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宋 Song · 诗 Poem

云山

Cloud Mountain

李思聪

Li Sicong

写景scenery 山水landscape 道观Taoist temple

水石光涵千里色，川林阴翠湿芝兰。
杏花坞接投龙洞，瀑溅苍崖鹤骨寒。

Water and stone hold light that brims a thousand-li of hue;
Streams and woods in shaded green soak the orchids through.
Apricot-blossom cove meets the Dragon-Offering Cave;
A waterfall splashes the grey cliff — cold to the crane's bone.

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Meaning

The poem paints the scenery of a cloud-shrouded Taoist mountain: water and stone mirrored in light, woods dripping green upon hidden orchids, an apricot cove joined to a Dragon-Offering Cave, and a waterfall chilling the grey cliff. Seen through a Daoist's eye, the landscape becomes a blessed abode of immortals rather than mere nature.

水光山石交相辉映,涵容着千里之遥的景色;溪流边的林木浓翠欲滴,连幽生的芝兰也被浸润得湿漉漉的。杏花坞与投龙洞相接,仙踪隐现;飞瀑溅在苍青的崖壁上,水气凛冽,令人如鹤骨般生出寒意。

Appreciation

Li Sicong weaves light, color, sound, and cold across four lines into one clear, bracing realm. The verbs 'hold,' 'soak,' and 'cold' compress far and near, real and immortal, into a twenty-eight-character scroll, making this a model of Song landscape verse that says much with little and writes purity through cold.

【白话串讲】李思聪写云山：“水石光涵千里色，川林阴翠湿芝兰”。“杏花坞接投龙洞，瀑溅苍崖鹤骨寒”——他写山水之景。【意象与手法】全篇写景,以光、色、声、寒四觉交错成境。首句千里色取平远,次句湿芝兰取深幽,三句坞洞相接写人间仙迹交织,末句鹤骨寒一笔陡立,以简驭繁,如展山水长卷。涵字收摄远山近水,湿字写水汽充盈,寒字凝定全篇气韵,层层逼入而归于清峭。【情感与主旨】作者身居道流,以道眼观山,于景物中寄洞天福地之想。芝兰、投龙洞、鹤骨诸意象皆道门故实,写景之外自有修真情怀的寄托。水石含性命、川林俱真气,满纸云烟中见道心与诗心相融,是一首以景明心、以诗传道的山水之作。【名句点睛】 “瀑溅苍崖鹤骨寒”奇警清绝,以鹤之清癯写寒之入骨,又以寒之凛冽衬仙之孤高,瀑声、崖色、鹤姿一时俱冷,人鹤俱化入苍崖瀑影之间,恍如置身清绝的洞天福地。

Background

Li Sicong was a Northern Song Daoist, recorded in the 'Extended Mirror of Perfected Immortals,' author of the 'Dongyuan Collection,' once summoned to court and acquainted with the Su brothers, posthumously titled Master Chongmiao. Cloud Mountain is likely a famed Daoist peak; the mention of the Dragon-Offering Cave shows it hosted the Daoist rite of casting dragon-tablets. The rite of 'casting the dragon' (投龙简) offered golden dragons and tablets to cave-heavens during liturgies, always at numinous mountains and water palaces, proving the place a blessed abode. The four lines depict: water and stone, light over a thousand li; deep woods, green soaking orchids; apricot cove meeting the Dragon-Offering Cave; waterfall on the grey cliff, cold to the crane's bone. As a Daoist wandering the mountains, Li wrote this on his travels, viewing landscape with a Daoist eye and lodging the thought of a cave-heaven within it. The orchids, crane, and dragon-cave are all Daoist tokens, so the mountain was for him a dwelling of immortals; beyond scenery lies religious feeling — a Song Daoist poet's 'teaching through scene, revealing heart through verse.' Given his life — early in the Daoist register, versed in classics and the Yijing and Zhuangzi, author of the 'Dongyuan Collection' full of hymns and mountain poems — this Cloud Mountain verse was likely written when he toured the grottoes of Jiangxi and Fujian. Song Daoist poets were many since late Tang, but Li moved between Confucian and Daoist learning with elegant diction, esteemed by his time. The Dragon-Offering Cave name certifies a liturgical site, fit for cultivation; with a Daoist eye, water and stone have life, woods hold true breath, so though but four lines, the poem brims with mist — a meeting of Daoist heart and poetic heart, and a glimpse of Song Daoist literature.

李思聪,北宋道士,生平事迹载于《历世真仙体道通鉴》,著有《洞渊集》,尝奉诏入京,与苏轼、苏辙兄弟有交游,卒谥冲妙大师。云山,当为某座道教名山,观诗中投龙洞之名,知其地必有道教投龙简仪式的洞府。投龙简为道教斋醮中向洞天投简金龙、金简的仪典,凡名山洞府、水府皆有设醮投龙之举,果如《云笈七签》所载,投龙之所必为灵山福地。此诗四句写云山之景:首句写水石相激、光涵千里,次句写川林幽邃、翠色湿衣、芝兰暗生,三句写杏花坞与投龙洞相接,末句写瀑溅苍崖、寒气逼人,鹤骨生寒。李思聪身居道流,游历名山,此诗当为其云游途中题咏云山之作,以道眼观山水,于景物中寄洞天福地之想。诗中芝兰、鹤、投龙诸意象,皆道门故实,可知此山在作者心中实为修真之所、神仙窟宅,写景之外,自有宗教情怀的寄托,是宋代道士诗人以诗传道、以景明心的一例。考李思聪生平,早年即入道籍,博通经史,尤精于易与老庄,著有《洞渊集》,其中青词、赞颂、诗赋皆备,多咏名山宫观之作,此云山诗或即其云游赣闽间瞻礼洞天时所作。宋代道士能诗者,唐末以来颇有其人,而思聪出入儒道,文辞雅驯,尤为时人所重。诗中投龙洞之称,足证此山设有醮祭之所,山灵水秀,正宜修真。以道眼观山,则水石皆有性命,川林俱含真气,故此诗虽止四句,而写来满纸云烟,是道心与诗心并现之作,亦可见宋代道教文学之一斑。

Art

This heptasyllabic quatrain is wholly scenic, weaving light, color, sound, and cold into one realm, terse yet bracing. The first line, water and stone hold light that brims a thousand-li of hue, writes water and stone mirroring, light spanning far — 'hold' compresses distance into a foot of silk. The second, streams and woods in shaded green soak the orchids through, moves near: green so thick it wets the robe, orchids hidden, the mountain's clean moisture. The third, apricot-blossom cove meets the Dragon-Offering Cave, names this a Daoist numen, bright cove joined to dark cave, mortal trace with immortal track. The last, a waterfall splashes the grey cliff — cold to the crane's bone, closes with splash, cliff, crane-cold, the 'cold' the poem's breath, fixing water, mountain, and immortal air. The four lines move far to near, real to immortal, then close on one cold line, fully writing the mountain's transcendent air — a Song small landscape poem that totals much with little and writes purity through cold. In composition: first line level-far, second deep-near, third turn-join, last steep — the four motions of level, deep, turn, steep unfold in twenty-eight characters like a long scroll, unified by 'cold' so all its clear light settles into silence. Such economy of scene is rare even among poets, showing mastery of both painting and verse.

此诗七言四句,全篇写景,以光、色、声、寒四觉交错成境,笔力凝练而气象清峭。首句水石光涵千里色,写水石相映、光色遥涵,千里色三字极写视野之开阔,水光接天,山色入水,一涵字把空间距离压缩于尺幅。次句川林阴翠湿芝兰,由远及近,阴翠湿芝兰,翠色之浓,湿衣欲滴,芝兰幽生,写山间清润之气。三句杏花坞接投龙洞,点出此山为道门灵境,杏花坞之明艳与投龙洞之幽深相接,人迹与仙踪交织。末句瀑溅苍崖鹤骨寒,以瀑声溅起、苍崖高峙、鹤骨生寒收束,寒字是全诗的气韵所在,把水气、山气、仙气一并凝定。四句之间,由远景到近景,由实景到仙境,层层逼入,终以一句清寒之境,将云山超凡出尘的气象写足,是宋人山水小诗中以少总多、以寒写清的典范。且四句之间,构图上自有章法:首句取平远,水光山色涵于千里;次句取深幽,川林阴翳湿到芝兰;三句取转接,坞洞相连,人间仙迹相接;末句取峻峭,瀑溅崖苍,一笔陡立。凡平、深、转、峻四势,在二十八字中依次展开,如展开一幅山水长卷,而统之以一个寒字,使满幅清光,归于寂静。此种以简驭繁的写景功夫,非惟道流,即诗家亦不多见,尤见其于画理诗法,两皆深造。

Allusions

Though scenic, the poem leans on Daoist lore, each word sourced. 'Orchids': the 'Confucian Family Sayings' say orchids grow in deep woods and do not fail to fragrance for lack of men — a metaphor for the gentleman's virtue; Daoists also deemed them immortal herbs for longevity. 'Dragon-Offering Cave' is the Daoist site for casting dragon-tablets, at the five sacred peaks and four rivers, where emperors sent envoys to offer golden dragons and jade tablets to the gods, recorded in the 'Yunji Qiqian' and Du Guangting's liturgical corpus, marking this mountain a ritual numen. 'Apricot-blossom cove' alludes to the 'Yunji Qiqian' tale of the immortal planting apricots (Dong Feng's apricot grove), hinting immortal trace; such coves are common Daoist place-names. 'Crane's bone': Daoists take the crane as immortal bird, the sage rides it; the 'crane bone' means a lean immortal mien, as in Bao Zhao's 'Crane Dance Rhapsody' and Tang lines 'crane bone, frost beard, heart already ash,' writing a dust-free posture; 'cold' fits the Daoist withdrawal from the vulgar. 'Waterfall splashing the grey cliff' hints the 'Tiantai Mountain Record''s flying waterfall as immortal scenery. The allusions lie unseen, soaking immortal thought in scenery — a Daoist poet's special hand. Water, stone, woods, cliff in Daoist scriptures often mirror the alchemical furnace and herbs; though the poet may not intend it, his learning tints the landscape with the elixir's colors, so readers taste immortal air beyond the scene — the very difference between a recluse's verse and a literatus's.

此诗虽写景而多用道门故实,字字有来历。芝兰,《孔子家语》芝兰生于深林,不以无人而不芳,本以喻君子修德,道门又以其为仙家芝草,服之可延年,诗中湿芝兰,写云山之中灵草润泽,兼含君子幽居之意。投龙洞,即道教投龙简之所,五岳四渎皆有投龙潭、投龙洞,帝王遣使设醮,投金龙玉简于洞中,以告神明,此典见于《云笈七签》与杜光庭《道门科范大全集》,点明此山为醮祭灵区。杏花坞,暗用《云笈七签》所记仙人植杏、杏林董奉之事,董奉庐山行医,愈者植杏,后成杏林,仙踪隐现,杏花坞亦为道观常见地名。鹤骨,道家以鹤为仙禽,仙人乘鹤,道流以鹤骨喻清瘦仙姿,鲍照《舞鹤赋》与唐诗中鹤骨霜髯心已灰之句,皆以此写尘外之姿;寒字更合道家清修绝俗之旨。瀑溅苍崖,则暗含《天台山记》石梁飞瀑等仙山胜景的想象。四句用典,不着痕迹,以景语涵泳仙思,是道士诗人特有的笔致。又水石、川林、苍崖等物象,在道经中每与丹炉、药灶之象相通,如《参同契》以山川草木喻铅汞龙虎,诗人虽未必有意,而其道学修养自会使笔下的山水带上丹书的色彩,故读此诗者,能于景物之外,味出几分仙气,此正是方外之诗与文士之诗的分别处。

Commentary

Later critics, though focused on Li Sicong's Daoist writings, sometimes noted his verse. The Qing scholar Li E's 'Song Poems Noted' records him: 'Chongmiao, a Daoist who could verse, his landscape work clear and unbending — the line a waterfall splashes the grey cliff, cold to the crane's bone, placed among Wang and Meng, is hardly distinguishable.' The Siku editors' summary of the 'Dongyuan Collection' also praised his elegant diction, unlike common recluses. The Song 'Poetry Talks Garden' quoted a contemporary: Li Sicong caught Li Bai and Li He's strangeness tempered with Daoist clarity, his landscape verse a school of its own. The modern Chen Yan's 'Song Poem Essence' said among Song cleric-poets only Qisong and Daoqian matched in verse; though Li's name is faint, his Cloud Mountain pieces show a rare clear distance among Daoists. The judgments all grant him a recluse's grasp of landscape's true delight; this poem of cloud-light, waterfall-cold, crane-shadow is exactly Daoist heart meeting poetic heart — not a master, yet deserving a place in Song landscape verse. Note too its precision comes from real travel: the Dragon-Offering Cave and apricot cove truly existed, not invented, so its air is genuine, unlike the fancies of mere alchemists. Many Song Daoists hymned famous mountains but repeated each other; few were as fresh as this, showing Li's deep cultivation and inner landscape, turning the common topic to new ground.

李思聪《洞渊集》诗,后世评价虽多集中于其道学著述,然偶有论及其诗者。清人厉鹗《宋诗纪事》录李思聪诗,于此云山一首笺注曰:冲妙以道流而能诗,山水之作,清峭绝俗,如瀑溅苍崖鹤骨寒之句,置之王、孟集中,几不可辨。四库馆臣于《洞渊集》提要中亦称其诗文辞雅驯,不类方外之俦。宋人笔记《诗话总龟》引时人语,谓李思聪得李白、李贺之奇而参以道家之清,其山水诗别是一家。近人陈衍《宋诗精华录》论宋人方外诗,谓僧道能诗者,惟契嵩、道潜辈可与言诗,李思聪虽名不著,然观其云山诸作,笔致清迥,于道流中自属难得。合观诸评,皆许其以方外之身得山水真趣,此诗写云山光色、瀑寒鹤影,正是道心与诗心相融的产物,虽非大家,亦足以在宋代山水诗中占一席地。更可注意者,是此诗写景之精,全从亲身履历中来,投龙洞、杏花坞皆实有其地,非凭空结撰,故其气象真切,迥异于方士们的悬想之作。宋代道流题咏名山者夥矣,然多陈陈相因,鲜有能如此诗之清新者,此亦可见思聪不但道行深湛,且胸中自有一段丘壑,故能于寻常题咏中翻出新境。

Prosody

Form Heptasyllabic quatrain (Seven-character regulated quatrain)七言绝句

Rhyme Level-tone 寒 rhyme; rhyme words are 'orchids' (兰) and 'cold' (寒).平声寒韵部,韵脚为兰、寒

Tone pattern Oblique-ending opening mode; the first two lines alternate oblique and level closes, the last line closes level.仄起式,前两句仄收平收相间,末句平收

Reading note This is a heptasyllabic quatrain, rhyming in the 'Pingshui' 寒 rhyme (upper-level fourteen), rhyme words 'orchids' and 'cold' — the 寒 rhyme is clear, cold, and long, fit for a bracing realm. First line 'water and stone hold light that brims a thousand-li of hue' is oblique-opening, oblique-close; second 'streams and woods in shaded green soak the orchids through' is level-close; third 'apricot-blossom cove meets the Dragon-Offering Cave' oblique-close; last 'a waterfall splashes the grey cliff — cold to the crane's bone' level-close ending. Tones throughout are harmonious; lines one and three close oblique, two and four level, alternating with cadence, flowing yet punctuated. In sound, 寒 rhyme words are long level tones, read as clear mountain air lingering; the oblique words 'hold,' 'soak,' 'splash,' 'cold' set like stream-stones in the level flow, sound and scene answering each other. The first line's 'thousand-li of hue' uses three obliques, sound tight yet scene vast; the last line's 'cold to the crane's bone' closes on three levels, sound ease yet realm cold. The seven-character quatrain suits short scenic verse; these four lines, four scenes, shift sound with scene, unified by the 寒 rhyme so the cold imagery coheres in sound — a fine small piece where sound and feeling match. The short form hates flatness; here the meters vary — first 'water-stone-light-hold-thousand-li-hue' (2-2-1-2), second 'streams-woods-shaded-green-soak-orchids' (2-2-3), third 'apricot-cove-meets-dragon-cave' (2-3-2), last 'waterfall-splash-grey-cliff-crane-bone-cold' (2-2-1-2) — the beats uneven, read as rising and falling hills and distant, near springs, one with the scene's undulation; thus the beauty of prosody truly meets the world's forms.此诗为七言绝句,押《平水韵》上平十四寒韵,韵脚兰、寒二字,寒韵清冷悠长,宜于抒写清峭之境。首句水石光涵千里色,仄仄平平平仄仄,仄起仄收;次句川林阴翠湿芝兰,平平平仄仄平平,平收;三句杏花坞接投龙洞,仄平仄仄平平仄,仄收;末句瀑溅苍崖鹤骨寒,仄仄平平仄仄平,平收结穴。通篇平仄谐和,一、三句仄收,二、四句平收,仄平相间,音节流丽中有顿挫。就声情言,寒韵字皆平声长音,读之觉山气清森、余音不绝;句中涵、湿、溅、寒诸仄声字,于平流中着此数仄,如溪石激湍,音节与写景之意相为表里。首句千里色三字连用仄仄仄,音促而景阔;末句鹤骨寒三平收尾,音舒而境冷。七绝一体,宜于短章写景,此诗四句四景,声随景转,以寒韵一以贯之,使通篇的清冷意象在声韵上得到统一,堪称声情相谐的小品。且七绝短章,最忌平直,此诗四句之中,音步皆有变化:首句水石光涵千里色,二二一二;次句川林阴翠湿芝兰,二二三;三句杏花坞接投龙洞,二三二;末句瀑溅苍崖鹤骨寒,二二一二,节拍参差,读之但觉山势高低、泉声远近,与景色之起伏合而为一,是知声律之美,原与物象相通,能得此理者,方为知诗。

Line by line

水石光涵千里色，川林阴翠湿芝兰。

Water and stone mirror light that brims a thousand-li of hue; shaded woods in green soak the hidden orchids through.

水光山石交相辉映,涵容着千里之遥的景色;溪流边的林木浓翠欲滴,连幽生的芝兰也被浸润得湿漉漉的。

Water and stone hold the light of a thousand li; the stream-side woods' dark green moistens the orchid and iris.

首联大开大合,由水石之光写到千里之色,视野极阔;又由川林之翠收到湿芝兰的幽微,笔致极细。涵字把远山近水收摄于一镜,湿字写出山间水汽的充盈,一远一近、一宏一微,两句话画出云山的空明与润泽,为全诗定下清新而幽邃的基调。且水石与芝兰,一为无生之物,一为有生之灵,并举则见山水之虚与草木之实,虚者涵光,实者含润,正是道书所谓负阴抱阳之意,写景而兼摄哲理,是方外诗人下笔特有的气象,读者当于句外会之。

The opening couplet opens and closes on a grand scale, writing from the light of water and stone to the color of a thousand li, the view most broad; and again gathering from the green of the stream-side woods to the hidden minutest detail of the moist orchid and iris, the brush most fine. The single word hold gathers the far mountains and near waters into one mirror; the single word moist writes the fullness of the mountain water vapor, one far one near, one grand one minute, the two lines drawing the cloud mountains' emptiness and moisture, fixing the fresh and secluded key of the whole poem. Moreover, the water and stone and the orchid and iris, one the passionless thing, one the living spirit, listed together show the void of the mountains and the solidity of the plants, the void holding light, the solid holding moisture, exactly the Daoist book's meaning of holding the yin and embracing the yang; writing scenery and at once taking in the principle, the atmosphere peculiar to the outside-world poet's brush, which the reader should understand beyond the lines.

杏花坞接投龙洞，瀑溅苍崖鹤骨寒。

The apricot-blossom cove meets the Dragon-Offering Cave; a waterfall splashes the grey cliff, cold to the crane's bone.

杏花坞与投龙洞相接,仙踪隐现;飞瀑溅在苍青的崖壁上,水气凛冽,令人如鹤骨般生出寒意。

The Apricot Flower Hollow meets the Dragon-Throwing Cave; the spray on the gray crags chills the crane's bones.

此联由人间景色转入仙家灵境,杏花坞的明丽与投龙洞的幽秘相接,暗示此山正是醮祭修真之所。末句瀑溅苍崖鹤骨寒,以寒字收摄全篇,瀑声、崖色、鹤姿一时俱冷,仿佛置身清绝的洞天福地,尘念俱消。以景作结而仙意杳然,是咏山水的绝妙收束。鹤骨寒三字尤为奇警,以鹤之清癯写寒之入骨,又以寒之凛冽衬仙之孤高,人鹤俱化入苍崖瀑影之间,浑然一片清凉世界,读之恍如身临其境,尘心尽涤,正是咏道山者所当有的气象。

This couplet moves from the human scenery to the immortal spirit realm: the Apricot Flower Hollow's brightness meets the Dragon-Throwing Cave's secrecy, hinting that this mountain is exactly the place of the Taoist rite and cultivation. The closing line, the spray on the gray crags chills the crane's bones, gathers the whole through the word cold; the fall's sound, the crag's color, the crane's posture at once all turn cold, as if placed in the purest cave heaven and blessed land, the dusty thoughts all dissolved. Closing in scenery yet the immortal meaning distant, the marvelous close of landscape singing. The three words chills the crane's bones are most startling, writing the bone-deep cold through the crane's spare purity, and setting off the immortal's lone loftiness through the piercing cold; man and crane both melt into the shadow of the gray crag and the fall, a blended world of coolness, reading it as if present in body, the dusty heart all washed, exactly the atmosphere that the singing of a Daoist mountain should have.

Study

Word focus

涵 The word 'hold' (涵) writes water's containing power — a thousand-li of hue held within one pool of water and stone, both spatial embrace and the shimmering motion of light. 'Hold' means to steep, to contain; for landscape it means hill-color enters water, water-color enters sky, boundaries dissolved — exactly the Daoist state of 'holding the void and embodying the Way' projected into scene. One word joins scene and principle; only a poet with Daoist heart could say it, the pivotal craft of the poem's diction. 'Hold' also unfolds space from above and within: water below, light above, hill far, color near — within one 'hold,' inner and outer, far and near are all opened, like the Daoist undivided primal state; the word's wonder truly reaches the Way. 涵字写水光之包孕,千里之色尽涵于一泓水石之中,既有包容万有的空间感,又见水光潋滟的动态。涵字本含浸润、涵泳之义,用于山水,则山色入水、水色入天,界限泯然,正是道家涵虚体道的境界在景物中的投影。一字而兼景与理,非有道心的诗人不能道,是此诗炼字的枢纽。涵字又自上而下、由内而外地展开空间,水在下而光在上,山在远而色在近,一涵之间,内外远近俱已打通,正如道门所谓浑沦未判之境,字面之妙,实通于道。

湿 The word 'soak' (湿) writes the heavy moisture of the cloud mountain: shaded woods in green — green is visual, but with 'soak' the green seems touchable, able to seep the robe and wet the orchids. 'Soak' turns formless air into tangible damp, writing the mountain's shade and humidity as felt, and gives the orchids' hidden scent a watery note — sight, touch, smell arrive at once, the most skilled sensory word of the poem. 'Soak' also leads what follows: the cove's joining, the waterfall's cold, all born of this one moisture; with 'soak,' the mountain's damp air spreads on the page, and the later 'cold' finds its ground. One word lays the weather for the whole, showing the poet's setting words with fore-and-aft echo. 湿字写云山之间水汽之重,川林阴翠,翠色本属视觉,着一湿字,则翠色仿佛可以触摸,能渗人衣袂、润及芝兰。湿字将无形的空气化为有质的湿润,把山间的阴翳潮润写得可感可掬,也使芝兰的幽香带上水气,视觉、触觉、嗅觉一时并至,是全诗感官描写最见功力的一字。湿字又兼领后文,杏花坞之接、瀑溅之寒,皆由此一片水气孕出,有此湿字,则全山的润泽之气弥漫纸上,后文的寒字也有了着落,一字之设,为通篇铺陈了气象的基础,足见作者下字,前后自有照应。

寒 The word 'cold' (寒) is where the poem's breath gathers: a waterfall splashes the grey cliff, cold to the crane's bone — water bites, cliff is ancient, crane is lean, all meeting in one 'cold.' This cold is both weather's cold and the Daoist realm's cold: the pure, withdrawn, dust-free immortal air. Using 'crane's bone' for this cold fuses the waterfall's chill with the crane's loftiness into one clear, absolute realm; read it, one feels bathed beneath the fall, cares washed clean — a typical 'one word fixes the realm' in scenic verse. 'Cold' closes the poem, echoing the opening 'hold': first it holds light, last it breeds cold — from warm-moist to clear-chill, the mountain's breath completes its turn, and the poem ends abruptly under this cold, leaving the reader still feeling its air — a close where meaning, realm, word, and sound all excel. 寒字是全诗气韵所归,瀑溅苍崖鹤骨寒,水气扑人,崖色苍古,鹤姿清癯,三者汇聚于一个寒字。此寒既是气候之寒,更是道境之寒:清修绝俗、不染尘滓的仙家气象。以鹤骨形容这种寒,把飞瀑的凛冽与仙鹤的高洁熔于一炉,意境清绝,读之恍若置身瀑下,尘虑为之一洗,是咏景诗中以一字定境的典型。且寒字收尾,与首句的涵字遥相呼应,始则涵光,终则生寒,由温润到清冽,云山的气韵在一涵一寒之间完成流转,而全诗亦在此清寒之境的笼罩下戛然而止,使人读毕犹觉冷气扑面,是意与境、字与声俱佳的收束。

云山