PoemBridge
Start learning
All poems

唐 Tang · 诗 Poem

白石滩

White Rock Shore

王维

Wang Wei

写景Scenery 山水Landscape 田园Pastoral

清浅白石滩，绿蒲向堪把。
家住水东西，浣纱明月下。

Clear and shallow the White Rock Shore, green rushes near a handful to grasp.
Homes east and west of the water—washing silk beneath the bright moon.
Listen

Meaning

At the clear, shallow White Rock Shore the young green rushes have almost grown to a handful's span. The girls who live on the east and west banks of the stream come out to wash silk under the bright moon.

清澈见底的白石滩，绿蒲初生，已快到可以一把把握的程度。家住溪水东西两岸的少女，趁着明月出来浣纱。

Appreciation

This is one of the twenty poems of Wang Wei's 'Wangchuan Collection,' depicting the moonlit silk-washing scene at White Rock Shore. With 'clear and shallow' and 'white rocks' he paints the limpid water; with 'east and west of the water' and 'beneath the bright moon' he frames the washerwomen. The line 'washing silk beneath the bright moon' is a celebrated couplet, presenting a fresh, luminous picture of a moonlit country evening—a perfect instance of Wang Wei's gift of 'painting in poetry.'

【白话串讲】 王维写《白石滩》：“清浅白石滩，绿蒲向堪把”——“家住水东西，浣纱明月下”——月下的白石滩，少女在浣纱——他写辋川的小景。 【意象与手法】 此诗是王维《辋川集》二十首中的一首，写白石滩月夜浣纱的景象，是王维山水田园诗的名篇。首句「清浅白石滩」写滩水的清浅——那「清浅」写水的清澈浅显，「白石」写滩上的白石，清浅的水中白石可见；次句「绿蒲向堪把」写绿蒲初生——那「绿蒲」写初生的绿蒲，「向堪把」写快到可以一把把握的程度，「向」字写蒲草初生将成之态；三句「家住水东西」写浣纱女的住地——那「水东西」写溪水两岸，少女们散居两岸；末句「浣纱明月下」写月下浣纱——那「浣纱」写少女浣纱，那「明月下」写月色下的浣纱，是千古名句。全诗以「清浅」「白石」「绿蒲」写滩水的明净，以「水东西」「明月下」写浣纱的画面，那「绿蒲向堪把」写春光初生的生机，那「浣纱明月下」写月下浣纱的清新，一幅清丽明净的月夜浣纱图宛然在目，正是王维「诗中有画」的本领。 【情感与主旨】 此诗作于唐玄宗开元年间（约737年前后），时王维隐居辋川别业。王维晚年（约开元末年）在蓝田辋川购得宋之问的别业，与裴迪等友人徜徉其间，吟咏山水，将辋川二十处景点各赋一诗，合为《辋川集》，《白石滩》即其一（白石滩是辋川的一处景点）。那「清浅白石滩」写白石滩的清浅，那「绿蒲向堪把」写绿蒲初生的生机，那「家住水东西」写两岸的人家，那「浣纱明月下」写月下浣纱的少女。全诗以明净的笔调写白石滩月夜浣纱的景象——那清浅的滩水、初生的绿蒲、月下的浣纱女，构成了一幅清丽明净的山水田园画，写尽了辋川风光的自然之美与田园生活的宁静，是王维山水田园诗「诗中有画」的典范，也是其晚年隐逸生活的写照。 【名句点睛】 常考“清浅白石滩，绿蒲向堪把”写滩水清浅、绿蒲初生；“家住水东西，浣纱明月下”写月下浣纱，意境清幽。

Background

This poem is one of the twenty poems of Wang Wei's 'Wangchuan Collection,' written around the end of the Kaiyuan era of Emperor Xuanzong (c. 737) when Wang Wei lived in retirement at his Wangchuan estate in Lantian. Wang Wei (c. 701–761), styled Mojie, from Puzhou (present Yongji, Shanxi), was the leading poet of the Tang landscape-pastoral school. After early office and later setbacks, in his middle years he became a devout Buddhist and purchased Song Zhiwen's old villa at Wangchuan in Lantian, where with friends like Pei Di he roamed the hills and wrote a poem for each of twenty spots, collected as the 'Wangchuan Collection'; 'White Rock Shore' treats the White Rock Shore locale. 'Clear and shallow the White Rock Shore' describes the lucid, shallow water where white rocks show; 'green rushes near a handful to grasp' describes the young rushes nearly grown to a span—'near' indicates 'about to,' 'a handful' the graspable size, capturing the rushes' just-forming state; 'homes east and west of the water' places the washerwomen on both banks; 'washing silk beneath the bright moon' shows the girls washing silk by moonlight. In twenty characters it paints the moonlit silk-washing scene—a fresh, limpid gem of the Collection and a representative of Wang Wei's 'painting in poetry.'

此诗是王维《辋川集》二十首之一，作于唐玄宗开元末年（约737年前后）至天宝年间，时王维隐居蓝田辋川别业。王维（约701—761），字摩诘，蒲州（今山西永济）人，唐代山水田园诗派的代表诗人。王维早年出仕，历经仕途起伏，晚年（约四十岁后）笃信佛教，在蓝田（今陕西西安蓝田县）辋川购得宋之问的别业，与好友裴迪等徜徉其间，吟咏山水，过着半官半隐的生活。他将辋川的孟城坳、华子冈、文杏馆、斤竹岭、鹿柴、白石滩等二十处景点各赋一绝，合为《辋川集》二十首（王维与裴迪各赋二十首）。《白石滩》即咏辋川的白石滩景点。诗中「清浅白石滩」写滩水的清澈浅显、白石可见；「绿蒲向堪把」写初生的绿蒲已快到可以一把把握的程度——「向」写将、将近，「堪把」写可以把握，写蒲草初生将成之态；「家住水东西」写浣纱女散居溪水两岸；「浣纱明月下」写少女趁明月出来浣纱。全诗以二十字写白石滩月夜浣纱的景象，是《辋川集》中写景清新明净的一首，也是王维山水田园诗「诗中有画」的代表。

Art

The art of this poem can be read on four levels. First, 'clear and shallow' paints the water's lucidity: 'clear' the transparency, 'shallow' the shallowness, so white rocks show through—the shore's purity. Second, 'near a handful' paints the rushes' first growth: 'near' (about to) and 'a handful' (graspable) capture the just-forming vitality, the word 'near' especially fine in its observation. Third, 'east and west of the water' sketches the scattered dwellings: the two banks, drawn in a few strokes, outline a waterside pastoral household. Fourth, 'beneath the bright moon' paints the beauty of silk-washing: the washerwomen and the moonlight make a fresh, luminous picture—a celebrated line and the eye of the poem. These four layers build in steps, so that this twenty-character Wangchuan quatrain fully renders the moonlit silk-washing scene—the very skill of Wang Wei's 'painting in poetry' and a type of his landscape-pastoral art.

此诗的艺术特色可从四个层面解析。其一，以「清浅」写水之明净。首句「清浅白石滩」以「清浅」写滩水——那「清」写水的清澈，那「浅」写水的浅显，清浅的水中白石可见，写尽滩水的明净。其二，以「向堪把」写蒲之初生。次句「绿蒲向堪把」以「向堪把」写绿蒲初生将成之态——那「向」写将、将近，「堪把」写可以一把把握，写尽蒲草初春的生机，那「向」字尤见观察的细腻。其三，以「水东西」写人家之散布。三句「家住水东西」写浣纱女散居溪水两岸——那「水东西」写两岸，简笔勾勒出临水而居的田园人家。其四，以「明月下」写浣纱之美。末句「浣纱明月下」写少女月下浣纱——那「浣纱」写浣纱女，那「明月下」写月色，月下浣纱的画面清丽明净，是千古名句，也是全诗的点睛。四重手法层层递进、环环相扣，使这首二十字的《辋川集》小诗写尽白石滩月夜浣纱的景象，正是王维「诗中有画」的本领，也是其山水田园诗的典型。

Allusions

The poem's language is rooted deep in the pastoral and silk-washing traditions. 'Clear and shallow the White Rock Shore' evokes the 'clear and shallow water' of Lin Bu's 'sparse shadows, slanting branches, water clear and shallow,' and the 'clear water of Canglang' from the old ballad quoted in Mencius. 'Green rushes near a handful' recalls 'the rush and reed are tough as silk' from '孔雀东南飞' and Bai Juyi's 'spring river green as blue'—green rushes for spring's vitality. 'Homes east and west of the water' recalls 'on the water's other shore' from the 'Book of Songs' and 'small bridge, flowing water, household' from Ma Zhiyuan. 'Washing silk beneath the bright moon' recalls the tale of the Yue girl washing silk (Xishi washed silk at Zhuluo village) and Wang Wei's own 'bamboo rustles, homecoming washerwomen' from 'Autumn Dusk in the Mountains'—here he paints the same moonlit washerwoman a second way. 'Beneath the bright moon' recalls 'moonlight among the pines' and 'the moon rises on the sea' from Zhang Jiuling. In twenty characters the poem transforms the imagery of the 'Book of Songs,' '孔雀东南飞,' Xishi, and Wang Wei's own 'Autumn Dusk' into a moonlit silk-washing picture—the skill of 'writing much with little.'

此诗的用语深植于山水田园与浣纱传统。「清浅白石滩」写滩水的清浅——那「清浅」令人想到「疏影横斜水清浅」（林逋《山园小梅》）的「水清浅」意象，也令人想到「沧浪之水清兮」（《孟子》引古谣）的清水意象；「绿蒲向堪把」写绿蒲初生——那「绿蒲」令人想到「蒲苇纫如丝」（《孔雀东南飞》）的蒲意象，也令人想到「春来江水绿如蓝」（白居易《忆江南》）的春绿意象，绿蒲写初春的生机；「家住水东西」写临水而居——那「水东西」令人想到「在水一方」（《诗经·秦风·蒹葭》）的水居意象，也令人想到「小桥流水人家」（马致远《天净沙·秋思》）的临水人家；「浣纱明月下」写月下浣纱——那「浣纱」令人想到「越女浣纱」的典故（相传西施在越国苎萝村浣纱，故有「浣纱」的越女意象），也令人想到「竹喧归浣女，莲动下渔舟」（王维《山居秋暝》）的浣女意象——王维《山居秋暝》写「竹喧归浣女」的月夜浣女，此诗再写「浣纱明月下」，正是同一传统；那「明月下」令人想到「明月松间照」（王维《山居秋暝》）的明月意象，也令人想到「海上生明月」（张九龄《望月怀远》）的明月传统。全诗化用《诗经》《孔雀东南飞》、西施浣纱、王维《山居秋暝》等山水田园与浣纱的意象，以二十字写尽月夜浣纱的画面，正是王维「以少写多」的本领——那清浅的滩、初生的蒲、明月的浣纱女，正是辋川风光的写照。

Commentary

This poem has long been praised as a fresh, limpid gem of Wang Wei's 'Wangchuan Collection' and a classic of Chinese pastoral poetry writing the moonlit silk-washing scene. Critics through the ages rate it highly: Su Shi said of Wang Wei 'there is painting in his poetry, poetry in his painting,' and this is a prime example; Qing readers called it 'clear, shallow, pure—a moonlit silk-washing picture.' Its special value lies in rendering, in twenty characters, the White Rock Shore at moonlit silk-washing: the purity of 'clear and shallow,' the vitality of 'green rushes near a handful,' the pastoral of 'homes east and west,' the freshness of 'washing silk beneath the bright moon'—a luminous picture of a country evening. 'Washing silk beneath the bright moon' is a perennial famous line. As one of the twenty Wangchuan poems, it stands with 'Deer Park' and 'Bamboo Lodge' as beloved masterpieces, a window into Wang Wei's 'painting in poetry' and a classic of Chinese pastoral moonlit verse.

此诗历来被推为王维《辋川集》中写景清新明净的名篇，也是中国山水田园诗写月夜浣纱的经典。历代论者对此诗评价极高：苏轼评王维「诗中有画，画中有诗」，此诗正是「诗中有画」的代表；清人评此诗「清浅明净，一幅月夜浣纱图」。在文学史上，此诗的特殊价值在于：它以二十字写尽白石滩月夜浣纱的景象——那「清浅白石滩」的明净，那「绿蒲向堪把」的生机，那「家住水东西」的田园，那「浣纱明月下」的清丽，构成了一幅清丽明净的月夜浣纱图；那「浣纱明月下」更是千古名句，以月下浣纱写田园生活的宁静与少女的清新。此诗是《辋川集》二十首之一——王维以一组绝句写辋川二十处景点，正是其「以诗为画」的极致；《白石滩》与《鹿柴》（「空山不见人」）《竹里馆》（「独坐幽篁里」）等同为《辋川集》中脍炙人口的名篇。对于今日读者，此诗是理解王维「诗中有画」本领的窗口，也是中国山水田园诗写月夜浣纱的经典——那清浅的白石滩、初生的绿蒲、明月的浣纱女，穿越千年，仍在诉说着辋川风光的宁静与美好。

Prosody

Form Five-character quatrain (level-onset, level-closed, first line entering rhyme)五言绝句（平起平收，首句入韵）
Rhyme The whole poem rhymes in the oblique 'Ma' tone (grasp 把, below 下); the short, crisp oblique rhyme suits the bright, brisk scene-painting.全诗押仄声马韵（把、下），仄韵短促，正合写景的明快。
Tone pattern A five-character quatrain, four lines of twenty characters, in an oblique rhyme. It divides into two couplets: the former paints the shore (clear-shallow White Rock Shore, green rushes near a handful); the latter paints the silk-washing picture (homes east and west of the water, washing silk beneath the bright moon). The former reads brisk, the latter unfolds calmly, fitting the quiet of a moonlit wash.此诗为五言绝句，四句二十字，押仄声韵。全诗按内容可分为两联：前联写白石滩的景致（清浅白石滩、绿蒲向堪把）；后联写月下浣纱的画面（家住水东西、浣纱明月下）。声调上，前联以「清浅」「绿蒲」写景致，节奏明快；后联以「水东西」「明月下」写画面，节奏舒展，正合月夜浣纱的宁静。
Reading note A famous fresh, limpid piece of the Wangchuan Collection, rendering the moonlit silk-washing in twenty characters—the very skill of Wang Wei's 'painting in poetry.' Four lines: former couplet the shore scene, latter the washing. In an oblique rhyme, brisk yet spacious; read the former couplet brightly, the latter softly—especially 'washing silk beneath the bright moon,' which should be read fresh and calm to convey the picture's charm. In Wang Wei's hand the five-quatrain writes both the still ('Deer Park') and the fresh ('White Rock Shore')—the skill of 'painting in poetry.'此诗是《辋川集》中写景清新明净的名篇，以二十字写尽白石滩月夜浣纱的景象，正是王维「诗中有画」的本领。全诗四句：前联写滩景（清浅白石滩、绿蒲向堪把），后联写浣纱（家住水东西、浣纱明月下）。声调上，全诗押仄声韵，节奏明快而舒展，那「清浅白石滩」的明净、「浣纱明月下」的清丽，正是辋川风光的写照。诵读此诗，宜以明快的语调读前联的滩景，以舒缓的语调读后联的浣纱，尤其「浣纱明月下」一句，要读得清丽而宁静，方能传达出王维月夜浣纱图的妙处。五绝在王维手中，既写幽静（鹿柴）又写清丽（白石滩），正是其「诗中有画」的本领。

Line by line

清浅白石滩，绿蒲向堪把。

Clear and shallow the White Rock Shore; the green rushes are near a handful to grasp. (This famous line paints the shore with 'clear and shallow' for the water and 'near a handful' for the rushes, capturing both the water's limpidity and spring's vitality. 'Clear and shallow' with white rocks shows the bottom; 'green rushes near a handful' catches the just-forming state of early spring—the word 'near' is Wang Wei's细腻 observation, the truest stroke of early spring.)

清澈见底的白石滩，绿蒲初生，已快到可以一把把握的程度。

The white-stone shoal, clear and shallow; the green rush is almost ripe to the handful.

这句是写白石滩景致的名句，以「清浅」写水、以「向堪把」写蒲，写尽滩水的明净与初春的生机。「清浅白石滩」写滩水的清浅——那「清」写水的清澈，那「浅」写水的浅显，清浅的水中白石可见，「清浅」「白石」写尽滩水的明净；「绿蒲向堪把」写绿蒲初生——那「绿蒲」写初生的绿蒲，那「向堪把」写快到可以一把把握的程度，「向」字写蒲草初生将成之态。这句的深意在于：它以「清浅」「白石」写滩水的明净——水清而浅，白石历历可见，正是「白石滩」得名的景象；以「绿蒲向堪把」写初春的生机——那绿蒲初生，将成未成，正是「堪把」之时，那「向」字写尽蒲草生长的动态与初春的生机；那「清浅」的白石与「绿蒲」的嫩绿相映，写尽白石滩的明净清新。而那「向堪把」的细腻观察，正是王维「以细写景」的本领——那将成未成的绿蒲，正是初春最真切的一笔。以「清浅」写明净、以「向堪把」写生机，正是王维写景细腻传神的本领，也让这句成为写白石滩景致的名句。

This line is the famous line of the White-stone Shoal scenery, writing the water through clear and shallow and the rush through almost ripe to the handful, to the full the clarity of the shoal water and the life of early spring. The clear and shallow water with white stones visible writes the shoal's clarity; the green rush almost ripe to the handful writes the young green rush nearly grown, the word almost writing the rush's on-the-verge-of-maturity state. The deep meaning lies in that it uses clear and shallow and white stones to write the shoal's clarity - the water clear and shallow, the white stones plainly seen, exactly the scene that gives the shoal its name; and the green rush almost ripe to the handful to write the early-spring life - the young rush, nearly grown and not yet grown, exactly the ripe-to-the-handful moment. The clear white stones and the tender green rush set off, writing to the full the clarity and freshness of the shoal. The fine observation of almost ripe to the handful is exactly Wang Wei's craft of writing scenery through the minute - the nearly-grown green rush is the truest brush of early spring. Writing clarity through clear and shallow and life through almost ripe to the handful, exactly Wang Wei's brush of the minute and the spirit, making this line the famous line of the White-stone Shoal scenery.

浣纱明月下。

Washing silk beneath the bright moon. (The eye of the whole poem and a celebrated line, painting the pastoral quiet and the washergirl's freshness by moonlight. Paired with 'homes east and west of the water,' it shows the girls coming out to wash silk under the moon—a limpid, luminous picture. The 'beneath the bright moon' evokes the Yue-girl (Xishi) tradition and Wang Wei's own 'homecoming washerwomen' from 'Autumn Dusk in the Mountains,' the same moonlit washerwoman painted a second way.)

趁着明月出来浣纱。

Washing silk beneath the bright moon.

这句是全诗的点睛之笔，也是千古名句，以月下浣纱写田园生活的宁静与少女的清新，清丽明净。「浣纱明月下」写少女在明月下浣纱——那「浣纱」写浣纱女浣洗纱衣，那「明月下」写月色之下；前句「家住水东西」写浣纱女散居溪水两岸，这句「浣纱明月下」写她们趁明月出来浣纱。这句的深意在于：它以「明月下」写浣纱的时间与氛围——不是白日，而是月夜；那明月之下、清浅滩边，少女们浣纱，画面清丽明净；那「明月下」写尽田园生活的宁静——月夜浣纱，是田园生活最宁静的画面之一，那月色、滩水、浣纱女，构成了一幅清丽明净的月夜浣纱图。而那「浣纱」的意象，也令人想到西施浣纱的越女传统与「竹喧归浣女」（王维《山居秋暝》）的浣女意象——王维在《山居秋暝》中写「竹喧归浣女，莲动下渔舟」的月夜浣女，此诗再写「浣纱明月下」，正是同一幅月夜浣纱图的两种画法。以「浣纱」写田园、以「明月下」写宁静，正是王维「诗中有画」的本领，也让这句成为写田园生活与月夜浣纱的千古名句。

This line is the eye of the whole and a famous line of a thousand ages, writing the peace of rural life and the freshness of the girl through washing silk beneath the bright moon, clear and bright. Washing silk beneath the bright moon writes the girl washing the silk in the moonlight. The deep meaning lies in that it uses beneath the bright moon to write the time and atmosphere of the washing - not daytime, but moonlit night; beneath the bright moon, by the clear shallow shoal, the girls washing silk, the picture fresh and bright. Beneath the bright moon writes to the full the peace of rural life - moonlit washing, one of the most peaceful scenes of rural life, the moonlight, the shoal water, the washing girls forming a clear moonlit washing picture. And the image of washing silk also evokes the Yue tradition of Xishi washing silk and the washing girl of Wang Wei's Autumn Evening in the Mountains - Wang Wei there wrote the bamboo rustles as the washing girls return, the lotus stirs as the fishing boat descends, and here writes washing silk beneath the bright moon, two renderings of one moonlit washing scene. Writing rural life through washing silk and peace through beneath the bright moon, exactly Wang Wei's craft of poetry within painting, making this line the famous line of a thousand ages of rural life and moonlit silk-washing.

Study

Word focus

清 Clear. The key character painting the shore's lucidity; one 'clear' word renders the water's transparency—the eye of 'clear and shallow the White Rock Shore.' It works doubly: it writes the water's clarity (white rocks visible through it) and the scene's freshness (clear water, white stones, green rushes all bathed in a limpid atmosphere). Replacing it with 'limpid' or 'transparent' would lose its pairing with 'shallow' or its fresh tone; only 'clear' writes both the water's clarity and the scene's freshness, sets the poem's limpid keynote, and makes the line a classic of shore-painting. 「清」字是写滩水明净的关键字，一个「清」字写尽滩水的清澈，是「清浅白石滩」的词眼。清者，清澈、清明也。王维以「清浅白石滩」写滩水，一个「清」字，至少有双重意味：其一，写水之清澈——那「清」写水的清澈见底，清水中白石历历可见，「清」字写尽滩水的明净；其二，写景之清丽——那「清」字既是水的清澈，也是整个景致的清丽——清浅的水、白色的石、嫩绿的蒲，都笼罩在清丽明净的氛围中，「清」字写尽白石滩的清丽。以「清」字写滩水，正是王维写白石滩明净的关键——若换作「澄」「澈」等字，则或失其与「浅」的搭配，或失其清丽的氛围；唯「清」字，以一字写尽滩水的清澈与景致的清丽，与「白石」「绿蒲」「明月」相合，写尽白石滩的清丽明净，也为全诗定下清丽的基调，让「清浅白石滩」成为写滩水的名句。
浣 Wash (of cloth). The key character of the pastoral life, rendering the moonlit silk-washing's rustic flavor—the eye of 'washing silk beneath the bright moon.' Doubly: it writes the washerwoman's labor (washing silk) and the Yue-girl's freshness (Xishi washing silk at Zhuluo), lending the moonlit washergirl a clean elegance. Replacing it with 'wash' plain or 'rinse' would lose the Xishi allusion or the pastoral grace; only '浣' writes both the rustic flavor and the Yue-girl's freshness, pairing with 'beneath the bright moon' to make the line a perennial classic of pastoral moonlit verse. 「浣」字是写田园生活的关键字，一个「浣」字写尽月下浣纱的田园情味，是「浣纱明月下」的词眼。浣者，洗涤也。王维以「浣纱明月下」写月下浣纱，一个「浣」字，至少有双重意味：其一，写浣纱之劳作——那「浣纱」写浣洗纱衣，那「浣」字写尽田园妇女的日常劳作——月下浣纱，是田园生活的寻常画面，「浣」字写尽田园生活的朴素；其二，写越女之清丽——那「浣纱」令人想到西施浣纱的越女传统（相传西施在苎萝村浣纱），那「浣」字暗含越女的清丽意象，写尽月下浣纱女的清新。以「浣」字写纱，正是王维写田园生活的关键——若换作「洗」「涤」等字，则或失其「浣纱」的典故（西施浣纱），或失其田园的雅致；唯「浣」字，以一字写尽月下浣纱的田园情味与越女的清丽，与「明月下」相合，写尽月夜浣纱图的清丽明净，也让「浣纱明月下」成为写田园生活与月夜浣纱的千古名句。

Related Reading

山居秋暝 Autumn Dusk in the Mountains 王维 · 同写月夜浣女，一诗一词 Both paint the moonlit washerwoman—one a poem, one in the same Collection.

'Autumn Dusk in the Mountains' ('empty hills after new rain, the evening air of autumn… moonlight among the pines, clear spring over the stones,' 'bamboo rustles, homecoming washerwomen, lotus stirs, fishing boats descend') writes the mountain dusk's purity and washerwomen—a famous landscape poem. 'White Rock Shore' writes 'homes east and west of the water, washing silk beneath the bright moon'—a famous moonlit washergirl poem. Both are Wang Wei's moonlit washerwomen: one 'bamboo rustles, homecoming washerwomen' (movement), one 'washing silk beneath the bright moon' (stillness). Read together they show his two pictures of the moonlit washerwoman.

《山居秋暝》「空山新雨后，天气晚来秋。明月松间照，清泉石上流」「竹喧归浣女，莲动下渔舟」写山居秋夜的清幽与浣女渔舟，是王维山水诗的名篇。此诗《白石滩》则「家住水东西，浣纱明月下」写月下浣纱，是王维写月夜浣女的名篇。同为王维写月夜浣女，一写「竹喧归浣女，莲动下渔舟」的浣女归家（山居秋暝），一写「浣纱明月下」的浣纱女（白石滩）；一以「竹喧」「莲动」写动，一以「清浅」「明月」写静。两诗对读，可见王维写月夜浣女的两种画面。

 竹里馆 Bamboo Lodge 王维 · 同《辋川集》名篇 Both famous pieces of the Wangchuan Collection.

'Bamboo Lodge' ('sitting alone in the bamboo grove, playing the zither and whistling long; deep forest none know, the bright moon comes to shine') writes the quiet of sitting alone—a famous retreat poem of the Collection. 'White Rock Shore' writes the pastoral of moonlit silk-washing—a famous pastoral piece of the Collection. Both are among the twenty Wangchuan poems: one 'sitting alone in the bamboo grove' (solitude), one 'washing silk beneath the bright moon' (pastoral); one uses 'zither and whistle' for reclusion, one uses 'green rushes near a handful' for the countryside. Read together they show the Collection's variety—stillness and limpidity together.

《竹里馆》「独坐幽篁里，弹琴复长啸。深林人不知，明月来相照」写独坐竹林的清幽，是《辋川集》中写隐逸的名篇。此诗《白石滩》则「清浅白石滩，绿蒲向堪把」「浣纱明月下」写月夜浣纱的田园，是《辋川集》中写田园的名篇。同为《辋川集》二十首，一写「独坐幽篁里」的独处（竹里馆），一写「浣纱明月下」的田园（白石滩）；一以「弹琴复长啸」写隐逸，一以「绿蒲向堪把」写田园。两诗对读，可见《辋川集》写辋川风光的多样——幽静与明净并存。

 相思 Love Seeds (Red Beans) 王维 · 同王维五绝名篇，一写相思一写田园 Both famous five-quatrains by Wang Wei—one on longing, one on pastoral.

'Love Seeds' ('red beans grow in the southern land, in spring how many branches? gather more, I pray, this thing most recalls love') writes longing with red beans—a famous love quatrain. 'White Rock Shore' writes the pastoral moonlit silk-washing—a famous scenery quatrain. Both are Wang Wei five-quatrains: one 'this thing most recalls love' (deep feeling), one 'washing silk beneath the bright moon' (limpid scene); one uses red beans for emotion, one uses the bright moon for scene. Read together they show his five-quatrains excel at both feeling and scene, both 'writing much with little.'

《相思》「红豆生南国，春来发几枝。愿君多采撷，此物最相思」以红豆写相思，是王维五绝中写情的名篇。此诗《白石滩》则「清浅白石滩，绿蒲向堪把」「浣纱明月下」写月夜浣纱的田园，是王维五绝中写景的名篇。同为王维五绝，一写「此物最相思」的深情（相思），一写「浣纱明月下」的明净（白石滩）；一以红豆写情，一以明月写景。两诗对读，可见王维五绝既能写情又能写景，都是「以少写多」的典范。