現代俳句 & 變奏系列《142》| Modern Haiku & Variations Series《142》

何康隆 | Khang-Loon Ho

1411.
今日是風淡雲輕，花樹溫馨
明日是一種凝定，一種澄靜
期待的風景，漸次清朗

Today brings light breezes and serene clouds, amidst warm, blossoming trees.
Tomorrow promises a settled peace, a tranquil clarity.
The anticipated scenery, gradually brightening.

1412.
大漠孤煙，何須直
長河落日，何須圓
畢卡索的變奏人物

Desert smoke, why must it be straight ?
Long river sunset, why must it be round ?
Picasso's varied figures ?

**
「大漠孤煙直，長河落日圓。」 –唐朝詩人王維《使至塞上》

A lone plume of smoke rises straight in the vast desert.
The setting sun is a perfect circle over the long river.
— “Envoy to the Frontier” by Tang Dynasty poet Wang Wei

長河落日圓。 (修繪自ChatGPT)
A round sun sets over the long river. (mortified from ChatGPT)

《窗邊的女人》是畢卡索描繪其情人，「珍愛的繆斯女神」瑪麗-泰蕾茲-沃爾特的肖像畫，畫面中的女主角面向窗外，線條柔美，姿態慵懶。形體和面部的處理異乎尋常，是畢卡索的立體主義風格。

“Woman by a Window” is a portrait by Picasso depicting his lover, his “cherished muse” Marie-Thérèse Walter. The woman in the painting faces the window, her features marked by soft lines and a relaxed posture. Her form and face are treated unusually, characteristic of Picasso’s Cubist style.

**
“Gemini” AI對這首俳句的解讀:
這首現代俳句，透過巧妙地引用與詰問，構築了一場跨越時空的藝術對話。它從唐代詩人王維的經典意象出發，最終落腳於西方現代藝術巨擘畢卡索的變革精神，深刻地探討了傳統、創新、以及對既定審美標準的挑戰。

** 俳句解析 :

「大漠孤煙，何須直」
「長河落日，何須圓」

這兩句直指王維《使至塞上》中的千古名句「大漠孤煙直，長河落日圓」。王維筆下的「直」與「圓」是對自然景象精準而完美的描繪，是傳統審美中和諧、規整的體現。然而，俳句在此加上了「何須」二字，瞬間將觀者從對既定完美的欣賞，轉變為對其必然性的質疑。這不僅是對自然形態的發問，更是對人們長期以來習以為常的觀察視角與審美範式的詰問：難道美只有一種標準嗎？

「畢卡索的變奏人物」

這一句是解鎖前兩句深意的關鍵。畢卡索作為立體主義的代表人物，其創作核心便是打破傳統透視與寫實的束縛，將物體和人物解構、重組，從多維度展現其「變奏」的面貌。他的畫作挑戰了觀者對「真實」的認知，追求的是更深層次的本質與精神表達，而非表象的形似。

** 俳句的深層意涵 :

將王維的古典意象與畢卡索的現代藝術並置，這首俳句傳達了以下幾點深刻的意涵：

* 對傳統的審視與超越：詩人並非否定王維經典之美，而是藉由「何須」提問，鼓勵人們跳脫約定俗成的觀念，重新審視事物本質，尋求更廣闊的詮釋空間。如同畢卡索打破了幾世紀以來西方繪畫的傳統，藝術和思想的進步往往源於對既有框架的挑戰。

* 頌揚創新與變革精神：畢卡索的「變奏人物」正是藝術領域敢於打破常規、追求創新的最佳例證。俳句以此為引，強調了在多元的世界中，美感和真理不應只有單一固定的模式。大漠的煙可以不筆直，落日也可以不渾圓，它們仍能以多樣的形式存在，並展現其獨特的美。

* 追求自由與多元的審美觀：「何須」二字充滿了反思與解脫的意味，鼓勵個體擺脫僵化的思維，用自己的眼光去探索和創造。它暗示我們，藝術與生活不應被單一的「標準」所束縛，而是應允許和欣賞各種「變奏」的可能性，從中體會更豐富的生命經驗。

** 總結 :
這首俳句以凝練的語言，巧妙地融合了東西方藝術的精髓，從對自然表象的質疑，延伸至對藝術乃至哲學層面的深刻反思。它是一首對僵化思維的溫柔挑戰，也是一曲對創新精神和多元審美的禮讚。它提醒我們，真正的美和意義，往往存在於那些敢於打破「直」與「圓」的既定框架，並勇於擁抱「變奏」的可能性之中。

**
” Gemini ” AI’s interpretation of this haiku:

This modern haiku, through clever allusion and questioning, constructs an artistic dialogue across time and space. It begins with the classic imagery of Tang Dynasty poet Wang Wei and ultimately lands on the transformative spirit of Western modern art master Picasso, deeply exploring tradition, innovation, and the challenge to established aesthetic standards.

* Haiku Analysis:

” Desert smoke, why must it be straight? “
” Long river sunset, why must it be round? “

These two lines directly reference the timeless famous lines from Wang Wei’s “Journey to the Frontier”: “A lone smoke in the vast desert rises straight, a round sun sets over the long river.” Wang Wei’s “straight” and “round” are precise and perfect depictions of natural scenery, embodying harmony and regularity in traditional aesthetics. However, the haiku adds “why must it” (何須), instantly shifting the observer from appreciating established perfection to questioning its necessity. This is not only a question about natural forms but also a challenge to the long-accustomed perspectives of observation and aesthetic paradigms: Is there only one standard for beauty?

” Picasso’s varied figures “

This line is the key to unlocking the deeper meaning of the previous two. Picasso, as a representative figure of Cubism, centered his creations on breaking free from the constraints of traditional perspective and realism, deconstructing and reassembling objects and figures to present their “varied” forms from multiple dimensions. His paintings challenged viewers’ perceptions of “reality,” pursuing a deeper essence and spiritual expression rather than superficial resemblance.

* Deeper Meaning of the Haiku:

By juxtaposing Wang Wei’s classical imagery with Picasso’s modern art, this haiku conveys several profound meanings:

。 Scrutiny and Transcending Tradition: The poet does not negate the classical beauty of Wang Wei but uses “why must it” to encourage people to break free from conventional notions, re-examine the essence of things, and seek broader interpretations. Just as Picasso broke centuries of tradition in Western painting, the progress of art and thought often stems from challenging existing frameworks.

。 Celebrating Innovation and the Spirit of Change: Picasso’s “varied figures” are the best example of daring to break conventions and pursue innovation in the artistic realm. The haiku uses this as an引子 to emphasize that in a diverse world, beauty and truth should not be confined to a single, fixed model. The smoke in the desert does not have to be straight, and the sunset does not have to be perfectly round; they can still exist in various forms and display their unique beauty.

。 Pursuing Freedom and Diverse Aesthetics: The phrase “why must it” is full of reflection and liberation, encouraging individuals to break free from rigid thinking and explore and create with their own eyes. It suggests that art and life should not be constrained by a single “standard,” but rather should allow and appreciate the possibilities of various “variations,” experiencing a richer life through them.

* Conclusion:

This haiku, with its concise language, skillfully blends the essence of Eastern and Western art, extending from a questioning of natural appearances to a profound reflection on art and even philosophy. It is a gentle challenge to rigid thinking and an ode to the spirit of innovation and diverse aesthetics. It reminds us that true beauty and meaning often lie in daring to break the established frameworks of “straight” and “round” and courageously embracing the possibilities of “variation.”

1413.
只因和你相遇，就有了珍惜的時光
不知何去何從的時候，最想見的是誰
如果明天太遙遠，何時才有最美的風景

Just because I met you, I found moments to cherish.
When I don't know where to go, who is it I want to see most?
If tomorrow is too far away, when will the most beautiful scenery appear?

1414.
任人群走過，任車隊駛過
任浮雲飄過，任雁群飛過
獨坐，有風窗前，無風角落

Let the crowds pass by, let the convoys drive on,
Let the stray clouds drift, let the wild geese fly by.
Sitting alone: by the windy window, in the calm corner.

1415.
一花一世界
一葉一如來
而星雲，蘊藏宇宙玄機

In one flower, a universe.
In one leaf, a Buddha.
And nebula conceals the cosmic enigma.

**
「一花一世界，一葉一如來」 –《華嚴經》
One flower, one world. One leaf, one Tathagata.

**
「一砂一世界，一花一天堂，手掌握無限，剎那即永恆。」
To see a world in a grain of sand
And a heaven in a wildflower
Hold infinity in the palm of your hand
And eternity in an hour.
— William Blake, 英國詩人

這些詩句共同表達了這樣一個理念：深刻的精神理念和浩瀚的宇宙，可以透過仔細觀察大自然中看似簡單平凡的事物來感知和理解。

These lines collectively speak to the idea that profound spiritual truths and the vastness of the universe can be perceived and understood through close observation of seemingly ordinary things in nature.

**
星雲（英語: Nebula，源自拉丁語的nebulae，意為「雲」）是宇宙塵、氫氣、氦氣和其他電漿體聚集的星際雲。原本是天文學上通用的名詞，泛指任何天文上的擴散天體，包括在銀河系之外的星系。星雲通常也是孕育並形成恆星的區域，也就是恆星工廠。例如鷹星雲，這個星雲刻畫出NASA最著名的影像，即創生之柱。在這個區域形成的氣體、塵埃和其他材料擠在一起，聚集了巨大的質量，這吸引了更多的質量，最後在重力的影響下，這些分子雲的一部分坍塌，直到它們合併成正在發育的年輕恆星，也就是原恆星。剩餘的材料還可以形成行星和行星系的其它天體。原恆星仍然被剩餘氣體和塵埃所組成的旋轉圓盤包圍。

A nebula (from the Latin “nebulae,” meaning “cloud”) is an interstellar cloud of cosmic dust, hydrogen, helium, and other ionized gases. Originally, it was a general astronomical term referring to any diffuse astronomical object, including galaxies outside the Milky Way. Nebulae are also typical regions where stars are born and formed, essentially stellar nurseries. A prime example is the Eagle Nebula, which features NASA’s most famous image, the Pillars of Creation. In these regions, gases, dust, and other materials are compressed, accumulating immense mass. This attracts even more mass, and eventually, under the influence of gravity, parts of these molecular clouds collapse until they merge into developing young stars, known as protostars. The remaining material can also form planets and other celestial bodies in a planetary system. A rotating disk of remnant gas and dust still surrounds protostars.

鷹星雲區内最着名的“ 創生之柱 Pillars of Creation ”
The most famous feature within the Eagle Nebula is the Pillars of Creation.

“ 創生之柱 ”是由哈伯太空望遠鏡及韋柏太空望遠鏡拍攝，位於巨蛇座的鷹星雲內由星際氣體和塵埃構成的四個象鼻管結構，距離地球6,500—7,000光年（2,000—2,100秒差距；61—66艾公尺）。它們之所以如此命名，是因為氣體和塵埃正在創造新的恆星，同時也被最近在附近形成的恆星發出的光侵蝕。拍攝於1995年4月1日的這幅影像，被Space.com評為哈伯望遠鏡最著名的十大照片之一。圖爲2014年重新拍攝的更高解析度的HST創生之柱圖像。 (維基百科)

The Pillars of Creation were photographed by the Hubble Space Telescope and the Webb Space Telescope. They are four elephant trunk-like structures composed of interstellar gas and dust within the Eagle Nebula in the constellation Serpens, located 6,500–7,000 light-years (2,000–2,100 parsecs; 61–66 exameters) from Earth. They are named as such because gas and dust are actively creating new stars there, while also being eroded by light emitted from recently formed stars nearby. The image taken on April 1, 1995, was ranked by Space.com as one of the Hubble Space Telescope’s top ten most famous photos. The image shown is a higher-resolution HST image of the Pillars of Creation re-photographed in 2014. (Wikipedia)

蜘蛛星雲（Tarantula Nebula）: 距離地球161,000光年，那裏誕生了成千上萬個恆星。
The Tarantula Nebula: Located 161,000 light-years from Earth, it is a birthplace for thousands of stars.

蟹狀星雲（Crab Nebula）是6,500光年外一顆爆炸恆星的殘骸。2023年10月30日由詹姆斯韋伯太空望遠鏡（James Webb Space Telescope）拍攝後並合成的影像。 (NASA/ESA)
The Crab Nebula is the remnant of an exploded star 6,500 light-years away. This image was captured and composited by the James Webb Space Telescope on October 30, 2023. (NASA/ESA)

發射星雲：三角座星系内最大的星雲：Garren Nebula NGC 604。
Emission Nebula: The largest nebula in the Triangulum Galaxy: Garren Nebula NGC 604.

1416.
把人生筆畫的最後一撇
寫得筆墨真纯，灑脱
掩映遠方，空對月的境界

To write the final stroke of life's calligraphy
With pure ink, unrestrained and bold,
Reflecting the distant, a realm of gazing at the moon in solitude.

人生得意須盡歡，莫使金樽空對月。 (書法網站)
Since life is meant to be enjoyed, we must seize the day and celebrate,
Don’t let our golden goblets face the moon empty.

**
人生得意須盡歡，莫使金樽空對月。
天生我材必有用，千金散盡還復來。
— 李白《將進酒》

Since life is meant to be enjoyed, we must seize the day and celebrate,
Don’t let our golden goblets face the moon empty.
Heaven has endowed me with talents, which are sure to be useful.
Though a thousand pieces of gold are spent, they will come back again.
by Li Bai – “Bring in the Wine”《將進酒》

**
江天一色無纖塵，皎皎空中孤月輪。
江畔何人初見月，江月何年初照人。
人生代代無窮已，江月年年望相似。
不知江月待何人，但見長江送流水。
— 張若虛《春江花月夜》

The river and sky are one color, without a speck of dust.
Bright and clear in the sky hangs the solitary moon.
By the river, who was the first to see the moon?
When did the river moon first shine upon humanity?
Generations of life flow endlessly,
While the river moon year after year seems the same.
I wonder for whom the river moon waits,
But I only see the Yangtze River sending its water flowing on.
by Zhang Ruoxu – “A Night of Spring, River, Flowers, and Moon”

1417.
養牛養雞養鴨養豬養猫養狗養魚養蠶養蟋蟀
種稻種竹種花種芒果種木瓜種甘蔗種檳榔
島嶼的夏日漫長，童年的風景依舊芬芳

Raising cattle, chickens, ducks, pigs, cats, dogs, fish, silkworms, and crickets.
Planting rice, bamboo, flowers, mangoes, papayas, sugarcane, and betel nuts.
The island's summer is long, and the scent of childhood memories still lingers.

藍䕃鼎: 《農家初夏》。水彩. 紙本. 1951.
“Early Summer in a Farmhouse” by Lan Yin-ding. watercolor. paper

此幅繪於1951年的《農家初夏》，顯示出藝術家充分地掌握到水彩畫中水分控制的熟練技巧。在長條型的畫面中，即使構圖採用西方單點透視來進行，但畫面的整體氣氛卻不失東方藝術中的氣韻生動。如同中國山水一般，作者以連續S型的動勢，將視點由左方的路口向右彎曲進入畫面深處。圖中明顯的傾斜角是由大樹和竹林切劃開來，而深處淡紫紅的遠山，從反方向予以回應。如此寬闊大方的情境空間，作者不厭其煩地細心刻畫出樸實的農家生活。圖中精緻的台灣古厝和人們曬衣納涼的日常生活，都在羊腸小徑的盡頭被⼀⼀閱讀和察覺，此畫因而變得更具人文氣息的土地情懷。（國立臺灣美術館典藏詮釋資料）

Painted in 1951, Lan Yin-ding’s “Early Summer in a Farmhouse” showcases the artist’s masterful control of water in watercolor painting. Despite utilizing a Western single-point perspective in its elongated composition, the painting retains the vibrant spirit, or “Qi Yun Sheng Dong,” characteristic of East Asian art. Much like traditional Chinese landscape paintings, the artist guides the viewer’s eye with a continuous S-curve, leading the gaze from the path on the left, curving right, and receding into the painting’s depths. A distinct diagonal is created by the large trees and bamboo grove, reciprocated in the opposite direction by the faint purplish-red distant mountains. Within this expansive and generous scene, the artist meticulously and patiently depicts humble farm life. The exquisite traditional Taiwanese houses and the daily routines of people airing clothes and enjoying the cool air are all discernible and appreciated at the end of the winding path, imbuing the painting with a deeply humanistic connection to the land
(Collection interpretation data from the National Taiwan Museum of Fine Arts)

**
藍蔭鼎（1903-1979）是國際著名的水彩畫家，出生於宜蘭羅東的農村，在1971年被歐洲藝術評論學會和美國藝術評論學會評選為「世界十大水彩畫家」。自小表現過人的繪畫天賦，因緣際會下跟隨著「臺灣美術啓蒙之父」石川欽一郎身邊習畫、入選及參與數屆國際間展覽，並再次赴日進修水彩技巧。1928年間前往中國、朝鮮、日本等地旅行寫生。藍蔭鼎的作品多描繪台灣農村的田園風光和山川景色，特別是他的故鄉宜蘭。早期作品深受老師石川欽一郎薰陶，風格樸實而溫暖；中晚期接觸渡海來臺水墨畫家，畫風轉變，巧妙地融合東方水墨和西方水彩技法，使其作品更為獨特。

Lan Yin-ding was an internationally renowned watercolor painter, born in the rural town of Luodong in Yilan. In 1971, he was named one of the “Ten Greatest Watercolor Painters in the World” by both the European and American Art Critics’ Societies. From a young age, Lan Yin-ding demonstrated exceptional artistic talent. By chance, he studied under Ishikawa Kinichiro, often referred to as the “Father of Taiwan’s Art Enlightenment.” He was selected for and participated in several international exhibitions, and later traveled to Japan to further hone his watercolor skills. In 1928, he embarked on a sketching journey through China, Korea, and Japan.

Lan Yin-ding’s works predominantly portray the pastoral landscapes and mountain scenery of rural Taiwan, with a particular focus on his hometown of Yilan. His early works were deeply influenced by his teacher, Ishikawa Kinichiro, characterized by a simple yet warm style. In his mid to later career, he was exposed to ink wash painters who had arrived in Taiwan, leading to a shift in his style. He skillfully merged Eastern ink wash techniques with Western watercolor methods, making his works truly unique.

藍䕃鼎: 《農村人家》。水彩. 紙本. 1958.
“Rural households “ by Lan Yin-ding. watercolor. Paper

418.
蒜末，香菇，紅葱，滲著醬汁
還有蝦米，以色以香以味 
原來，寫詩如炒米粉

Minced garlic, shiitake mushrooms, shallots, then the sauce,
and dried shrimp—all for color, aroma, and flavor.
Truly, writing poetry is just like stir-frying vermicelli.

1419.
如果有一片草原，可以一起流浪
如果有一座花園，可以一起迷路
如果有一首老歌，可以一起吟唱

If there were a prairie, we could wander together.
If there were a garden, we could get lost together.
If there were an old song, we could sing it together.

1420.
日子是旋律，心情是節奏
生活是奏鳴曲，蜿蜒穿梭山路 
有風有雨，有飄泊的雲霧

Days are the melody; moods are the rhythm.
Life is a sonata, winding through mountain paths.
There's wind and rain, and drifting clouds and mist.

**
貝多芬最著名的五首鋼琴奏鳴曲：
作品 53 (1803) 鋼琴奏鳴曲 No. 21 C 大調黎明（Waldstein）
作品 27 (1801) 鋼琴奏鳴曲 No. 14 升C 小調月光（Moonlight）
作品 57 (1805) 鋼琴奏鳴曲 No. 23 F 小調熱情（Appassionata）
作品 13 (1799) 鋼琴奏鳴曲 No. 8 C 小調悲愴（Pathétique）
作品 31 (1802) 鋼琴奏鳴曲 No. 17 D 小調暴風雨（Tempest）

Five Most Famous Beethoven Piano Sonatas :
Piano Sonata No. 21 in C Major, Op. 53 (1803) – “Waldstein”
Piano Sonata No. 14 in C-sharp Minor, Op. 27 (1801) – “Moonlight”
Piano Sonata No. 23 in F Minor, Op. 57 (1805) – “Appassionata”
Piano Sonata No. 8 in C Minor, Op. 13 (1799) – “Pathétique”
Piano Sonata No. 17 in D Minor, Op. 31 (1802) – “Tempest”

**
奏鳴曲（sonata）是一種起源於巴洛克時期，在古典樂派時期發展成熟的器樂體裁，通常由一件或兩件樂器演奏。它以其獨特的結構和音樂語言而聞名，以下是奏鳴曲的一些主要特徵：
奏鳴曲通常由三到四個樂章組成，每個樂章都有其獨特的速度、情緒和結構：

第一樂章：快板 (Allegro)
通常是奏鳴曲中最重要、最複雜的樂章，採用奏鳴曲式（Sonata Form）。情緒通常是充滿活力、戲劇性或英雄性的。速度通常較快。

第二樂章：慢板 (Adagio/Andante)
通常是奏鳴曲中最抒情、最富於歌唱性的樂章。情緒通常是平和、內省或悲傷的。可採用多種曲式，如三部曲式、變奏曲式或奏鳴曲式等。

第三樂章：小步舞曲 (Minuet) 或諧謔曲 (Scherzo)
古典早期常用小步舞曲，一種典雅的三拍子舞曲。貝多芬以後，諧謔曲逐漸取代小步舞曲，其速度更快，情緒更活潑，甚至帶有些許幽默感。

第四樂章：快板 (Allegro) 或急板 (Presto)
是奏鳴曲的終曲，情緒通常是歡快、輝煌或充滿活力的。常採用奏鳴曲式、迴旋曲式或奏鳴迴旋曲式。有時會呼應第一樂章的主題或情緒，形成整體的統一。

奏鳴曲最初是為一件獨奏樂器（如鋼琴）或一件獨奏樂器加鋼琴伴奏而作。最常見的奏鳴曲包括：
鋼琴奏鳴曲小提琴奏鳴曲（小提琴與鋼琴）大提琴奏鳴曲（大提琴與鋼琴）長笛奏鳴曲（長笛與鋼琴）

列擧:
莫札特：《C大調第16號鋼琴奏鳴曲》，清新明亮
貝多芬：《悲愴奏鳴曲》、《月光奏鳴曲》，結構嚴謹，情感豐富
舒伯特：《降B大調奏鳴曲》，旋律抒情

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Sonata is a form of instrumental music that originated during the Baroque period and matured during the Classical era. It is typically written for one or two instruments and is known for its distinctive structure and musical language. Below are some of the main characteristics of the sonata:

A sonata usually consists of three to four movements, each with its own tempo, mood, and structure:

First Movement: Allegro
This is usually the most important and complex movement in a sonata, written in sonata form. It is often energetic, dramatic, or heroic in character and generally fast in tempo.

Second Movement: Adagio or Andante
This movement is typically the most lyrical and song-like part of the sonata. Its mood is often calm, introspective, or even sorrowful. It may take on various forms such as ternary form, theme and variations, or even sonata form.

Third Movement: Minuet or Scherzo
In the early Classical period, this movement was often a minuet, a graceful dance in triple meter. Starting with Beethoven, the scherzo began to replace the minuet—faster in tempo, livelier in spirit, and often tinged with humor.

Fourth Movement: Allegro or Presto
This is the final movement of the sonata, typically joyful, brilliant, or full of vitality. It may use sonata form, rondo form, or sonata-rondo form. Sometimes it recalls themes or emotions from the first movement, providing a sense of overall unity.

Sonatas were originally composed for a solo instrument (such as the piano) or a solo instrument accompanied by piano. Common types of sonatas include:

Piano Sonata, Violin Sonata (violin and piano), Cello Sonata (cello and piano), Flute Sonata (flute and piano)

Examples include:
Mozart: Piano Sonata No. 16 in C Major – bright and refreshing
Beethoven: Pathétique Sonata, Moonlight Sonata – structurally rigorous and emotionally rich
Schubert: Sonata in B-flat Major – lyrically melodic