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唐 Tang · 诗 Poem

文杏馆

The, Lodge, of, the, Ginkgo

王维

Wang Wei

辋川Theme 写景Scenery

文杏裁为梁，香茅结为宇。
不知栋里云，去作人间雨。

The, ginkgo, cut, into, the, beams,
The, fragrant, cogongrass, tied, into, the, eaves.
Not, knowing, the, clouds, of, the, ridge,
Go, forth, to, become, the, rain, of, the, world.

Listen

Meaning

A poem of the lodge and the clouds, written by Wang Wei. The ginkgo cut into the beams, the fragrant cogongrass tied into the eaves — the lodge of the opening. Not knowing the clouds of the ridge, go forth to become the rain of the world — the clouds of the close. The poem is the lodge and the clouds: the beams, the eaves, and the close's rain.

文杏裁为梁，香茅结为宇。不知栋里云，去作人间雨。

Appreciation

[Plain Paraphrase] The, ginkgo, cut, into, the, beams, the, fragrant, cogongrass, tied, into, the, eaves. Not, knowing, the, clouds, of, the, ridge, go, forth, to, become, the, rain, of, the, world. [Structure and Thought] The poem moves from the lodge of the ginkgo beams and the cogongrass eaves, through the quiet of the ridge, to the close's the clouds of the rain. [Key Technique] The poem's art is the close of the wonder: not knowing the clouds of the ridge, and the close's go forth to become the rain of the world — the lodge gathered in the quiet and the close's clouds. [Emotional Tone] Quiet, pure, and wondering: the poem is the beams, the eaves and the close's rain.

【白话串讲】王维写《文杏馆》：“文杏裁为梁，香茅结为宇”——“不知栋里云，去作人间雨”——他写用文杏做梁、香茅结屋的馆——栋里的云，化作人间的雨。【意象与手法】此诗写山水，以闲适写山水，是王维的名篇。前二句写馆宇：「文杏裁为梁，香茅结为宇」写文杏裁为梁、香茅结为宇——写尽馆宇的雅致；后二句写云雨：「不知栋里云，去作人间雨」写不知栋里云、去作人间雨——写尽云雨的幻化。全诗以闲适写山水，写尽馆宇的雅致与云雨的幻化，是王维的代表作。【情感与主旨】此诗写山水，以闲适写山水，是王维的名篇。此诗为《辋川集》二十首之一，写辋川别业中的文杏馆。文杏馆以文杏（银杏）为梁，以香茅结宇，极尽雅致；馆中栋梁之间云气缭绕，那栋里之云，去作人间之雨。此诗以馆宇写山水：文杏裁为梁，香茅结为宇——写文杏裁为梁、香茅结为宇，写尽馆宇的雅致；不知栋里云，去作人间雨——写不知栋里云、去作人间雨，写尽云雨的幻化。全诗以闲适写山水——那「文杏裁为梁」写尽馆宇的雅致，「去作人间雨」写尽云雨的幻化，写尽馆宇的雅致与云雨的幻化，是理解王维山水诗的重要篇章。【名句点睛】常考「文杏裁为梁，香茅结为宇」写馆宇的雅致；「不知栋里云，去作人间雨」写云雨的幻化；以及全诗以闲适写山水、以奇幻写云雨的手法。

Background

Wang Wei (701-761), the poet of the mountains and the fields of the Tang, wrote this 'The, Lodge, of, the, Ginkgo' of the lodge and the clouds — the charm of the mountain retreat. The ginkgo beams with the cogongrass eaves, and the close's the clouds of the ridge going forth to become the rain — the poem gathers the purity of the poet, the wonder of the mountain. The poem is one of the works of the poet's poems of the Wangchuan.

此诗写山水，以闲适写山水，是王维的名篇。王维（701—761），字摩诘，号摩诘居士，河东蒲州（今山西运城）人，唐代诗人、画家，与孟浩然并称「王孟」，被苏轼誉为「诗中有画，画中有诗」。此诗为《辋川集》二十首之一，写辋川别业中的文杏馆。辋川别业在陕西蓝田，王维晚年隐居于此，与裴迪唱和，成《辋川集》二十首。文杏馆以文杏（银杏）为梁，以香茅结宇，极尽雅致；馆中栋梁之间云气缭绕，那栋里之云，去作人间之雨。此诗以馆宇写山水：「文杏裁为梁，香茅结为宇」写文杏裁为梁、香茅结为宇——写尽馆宇的雅致（文杏裁为梁，香茅结为宇）；「不知栋里云，去作人间雨」写不知栋里云、去作人间雨——写尽云雨的幻化（不知栋里云，去作人间雨）。全诗以闲适写山水，写尽馆宇的雅致与云雨的幻化，是理解王维山水诗的重要篇章。此诗写于王维晚年隐居辋川期间。《辋川集》二十首为王维与裴迪唱和之作，各咏辋川别业一景。文杏馆为辋川别业中一馆，以文杏为梁、香茅为宇，王维居此馆中，见栋间云气，遂作此诗，写云之幻化。

Art

The poem's art is the art of the wonder. The lodge opens: the, ginkgo, cut, into, the, beams — the beams of the ginkgo; the, fragrant, cogongrass, tied, into, the, eaves — the eaves of the cogongrass. The wonder follows: not, knowing, the, clouds, of, the, ridge — the clouds of the ridge; go, forth, to, become, the, rain, of, the, world — the rain of the world — the beams, the eaves and the close's wonder, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以白描写馆宇。「文杏裁为梁」以白描写馆宇——那「文杏裁为梁」写尽文杏的为梁，以白描写尽馆宇的雅致。其二，以对仗写结宇。「文杏裁为梁，香茅结为宇」以对仗写结宇——那「文杏」「香茅」写尽梁宇的对仗，以对仗写尽馆宇的雅致。其三，以奇幻写云雨。「不知栋里云，去作人间雨」以奇幻写云雨——那「不知」「去作」写尽云雨的幻化，以奇幻写尽云雨的幻化。其四，以虚写写境界。「去作人间雨」以虚写写境界——那「人间雨」写尽云雨的入世，以虚写写尽云雨的幻化。此外，此诗前二句写馆宇的雅致，后二句写云雨的幻化，由实及虚，正是山水诗「以虚写实」的写法。四重手法，使此诗以闲适写山水，写尽馆宇的雅致与云雨的幻化，是王维的代表作。此诗还善于以「不知栋里云」的「不知」写云之幻化——那「不知」写尽栋云的莫知，正是以虚写实的笔法，以「不知」写尽云雨的幻化。又善以「去作人间雨」的「去作」写云之入世——去作人间雨，正见云气化雨降落人间的奇想，以「去作」写尽云雨的幻化。

Allusions

'The ginkgo' (wen xing) is the ginkgo — the tree of the ginkgo, the beams of the opening; 'the fragrant cogongrass' (xiang mao) is the fragrant cogongrass — the grass of the fragrant, the eaves of the opening; 'the clouds of the ridge' (dong li yun) are the clouds of the ridge — the clouds of the ridge, the rain of the close.

此诗的用语深植于山水与闲适传统。「文杏」令人想到「文杏」写文杏的意象——银杏，也令人想到「杏梁」的意象；「裁为梁」令人想到「裁为梁」写为梁的意象——也令人想到「虹梁」的意象；「香茅」令人想到「香茅」写香茅的意象——也令人想到「茆茨」的意象；「结为宇」令人想到「结为宇」写结屋的意象——也令人想到「结庐在人境」（陶渊明）的意象；「栋里云」令人想到「栋里云」写栋云的意象——也令人想到「云无心以出岫」（陶渊明）的意象；「人间雨」令人想到「人间雨」写人间之雨的意象——也令人想到「雨我公田」的意象。全诗化用文杏、裁为梁、香茅、结为宇、栋里云、人间雨的意象，以闲适写山水，正是王维「诗中有画」而善写虚、承山水传统写境界之本领。「栋里云」令人想到「云无心以出岫」（陶渊明《归去来兮辞》）的意象——云之出岫而化雨，正是一脉相承；「人间雨」令人想到「好雨知时节，当春乃发生」（杜甫《春夜喜雨》）的意象——也令人想到「人间细雨」的意象，以人间雨写云雨之化。

Commentary

This poem is one of the works of Wang Wei's poems of the Wangchuan, quoted for the purity of its lodge and the wonder of its close. The ginkgo of the beams, and the rain of the world, are among the admired passages of the poet's poems. Critics praise the poem's wonder: the lodge gathered in the quiet, to the close's rain.

此诗历来被推为王维山水诗的名篇，也是《辋川集》的代表。历代论者对此诗评价极高：清人评此诗「以闲适写山水，空灵超妙」；近人更指出「不知栋里云，去作人间雨」写云雨的幻化，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以四句的五绝写尽馆宇的雅致与云雨的幻化——那文杏，那裁为梁，那香茅，那结为宇，那不知，那栋里云，那去作，那人间雨，都写尽了王维笔下的文杏馆；那「去作人间雨」更以奇幻写尽云雨的幻化。此诗与王维《竹里馆》（「独坐幽篁里」）同为辋川集名篇，一写「深林人不知」的竹里（竹里馆），一写「不知栋里云」的文杏（文杏馆）；又与陶渊明《饮酒》「结庐在人境」的隐逸传统一脉相承，可见中国诗写山水的传统。对于今日读者，此诗是理解王维山水诗的窗口，也是《辋川集》的经典——那去作人间雨的栋云，穿越千年，仍在诉说着云雨的幻化。此诗的价值更在于它以极短的篇幅写出云之幻化的妙境——王维《辋川集》二十首皆五绝短章，此诗尤为空灵。后世学者指出，「不知栋里云，去作人间雨」写馆中云气之幻化，与「山中一夜雨，树杪百重泉」同为写雨化之妙笔，可见王维写山水之境的空灵。

Prosody

Form A quatrain of the mountains (wu yan jue ju)诗·五言绝句

Rhyme The poem rhymes on the level of the group — the cadence of the quatrain that carries the pure wonder.五绝，押「宇」「雨」韵（上声七麌），仄韵一韵到底，音节空灵

Tone pattern The cadence is that of the wonder: the level opening with the lodge, the turning with the clouds, and the close's fall with the rain.此诗为五言绝句，押仄声韵，一韵到底，音节空灵，正合山水的空灵。

Reading note The poem's sound matches its purity: the cadences of the quatrain, and the close — 'qu zuo ren jian yu' — falls with the rain, the sound of the wonder of the mountain lodge.此诗为五言绝句，四句——「文杏裁为梁，香茅结为宇。不知栋里云，去作人间雨」，押「麌」韵（宇、雨），仄韵一韵到底，音节空灵。全诗以闲适写山水：前二句写馆宇的雅致（文杏裁为梁、香茅结为宇），后二句写云雨的幻化（不知栋里云、去作人间雨）。四句短章，前写馆宇，后写云雨，以「去作人间雨」写尽云雨的幻化，正见王维「诗中有画」的本色。诵读此诗，宜以空灵的语调读「文杏裁为梁」的馆宇，以超妙的语调读「去作人间雨」的云雨，结句要读得空灵而有余韵，方能传达出王维的空灵超妙。王维绝句以「空灵」著称，此诗正是其山水诗的典范。此诗为《辋川集》二十首中音节最空灵者之一——「文杏裁为梁，香茅结为宇。不知栋里云，去作人间雨」，四句二十字，前二句写馆宇之实景，后二句写云雨之幻境，由实入虚，正是王维五绝「言有尽而意无穷」的本色。

Line by line

不知栋里云，去作人间雨

I know not that the clouds within the eaves have gone out to become the rain of the world of men.

不知栋里云，去作人间雨。

I scarcely knew that the cloud wreathing the eaves would drift away and fall as rain upon the human world.

此二句是全诗写云雨的核心，以不知栋里云写栋里云，以去作人间雨写人间雨，写尽云雨的幻化，是千古名句。「不知栋里云」写不知栋里云——那「不知」写不知，「栋里云」写栋里云，写尽栋云的缭绕；「去作人间雨」写去作人间雨——那「去作」写去作，「人间雨」写人间雨，写尽云雨的入世。这句的深意在于：它以「不知栋里云」的栋里云与「去作人间雨」的人间雨，写尽云雨的幻化——不知栋里云，那「不知栋里云」写尽栋云的缭绕——不知栋里云，正是栋里云出的写照，那「栋里云」写尽云雨的幻化；去作人间雨，那「去作人间雨」写尽云雨的入世——去作人间雨，正是云去为雨的写照，那「人间雨」写尽云雨的幻化；那「不知栋里云」写尽栋云的缭绕，那「去作人间雨」写尽云雨的入世，一写栋云，一写人间，写尽云雨的幻化——栋里之云而作人间之雨，正是云雨相化的写照；此二句以栋云、人间雨写尽云雨的幻化，也让此二句成为全诗写云雨的核心与千古名句。若换作直说「屋梁上的云气，出去就变成了人间的雨」，则失其空灵；唯以「不知栋里云」写栋里云、「去作人间雨」写人间雨，写尽云雨的幻化，也让此二句成为全诗写云雨的核心。

The two lines are the core of the poem's cloud and rain, writing the cloud in the eaves through 'I know not the cloud within the eaves' and the rain on earth through 'gone out to become the rain of the world of men,' a timeless couplet. 'I know not' writes the unawareness, 'the cloud within the eaves' the wreathing mist about the roof beams. 'Gone out' writes the departure, 'the rain of the world of men' the cloud turning to mortal rain. The depth lies in pairing the eaves cloud with the earthly rain to write the transformation of cloud and rain: the eaves mist becoming human rain, precisely the picture of cloud and rain interchanging. Had the poet said plainly 'the vapor on the rafters goes out and becomes earthly rain,' the ethereality would be lost; only through the unaware cloud and its going out to rain does the transformation appear, making these lines the core of the poem.

文杏裁为梁，香茅结为宇

Ornamental apricot is hewn into the beam, fragrant thatch is tied into the roof.

文杏裁为梁，香茅结为宇。

Rich apricot wood is cut for the beams, and sweet-smelling thatch is woven for the roof.

此二句是全诗写馆宇的核心，以文杏裁为梁写裁为梁，以香茅结为宇写结为宇，写尽馆宇的雅致，是千古名句。「文杏裁为梁」写文杏裁为梁——那「文杏」写文杏，「裁为梁」写裁为梁，写尽文杏的为梁；「香茅结为宇」写香茅结为宇——那「香茅」写香茅，「结为宇」写结为宇，写尽香茅的结宇。这句的深意在于：它以「文杏裁为梁」的为梁与「香茅结为宇」的结宇，写尽馆宇的雅致——文杏裁为梁，那「文杏裁为梁」写尽文杏的为梁——文杏裁为梁，正是以文杏为梁的写照，那「裁为梁」写尽馆宇的雅致；香茅结为宇，那「香茅结为宇」写尽香茅的结宇——香茅结为宇，正是以香茅结屋的写照，那「结为宇」写尽馆宇的雅致；那「文杏裁为梁」写尽文杏的为梁，那「香茅结为宇」写尽香茅的结宇，一写文杏，一写香茅，写尽馆宇的雅致——文杏为梁而香茅结宇，正是馆宇雅致的写照；此二句以文杏、香茅写尽馆宇的雅致，也为下文的云雨作铺垫，也让此二句成为全诗写馆宇的核心与千古名句。若换作直说「用银杏木做房梁，用香茅草盖屋顶」，则失其雅致；唯以「文杏裁为梁」写裁为梁、「香茅结为宇」写结为宇，写尽馆宇的雅致，也让此二句成为全诗写馆宇的核心。

The two lines are the core of the poem's cottage, writing the beam through 'ornamental apricot hewn into the beam' and the roof through 'fragrant thatch tied into the roof,' a timeless couplet. 'Ornamental apricot' is fine timber, 'hewn into the beam' its use as a rafter. 'Fragrant thatch' is scented grass, 'tied into the roof' the thatching of the eaves. The depth lies in pairing the apricot beam with the thatch roof to write the elegance of the cottage: apricot for the beam and thatch for the roof, precisely the picture of a refined retreat. Had the poet said plainly 'use ginkgo for the beams and sweet grass for the roof,' the elegance would be lost; only through the hewn apricot and the woven thatch does the cottage's refinement appear, preparing the later cloud and rain and making these lines the core of the poem.

Study

Word focus

裁 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「文杏裁为梁」之「裁」字是写馆宇的关键词，一个「裁」字写尽文杏的为梁。裁者，裁取、剪裁也。王维以「文杏裁为梁」写馆宇，这个「裁」字至少有双重意味：其一，写木之裁——那「文杏裁为梁」写文杏裁为梁，那「裁」字写尽文杏的为梁——裁为梁，正是裁木为梁的写照，那「裁」字写尽馆宇的雅致；其二，写工之巧——那「裁」字更是写巧——裁，正见经营之匠心，那「裁」字写尽王维的雅趣。以「裁」字写馆宇，正是王维写山水的枢纽——若换作「作」「架」等字，则或失其与「文杏」「香茅结为宇」的配合，或失其写裁的意味；唯「裁」字，以文杏裁为梁写尽文杏之为梁与经营之匠心，与「香茅结为宇」的结宇相合，写尽馆宇的雅致，也让「文杏裁为梁」成为全诗写馆宇的名句。

不知 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「不知栋里云」之「不知」是写奇幻的关键词，一个「不知」写尽云雨的幻化。不知者，不知晓、莫知也。王维以「不知栋里云」写奇幻，这个「不知」至少有双重意味：其一，写云之不知——那「不知栋里云」写不知栋里云，那「不知」写尽栋云的缭绕——不知栋里云，正是莫知云出的写照，那「不知」写尽云雨的幻化；其二，写境之虚——那「不知」更是写虚——不知，正见境界的空灵，那「不知」写尽王维的闲适。以「不知」写奇幻，正是王维写山水的枢纽——若换作「莫问」「谁知」等词，则或失其与「栋里云」「去作人间雨」的配合，或失其写不知的意味；唯「不知」二字，以不知栋里云写尽栋云之缭绕与境界之空灵，与「去作人间雨」的人间雨相合，写尽云雨的幻化，也让「不知栋里云」成为全诗写奇幻的名句。

文杏馆