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唐 Tang · 诗 Poem

山亭夏日

Summer at a Mountain Pavilion

高骈

Gao Pian

绿树阴浓夏日长，楼台倒影入池塘。
水精帘动微风起，满架蔷薇一院香。

The green trees' shade grows dense, and the summer day is long;
The towers and pavilions pour their reflections into the pond.
A breeze springs up and the crystal curtain stirs;
The trellis is full of roses, and their fragrance fills the courtyard.
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Meaning

This quatrain captures a summer afternoon at a mountain pavilion: dense green shade and lengthening days, mirrored towers in a still pond, and finally a faint breeze that stirs a crystal curtain and releases the perfume of roses. Through fresh, bright scenery the poet conveys quiet delight in a secluded summer retreat.

绿树阴浓夏日长，楼台倒影入池塘。水精帘动微风起，满架蔷薇一院香。

Appreciation

[Plain Paraphrase] A mountain pavilion in high summer: dense green shade, long days; towers and terraces mirrored in the pond below. A breeze springs up, making the crystal curtain tremble; the rose trellis is in full bloom, and the whole yard breathes its scent. [Structure] The four lines move from stillness to motion: the first two paint a static scene of shade and reflections, the third reveals the breeze indirectly through the moving curtain, and the fourth crowns the picture with fragrance. [Imagery] Vision (green shade, mirrored towers) gives way to touch (the stirring curtain) and finally smell (roses), so the poem quietly traverses the senses. Nothing is stated about the poet's feelings, yet the freshness of the scene conveys complete contentment.

【白话串讲】 高骈写《山亭夏日》：“绿树阴浓夏日长，楼台倒影入池塘”——“水精帘动微风起，满架蔷薇一院香”——他写山亭夏日——满架蔷薇一院香。 【意象与手法】 “绿树阴浓夏日长，楼台倒影入池塘”写绿树楼台倒影；“水精帘动微风起”写微风动帘；结以“满架蔷薇一院香”以蔷薇写一院香。清新明丽。 【情感与主旨】 高骈写山亭夏日之作，写绿树阴浓、楼台倒影与满架蔷薇一院香的夏日景致，是写夏日风光的名篇。 【名句点睛】 常考“绿树阴浓夏日长，楼台倒影入池塘”写夏日景致；“水精帘动微风起，满架蔷薇一院香”写蔷薇一院香。

Background

Gao Pian (821-887), styled Qianli, was a late Tang military commander and poet from Youzhou, near modern Beijing. Though famous as a general who governed the Huainan region, he wrote poetry of surprising delicacy. 'Summer at a Mountain Pavilion' is his best-known poem and one of the most beloved summer quatrains in the Tang repertoire, admired for its bright, unforced beauty.

《山亭夏日》为唐代诗人高骈所作诗。高骈（821—887），字千里，幽州（今北京西南）人，唐代将领、诗人。此诗写景田园，为咏夏日山亭之作。诗中「绿树阴浓夏日长，楼台倒影入池塘」写绿树阴浓夏日长，楼台倒影入池塘；「水精帘动微风起，满架蔷薇一院香」写水精帘动微风起，满架蔷薇一院香。高骈此诗以写景田园、满架蔷薇一院香写其田园之情，清新明丽，是高骈诗中的名篇。此篇《山亭夏日》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。此篇《山亭夏日》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。此篇《山亭夏日》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。

Art

The poem's craft lies in its economy and sensory layering. In just twenty-eight characters the poet moves from shade to reflection to breeze to scent. The breeze is never shown directly; it is inferred from the trembling crystal curtain, a luxurious detail that also hints at the pavilion's refinement. The closing line turns the visual into the olfactory, ending on the image of one courtyard filled with fragrance, an expansive, pervasive picture that lets the scent spill beyond the trellis into the reader's imagination. The tone throughout is fresh and luminous.

此诗艺术上以「清新明丽、以景写夏」见长。全诗共四句，由绿树阴浓夏日长而楼台倒影入池塘而水精帘动微风起。起「绿树阴浓夏日长，楼台倒影入池塘」写绿树阴浓夏日长：绿树阴浓夏日长，楼台倒影入池塘；「水精帘动微风起，满架蔷薇一院香」写满架蔷薇一院香：水精帘动微风起，满架蔷薇一院香。全诗以景写夏，由绿树阴浓夏日长而满架蔷薇一院香，清新明丽，是高骈诗中的名篇。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。

Allusions

The poem is not densely allusive. The crystal curtain of translucent stone or mica is a conventional marker of aristocratic refinement in Tang poetry; the rose trellis and the mountain pavilion belong to the established repertoire of garden and retreat verse. Rather than quoting classics, the poem draws on the tradition of pastoral retreat poetry and filters it into a scene so immediate that it reads like spontaneous observation.

诗中「绿树阴浓夏日长楼台倒影入池塘」「水精帘动微风起满架蔷薇一院香」等语，皆含典故故实。「绿树阴浓夏日长楼台倒影入池塘」写绿树阴浓夏日长楼台倒影入池塘；「水精帘动微风起满架蔷薇一院香」写水精帘动微风起满架蔷薇一院香。诗人以蔷薇、池塘等语入诗，不着痕迹，而把写景田园之情写得真切可感，是善于熔铸典故的体现。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。

Commentary

This quatrain has been a staple of anthologies since the Song dynasty, prized especially for its final couplet. Critics have singled out the line about the breeze stirring the crystal curtain as a model of describing the invisible through the visible, and the rose fragrance filling the courtyard as a perfect closing image of summer. Its fresh, bright manner has made it a favorite first introduction to Tang landscape quatrains.

这首《山亭夏日》，是高骈写写景田园之作，写绿树阴浓夏日长、楼台倒影入池塘、满架蔷薇一院香之情，清新明丽。起「绿树阴浓夏日长，楼台倒影入池塘」——绿树阴浓夏日长，楼台倒影入池塘。写绿树阴浓夏日长：绿树阴浓夏日长、楼台倒影入池塘——绿树阴浓、倒影入池塘；「水精帘动微风起，满架蔷薇一院香」——水精帘动微风起，满架蔷薇一院香。写满架蔷薇一院香：水精帘动微风起、满架蔷薇一院香——帘动微风起、蔷薇一院香。这「水精帘动微风起，满架蔷薇一院香」，是全诗之结：以满架蔷薇一院香写其田园。全诗清新明丽，以景写夏，正是高骈诗中的名篇。综观全诗，情真、景切、理深，三者浑融无迹，故能于短短数语之中寄无限深意，令人百读不厌。其含蓄蕴藉之处，正是中国古典诗歌以少总多、言有尽而意无穷的美学精神的生动体现。综观全诗，情真、景切、理深，三者浑融无迹，故能于短短数语之中寄无限深意，令人百读不厌。其含蓄蕴藉之处，正是中国古典诗歌以少总多、言有尽而意无穷的美学精神的生动体现。

Prosody

Form Seven-character quatrain (qiyan jueju), four lines of seven characters each.诗（七言绝句）
Rhyme The poem rhymes on the level-tone words chang (long), tang (pond), and xiang (fragrance), all belonging to the yang rhyme group. The first line rhymes, giving the pattern of a quatrain whose opening line enters the rhyme, and one rhyme is carried to the end.此诗为七言绝句，共四句，两句一联。押平声韵：「长」「塘」「香」押阳部韵。诗体依绝句而定，句式整齐，音节随情起伏，正与写写景田园的清新明丽相称，也见其以绝句写田园的自然。
Tone pattern The cadence is even and flowing: the opening couplet, 'lu shu yin nong xia ri chang, lou tai dao ying ru chi tang', moves at a calm, descriptive pace; the closing couplet, 'shui jing lian dong wei feng qi, man jia qiang wei yi yuan xiang', quickens slightly as the breeze and fragrance arrive, so the sound rises with the scene.句式上，「绿树阴浓夏日长，楼台倒影入池塘」写绿树阴浓夏日长，音节明丽；「水精帘动微风起，满架蔷薇一院香」写满架蔷薇一院香，音节轻快。全诗音节随情起伏，由明丽而轻快，正合绝句「含蓄」之妙，读来如写景田园、满架蔷薇一院香之音，清新而动人。
Reading note As a quatrain the poem keeps strict form but sounds effortless. The level-tone rhyme group gives a bright, open resonance that matches the luminous summer scene, and the final line lingers on the rhyme word xiang (fragrance), letting the imagined perfume seem to hang in the air. Read evenly, with a slight pause after each comma.此诗为七言绝句，是高骈写写景田园之作，也是其诗中的名篇。全诗的艺术特色在于「清新明丽、以景写夏」：「绿树阴浓夏日长，楼台倒影入池塘」写绿树阴浓夏日长、「水精帘动微风起，满架蔷薇一院香」写满架蔷薇一院香。全诗清新明丽，以景写夏。尤为精妙者，是「绿树阴浓夏日长，楼台倒影入池塘」写尽夏日之景；而「水精帘动微风起，满架蔷薇一院香」写尽蔷薇之香，正是高骈诗「清新明丽」的典范，为历代选本所常收。《山亭夏日》一诗之所以读来声情并茂，正在于诗人以声韵配合情思、以节奏烘托意境，音节之长短、平仄之起伏，皆与诗意相为表里，此亦可见中国古典诗歌声律之美与匠心之工。

Line by line

绿树阴浓夏日长，楼台倒影入池塘。

Green trees cast a dense shade, and the summer day is long; towers and pavilions pour their reflections into the pond.

绿树阴浓夏日长，楼台倒影入池塘。

Green trees cast thick shade, the summer day long; the towers' reflections enter the pool.

首二句写绿树阴浓夏日长，起笔即见其景。「绿树阴浓夏日长」写绿树阴浓夏日长，「绿树阴浓」写绿树阴浓、「夏日长」写夏日长；「楼台倒影入池塘」写楼台倒影入池塘，「楼台倒影」写楼台倒影、「入池塘」写入池塘。两句一写绿树阴浓夏日长、一写楼台倒影入池塘，以绿树阴浓夏日长写绿树阴浓、以楼台倒影入池塘写倒影入池，写尽绿树阴浓夏日长、楼台倒影入池塘之情。以景起兴，清新而明丽，是「以景起兴」的妙笔。

The first two lines write 'green trees cast thick shade, the summer day long', the start. 'Green trees cast thick shade, the summer day long' — the thick shade, the long summer; 'the towers' reflections enter the pool' — the reflections, entering the pool. Rising in scene, fresh and bright, the start of the summer verse.

水精帘动微风起，满架蔷薇一院香。

A breeze springs up and the crystal curtain stirs; the trellis is full of roses, and their fragrance fills the courtyard.

水精帘动微风起，满架蔷薇一院香。

The crystal curtain stirs as the light breeze rises; roses over the trellis fill the court with fragrance.

尾二句写满架蔷薇一院香，是全诗立意的落点。「水精帘动微风起」写水精帘动微风起，「水精帘动」写水精帘动、「微风起」写微风起；「满架蔷薇一院香」写满架蔷薇一院香，「满架蔷薇」写满架蔷薇、「一院香」写一院香。两句一写水精帘动微风起、一写满架蔷薇一院香，以水精帘动微风起写帘动风起、以满架蔷薇一院香写蔷薇一院香，写尽水精帘动微风起、满架蔷薇一院香之情。以景写情，清新而明丽，是全诗最动人处，也是「以景写情」的点睛之笔。

The last two lines write 'roses over the trellis fill the court with fragrance', the poem's landing. 'The crystal curtain stirs as the light breeze rises' — the curtain stirs, the breeze rises; 'roses over the trellis fill the court with fragrance' — the roses, the court of fragrance. Writing feeling through scene, fresh and bright, the poem's most moving point: the summer noon's stillness stirred by a breath of wind, the fragrance drifting through the court — the peace of the mountain pavilion at its height.

Study

Word focus

阴浓 Dense shade: the thick, deep shadow of the summer trees. The two words capture the lush coolness that makes the day feel long. 「阴浓」写绿树阴浓夏日长，是写阴浓之态的关键。「绿树阴浓夏日长」着一「阴浓」，写阴浓——着一「阴浓」，写绿树阴浓夏日长，见其阴之浓。两字写尽阴浓之态，是「以词写阴」的妙笔。「阴浓」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
倒影 Reflections: the mirrored image of the towers and pavilions in the still pond, a classic sign of calm summer water. 「倒影」写楼台倒影入池塘，是写倒影之态的关键。「楼台倒影入池塘」着一「倒影」，写倒影——着一「倒影」，写楼台倒影入池塘，见其影之倒。两字写尽倒影之态，是「以词写影」的点睛之词。「倒影」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
微风 A faint breeze: the light wind that never appears directly and is betrayed only by the stirring crystal curtain. 「微风」写水精帘动微风起，是写微风之态的关键。「水精帘动微风起」着一「微风」，写微风——着一「微风」，写水精帘动微风起，见其风之微。两字写尽微风之态，是「以词写风」的点睛之词。「微风」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
一院香 The fragrance of one courtyard: the rose scent pervading the whole yard, turning a visual scene into an olfactory finale. 「一院香」写满架蔷薇一院香，是写一院香之态的关键。「满架蔷薇一院香」着一「一院香」，写一院香——着一「一院香」，写满架蔷薇一院香，见其院之香。三字写尽一院香之态，是「以词写香」的点睛之词。「一院香」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。

Related Reading

浣溪沙·一曲新词酒一杯 Huanxisha (A Song of Washing Silk) — 'A New Song, a Cup of Wine' 晏殊 · 同写田园写景、清新蕴藉，一写无可奈何花落去、一写绿树阴浓夏日长楼台倒影入池塘，皆于田园之中见清新蕴藉 Both write pastoral scenery with fresh restraint, one mourning fallen flowers, the other praising dense summer shade.

Yan Shu's lines about the falling flowers and the seemingly familiar swallows meditate on passing time, while Gao Pian's couplets celebrate summer shade and rose fragrance. Where Yan Shu is warm and rueful, Gao Pian is bright and clear; read together they show two ways of writing feeling into landscape.

晏殊《浣溪沙·一曲新词酒一杯》「无可奈何花落去，似曾相识燕归来」，写田园感怀，是宋词小令的名篇；高骈《山亭夏日》则以「绿树阴浓夏日长，楼台倒影入池塘」「水精帘动微风起，满架蔷薇一院香」写绿树阴浓、蔷薇一院香。两诗同写田园写景、清新蕴藉：一写无可奈何花落去、以花落燕归写惜时，一写绿树阴浓夏日长楼台倒影入池塘、以倒影写夏日；一为晏殊之温润、一为高骈之明丽，并读正可见诗写「田园写景」的两种笔法，皆于田园之中见清新蕴藉。

 山园小梅 Little Plum Blossoms of the Mountain Garden 林逋 · 同写田园清雅、以景寄情，一写疏影横斜水清浅暗香浮动月黄昏、一写绿树阴浓夏日长楼台倒影入池塘，皆于田园之中见清雅 Both write pastoral elegance and find feeling in scenery, one through plum blossoms, the other through summer shade and roses.

Lin Bu's couplet about sparse shadows and the hidden floating fragrance is the Song masterpiece of refined description, while Gao Pian writes summer with equal freshness but more luminous brightness. Read together, they show two modes of pastoral elegance across the Tang and Song.

林逋《山园小梅》「疏影横斜水清浅，暗香浮动月黄昏」，写梅之清雅、田园之趣，是宋诗咏物的绝唱；高骈《山亭夏日》则以「绿树阴浓夏日长，楼台倒影入池塘」「满架蔷薇一院香」写绿树阴浓、蔷薇一院香。两诗同写田园清雅、以景寄情：一写疏影横斜水清浅暗香浮动月黄昏、以梅写清雅，一写绿树阴浓夏日长楼台倒影入池塘、以倒影写夏日；一为林逋之清逸、一为高骈之明丽，并读正可见诗写「田园清雅」的两种笔法，皆于田园之中见清雅。