雨日以「空蒙」写山色迷茫之奇，一明一暗、一实一虚，对仗工稳而各擅胜场，且「方好」「亦奇」并列，表明晴雨皆美、无分轩轾的开放审美。后两句「欲把西湖比西子，淡妆浓抹总相宜」突发奇喻，以西施比湖，将无生命的山水写得有神韵、有性情；「淡妆」应雨中之空蒙，「浓抹」应晴日之潋滟，比喻内外契合无间。艺术上，妙在「比」的不可移易：西子为绝代美人，其美在天生风韵而非妆饰，正合西湖无论晴雨皆天然动人；且「淡妆浓抹」双关天气之阴晴与妆容之浓淡，绾合前两句而无痕。全诗句句写湖却不粘着于湖，由景及喻、由物及人，清空一气，是宋诗比喻美学的巅峰小品，亦开「西湖即西子」的千年定评。前两句水光潋滟晴方好，山色空蒙雨亦奇分写晴雨二态，一明一暗、一实一虚，对仗工稳而各擅胜场，方好亦奇并列表明晴雨皆美；后两句欲把西湖比西子突发奇喻，以西施比湖，淡妆应雨中空蒙、浓抹应晴日潋滟，比喻内外契合无间。妙在比之不可移易：西子之美在天生风韵，正合西湖无论晴雨皆天然动人，由景及喻、由物及人，清空一气。

Allusions

Xizi is Xi Shi, a beauty from the Spring and Autumn Period. Su Shi uses 'light or heavy makeup' to describe the lake in different weather, turning static scenery into a living person. This metaphor earned West Lake the alternative name 'Xizi Lake', still used today.

诗中核心是「西子」之喻。西子即西施，春秋越国美女，《吴越春秋》《庄子》已载其名，后世奉为绝代佳人之典范。苏轼以西湖比西施，妙在二者皆以「天然」取胜——西施之美不假雕饰，西湖之胜不凭人力，且西子「淡妆浓抹总相宜」暗用其本有风韵。此喻并非苏轼首创之偶得，唐人已有以美人喻山水之例（如李白「欲向人间种橘柚，空教名字属西湖」尚不及），然以「淡妆浓抹」绾合晴雨，则苏之独造。「潋滟」语出亦形容水波，司马相如《文选》注已见；「空蒙」状迷茫貌，谢朓、王维诗中多用之。「方好」「亦奇」之「方」「亦」虚字呼应，见并用之巧。字词训诂上，「潋滟」指水波荡漾、波光闪闪，「空蒙」指云雾迷茫貌，「相宜」谓合适、协调。此喻一出，西湖遂别名「西子湖」，足见用典设喻的巨大文化塑造力。西子即西施，春秋越国美女，后世奉为绝代佳人典范。苏轼以西湖比西施，妙在二者皆以天然取胜，且淡妆浓抹双关天气阴晴与妆容浓淡，绾合前两句而无痕。潋滟语出司马相如文选注，状水波；空蒙状迷茫貌，谢朓王维诗中多用。方好亦奇之方亦虚字呼应见并用之巧。此喻一出，西湖遂别名西子湖，足见设喻的巨大文化塑造力。

Commentary

Qing dynasty scholar Wang Wengao praised this as an unparalleled masterpiece. The alternative name 'Xizi Lake' originates here. One metaphor defined the lake's eternal reputation, showing Su Shi's skill in observation and imagination, unmatched by later poets.

此诗自南宋以来即为咏西湖的千古绝唱，与白居易「钱塘湖春行」、杨万里「晓出净慈寺送林子方」并称西湖诗三绝，而「欲把西湖比西子」一句更使西湖获「西子湖」之雅称，沿用至今，成为地名与文学互塑的典范。清人查慎行、近代陈衍论宋诗，皆推此诗为「喻体」神品；近人论苏轼比喻之妙，每举「西湖—西子」为最不可移易之喻。其「淡妆浓抹总相宜」已成习语，泛指无论何种条件皆美、皆合宜的从容审美，广泛用于品评人物风姿与艺术格调。在传播史上，此诗不仅确立西湖的审美意象，更塑造了杭州的城市文化名片，今西湖诸景、旅游宣传无不受其泽。中小学教材必选此诗，作为宋诗比喻手法与「即景说理（美）」的范文，其「晴雨皆宜」的包容美学至今启人。此诗自南宋以来即为咏西湖千古绝唱，与白居易钱塘湖春行、杨万里晓出净慈寺送林子方并称西湖诗三绝，而欲把西湖比西子使西湖获西子湖雅称，成为地名与文学互塑的典范。淡妆浓抹总相宜已成习语，泛指无论何种条件皆美。在传播史上，此诗不仅确立西湖审美意象，更塑造杭州城市文化名片，今西湖旅游宣传无不受其泽，中小学教材必选为宋诗比喻手法范文。

Prosody

Form Seven-character quatrain (level tone, first verse not rhymed)七言绝句（宋诗·写景喻理）

Rhyme Rhyming in the Shangping Sizhi rhyme group: '奇' and '宜' (first line '好' not rhymed)此诗押平水韵上平四支韵（奇、宜，同属支韵；「好」为皓韵不入此韵，首句可不押），二四句押韵，韵脚清丽，宜写明秀闲雅之情。

Tone pattern Level-tone pattern for seven-character quatrain without rhyme on first verse; last two lines conclude with metaphor and argument, bright and fluent.七言绝句，平起首句不入韵，格律为「仄平仄仄平平仄，平仄平平仄仄平。仄仄平平仄平仄，仄平平仄仄平平」，句式整饬，前两句对仗工稳。

Reading note Using a beautiful woman as metaphor for the lake, the comparison is precise and natural, establishing the eternal appraisal of West Lake, showcasing Su Shi's ingenuity in on-the-spot metaphor.此诗虽短，却以七绝的凝练成就西湖审美的千古定评。用支韵，「奇、宜」清丽舒徐，与湖山明秀、闲雅品题的情调相合。前两句「水光潋滟晴方好，山色空蒙雨亦奇」对仗精工，以晴雨双写铺陈西湖二态；后两句「欲把西湖比西子，淡妆浓抹总相宜」以突发奇喻收束，由景及人、由实入虚，声情由叙转议而一气呵成。七绝本贵含蓄，此诗却能于二十八字中既写尽晴雨湖光、又立一不可移易之喻，足见苏轼驱遣语言的腕力。其声情之明秀从容，正与其开放包容的审美态度相表里，是宋诗写景喻理小品的极致。此诗虽短，却以七绝凝练成就西湖审美千古定评。用支韵，奇、宜清丽舒徐，与湖山明秀、闲雅品题相合。前两句水光潋滟晴方好，山色空蒙雨亦奇对仗精工，以晴雨双写铺陈二态；后两句欲把西湖比西子，淡妆浓抹总相宜以突发奇喻收束，由景及人、由实入虚，声情由叙转议而一气呵成。七绝贵含蓄，此诗却能于二十八字写尽晴雨湖光、立一不可移易之喻，足见苏轼腕力。

Line by line

水光潋滟晴方好，山色空蒙雨亦奇。

The shimmering water is fine in sunny day, the misty hills are also fascinating in rain. The words '方好' and '亦奇' place sun and rain on equal footing, showing the poet's appreciation of beauty in all conditions.

晴日里湖水波光闪动，正觉明媚；雨中山色云雾迷茫，也别有奇趣。

The lake glitters in the sun, so lovely when clear; the hills are misty in the rain, also wondrous.

起笔两句分写西湖晴、雨二态，是全诗的比喻基础。「潋滟」状晴日波光闪动，「空蒙」写雨中山色迷茫，两词炼字精警，一明一暗、一实一虚，画出西湖在不同天候下的两种风韵。「方好」「亦奇」并列，是关键的价值判断：晴固美，雨亦奇，二者无高下之分，体现一种开放而包容的审美——不偏嗜一种状态，而能见每一种天候的独特之美。这一句不仅写尽湖山之胜，更为后文「淡妆浓抹总相宜」的奇喻埋下伏笔：正因为晴雨皆美，方能以美人之淡浓妆容双关对应。对仗工稳而语如白话，是宋诗「平淡中见经营」的妙笔。

The opening two lines separately write the West Lake's clear-and-rain two poses, the whole poem's metaphor foundation. The lianyan posing the clear-day's wave-glitter, the kongmeng writing the rain's mountain-mist, the two-words' character-refining's alert, one-bright-one-dark and one-solid-one-void, painting the West Lake's different-weather's two charms. The just-lovely and also-wondrous juxtaposition, the key value-judgment: the clear's indeed beautiful, the rain's also wondrous, the two's no-high-low division, embodying-an-open-and-inclusive aesthetics — not-the-partiality-for-one-condition, and yet's able-to-see-each-weather's unique beauty. This line's not-only's exhausting-the-lake-and-hill's triumph, and yet's storing-the-ground-for-the-below's light-or-heavy-makeup-suits-her-alike wondrous metaphor: precisely because of-the-clear-rain's both-beautiful, then's able-to's-the-beauty's-light-heavy-makeup's double-meaning correspondence. The parallel's firm and yet-the-language's like-the-plain-speech, the Song-poem's plain-within-sees-the-craft wondrous brush.

欲把西湖比西子，淡妆浓抹总相宜。

If comparing West Lake to Xizi, she looks charming in light or heavy makeup. The metaphor is apt: both are from Hangzhou, and '总相宜' summarizes the lake's universal beauty.

若把西湖比作美人西施，那么无论淡雅妆容还是浓艳打扮，都同样相宜动人。

If I compare the West Lake to the beauty Xishi, then light or heavy makeup suits her alike.

结拍两句是全诗灵魂，也是中国诗歌史上最不可移易的比喻之一。「欲把西湖比西子」突发奇想，将山水与美人绾合；妙在「淡妆」应雨日之空蒙、「浓抹」应晴日之潋滟，前两句的晴雨二态在此化作美人的两种妆容，比喻内外契合无间。「总相宜」三字是核心判断：无论淡妆浓抹皆美，正如西湖无论晴雨皆胜，且西子之美在本色天然，正与西湖不假人力之胜同调。这一喻不仅写形，更写神、写格，使西湖从此人格化为「西子湖」。其不可移易处在于：换任一美人皆不及西子之天然绝代，换任一写法皆不及此喻之浑成，是苏轼「喻体」美学的巅峰，千年定评，殆不可易。

The closing two lines are the whole poem's soul, and the Chinese-poetry-history's most-unshakable metaphors' one. The if-I-compare-the-West-Lake-to-the-beauty-Xishi's sudden-fancy, tying-the-landscape-and-the-beauty's together; the wonder's in the light-makeup's corresponding-the-rain-day's mist and the heavy-makeup's corresponding-the-clear-day's glitter, the previous two lines' clear-rain two-poses's here's turned-into-the-beauty's two makeups, the metaphor's inner-outer's seamless. The suits-her-alike three words' the core judgment: whatever-the-light-or-heavy-makeup's all-beautiful, precisely like-the-West-Lake's whatever-the-clear-or-rain's both-triumphant, and yet Xishi's beauty's in-the-natural-true-color, precisely's the same-key-as-the-West-Lake's no-human-effort triumph. This metaphor's not-only's writing-the-form, and yet writing-the-spirit-and-the-style, making-the-West-Lake henceforth's personified as-the-Xishi-Lake. Its unshakable place's in: the changing-any-beauty's all's-not-as-good-as-Xishi's natural-unparalleled, the changing-any-writing's all's-not-as-good-as-this-metaphor's roundedness, Su Shi's metaphor-aesthetics' peak, the thousand-years'-settled-verdict's hardly's changeable.

Study

Word focus

潋滟 shimmering; describes rippling light on water 「水光潋滟晴方好」之「潋滟」二字，状水波荡漾、波光闪动之貌，是写晴湖神采的炼字精华。它不同于「浩淼」「澄清」之静态，而着意于光的流动与波的轻柔，将晴日西湖写得有灵气、有生机。二字叠韵，读音本身即带水波摇曳之感，音义相生。若易以「波光」则直白，「潋滟」则古雅而有韵致，且与下句「空蒙」骈俪相对，一明一昧、一实一虚，构成西湖晴雨双美的对仗骨架。它是宋人炼字「求雅于俗、状物如画」的典型，一字而定晴湖之魂。

相宜 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「淡妆浓抹总相宜」之「相宜」意为合适、协调，是全诗价值判断的落点，看似平易却力重千钧。它要表达的不仅是「都好看」，更是「无论何种状态都恰到好处、无可挑剔」的至高审美肯定。一个「总」字覆盖所有可能性（淡、浓、晴、雨），一个「宜」字给出不容置疑的审美裁判，使西湖之美获得普遍而恒定的认证。此词由此凝为习语，泛指在任何条件下皆合宜得体。它把前文的景物描写收束为一条审美箴言，既写湖亦写人，余韵悠长，是炼熟语以结全篇的范例。