南北朝 Northern and Southern Dynasties · 诗 Poem
开善寺
Kai Shan Temple
鹫岭春光遍，王城野望通。
登临情不极，萧散趣无穷。
莺随入户树，花逐下山风。
栋里归云白，窗外落晖红。
古石何年卧，枯桑几过童。
因巢树即久，莫遣只园中。
Climbing here, my feeling knows no end; my carefree delight is without limit.
The oriole follows the tree that enters the house; the flower chases the wind down the hill.
Within the beams the returning cloud is white; beyond the window the setting sun is red.
Since what year has the old stone lain? How many youths has the withered mulberry seen?
Long have I nested in these trees—do not send me from this Jetavana grove.
Meaning
A spring visit to Kai Shan Temple on Mount Zhong, praising its secluded purity and the carefree ease of wandering there.
鹫峰春光遍布，王城野望通达。登临之情无尽，萧散之趣无穷。黄莺随入户之树，落花逐下山之风。栋宇间归云洁白，窗户外落日红艳。古石不知何年静卧，枯桑几度荣枯。因巢栖树上已久，莫教离了这清净只园。
Appreciation
The poem writes a spring outing to Kai Shan Temple on Nanjing's Zhong Mountain: Vulture Peak bathed in spring, the royal city in sight; climbing, the poet's feeling is endless, his ease without limit. The oriole follows the tree, the flower chases the wind; white cloud within the beams, red sun beyond the window. An old stone lies long, a withered mulberry has seen many springs—then he says he has long nested here and would not be sent from this pure Buddhist ground. The middle couplets are especially fine, with life in motion and color bright. Through the temple's quiet beauty the poem breathes a detached, unworldly ease.
【白话串讲】 阴铿游开善寺：“鹫岭春光遍，王城野望通”。“莺随入户树，花逐下山风”——黄莺飞进屋，花随风飘。“栋里归云白，窗外落晖红”——“古石何年卧，枯桑几过童”——他感叹古石的年代。 【意象与手法】以“莺随入户树，花逐下山风”“栋里归云白，窗外落晖红”四句最为工巧，动静相生、色彩鲜明，炼字如画；通篇写寺景之清幽与游赏之闲适，格调清丽。 【情感与主旨】抒发对佛寺清境的喜爱与萧散闲适的情怀。阴铿为南朝陈诗人，诗风清巧，此作于山寺春景中寄寓脱俗之趣，已开唐人写景律诗之先声。 【名句点睛】“莺随入户树，花逐下山风。”——以“随”“逐”二字写莺与花之灵动，动静相生、极具画面感，是阴铿“苦营造句”的代表，对杜甫“遣词必中律”颇有启悟。
Background
Yin Keng (c. 511–c. 563), courtesy name Zi Jian, was a Chen-dynasty poet, skilled in five-character verse, paired with He Xun as the 'Yin-He'; his style is clear and delicate, greatly influencing early Tang regulated verse. Kai Shan Temple stood on Zhong Mountain in the capital Jiankang (modern Nanjing), a famed Southern-Dynasty monastery.
《开善寺》为南朝阴铿所作，是写春日游开善寺之景、萧散之趣的诗。阴铿（约511—约563），字子坚，武威姑臧人，南朝陈诗人。此诗：鹫岭春光遍，王城野望通。登临情不极，萧散趣无穷。莺随入户树，花逐下山风。栋里归云白，窗外落晖红。古石何年卧，枯桑几过童。全诗写春日游开善寺之景、萧散之趣，是阴铿诗的名篇。
Art
The middle couplets 'The oriole follows the tree that enters the house; the flower chases the wind down the hill' and 'Within the beams the returning cloud is white; beyond the window the setting sun is red' are most exquisite—'follow' and 'chase' give life in motion, 'white' and 'red' give color; motion and stillness interweave, the phrasing like a painting. The whole is clear, lovely, and leisurely, already bearing the shape of Tang regulated verse.
《开善寺》艺术上以春日寺景的描摹与萧散之趣的清新见长。全诗十句，层层写来：前四句写登临之趣——“鹫岭春光遍，王城野望通”写鹫岭春光遍、王城野望通，“登临情不极，萧散趣无穷”写登临情不极、萧散趣无穷；中写寺中之景——“莺随入户树，花逐下山风”写莺随入户树、花逐下山风，“栋里归云白，窗外落晖红”写栋里归云白、窗外落晖红；末写怀古之慨——“古石何年卧，枯桑几过童”写古石何年卧、枯桑几过童。全诗以春日寺景写萧散之趣，正是阴铿诗清新的笔法。
Allusions
'Vulture Peak' (Griddhrakuta) is where the Buddha preached, here standing for the Buddhist mountain; 'Jetavana' (Jeta's Grove) is the Buddha's holy preaching ground, here standing for Kai Shan Temple; 'withered mulberry' uses the ancient poem 'the withered mulberry knows the heaven's wind,' writing the passing of years.
《开善寺》用典在“鹫岭”“王城”“只园”。“鹫岭”写灵鹫山（释迦说法之地）；“王城”写王舍城；“只园”写祇树给孤独园（佛寺）。全诗以这些佛典写游开善寺之景，用典自然而清新自见，正是阴铿诗的笔法。
Commentary
Later critics said Yin Keng's 'wonder of crafted lines is unmatched past or present'; Du Fu was deeply influenced by him. This piece writes the temple's quiet and the wandering ease, its manner opening a clear realm above the Qi-Liang ornate style.
《开善寺》是阴铿诗的名篇，也是南朝诗中写佛寺之景的代表作。此诗写春日游开善寺之景、萧散之趣，向为论者称道。论者多赏其春日寺景的描摹与萧散之趣的清新——“鹫岭春光遍，王城野望通”用鹫岭王城之典写春光遍野、野望通，清新之极；“莺随入户树，花逐下山风”写莺随入户树、花逐下山风，更见其动；“栋里归云白，窗外落晖红”写栋里归云白、窗外落晖红，尤见其丽；“古石何年卧，枯桑几过童”写古石何年卧、枯桑几过童，尤见其慨。阴铿为南朝陈诗人，其诗以清新著称，此诗正是其代表——以春日寺景写萧散之趣，正是其诗风。
Prosody
Line by line
鹫岭春光遍，王城野望通。登临情不极，萧散趣无穷。
Spring light covers Vulture Peak; the wide view opens over the royal city. Climbing up, my feelings have no end; the free-wandering delight is boundless.
鹫岭春光遍，王城野望通。登临情不极，萧散趣无穷。
Spring sunshine covers Vulture Peak; the distant view reaches the royal city. Ascending, my feelings are boundless; the carefree delight is endless.
首写鹫岭春光遍、登临萧散，是全诗写游寺之趣的起点。“鹫岭春光遍，王城野望通”用鹫岭王城之典写鹫岭春光遍、王城野望通——“鹫岭春光遍”用鹫岭之典写灵鹫山春光遍野，“王城野望通”用王城之典写王城野望四通——鹫岭春光，王城野望；“登临情不极，萧散趣无穷”写登临萧散——“登临情不极”写登临之情不尽，“萧散趣无穷”写萧散之趣无穷——登临情不极，萧散趣无穷。四句写鹫岭春光遍、登临萧散：鹫岭春光遍，王城野望通。登临情不极，萧散趣无穷。以“鹫岭春光遍”用鹫岭之典写春光遍野，以“王城野望通”写王城野望、四望皆通，以“登临情不极，萧散趣无穷”写登临不尽、萧散无穷，正是阴铿诗写游寺之趣的起点——鹫岭春光，登临萧散。
The peak. Spring light covers Vulture Peak; the wide view opens over the royal city. Climbing up, my feelings have no end; the free-wandering delight is boundless. The Vulture-Peak-spring-light and the climbing-boundless-delight are the opening. To have covered the peak would be a covering; the spring-light-covers-vulture-peak-the-wide-view-opens-over-the-royal-city-climbing-up-my-feelings-have-no-end-the-free-wandering-delight-is-boundless is the covering.
莺随入户树，花逐下山风。栋里归云白，窗外落晖红。
Orioles follow the tree that enters the doorway; blossoms chase the wind down the hill. Within the eaves the returning clouds are white; beyond the window the setting sun is red.
莺随入户树，花逐下山风。栋里归云白，窗外落晖红。
Orioles follow the tree by the door; blossoms chase the wind down the hill. Under the eaves returning clouds are white; beyond the window the setting glow is red.
中写莺随入户树、栋里归云白，是全诗写寺中之景的深化。“莺随入户树，花逐下山风”写莺随入户树、花逐下山风——“莺随入户树”写黄莺随入户之树，“花逐下山风”写落花追逐下山之风——莺随户树，花逐山风；“栋里归云白，窗外落晖红”写栋里归云白、窗外落晖红——“栋里归云白”写栋梁之间归云洁白，“窗外落晖红”写窗外落晖殷红——栋里归云，窗外落晖。四句写莺随入户树、栋里归云白：莺随入户树，花逐下山风。栋里归云白，窗外落晖红。以“莺随入户树”写黄莺入户、生机盎然，以“花逐下山风”写落花随风、追逐而下，以“栋里归云白”写归云穿栋、白洁如洗，以“窗外落晖红”写落晖映窗、红艳动人，正是阴铿诗写寺中之景的深化——莺花入户，云晖满窗。
The orioles. Orioles follow the tree that enters the doorway; blossoms chase the wind down the hill. Within the eaves the returning clouds are white; beyond the window the setting sun is red. The orioles-with-door-tree and the white-clouds-red-sunset are the imagery. To have followed the tree would be a following; the orioles-follow-the-tree-that-enters-the-doorway-blossoms-chase-the-wind-down-the-hill-within-the-eaves-the-returning-clouds-are-white-beyond-the-window-the-setting-sun-is-red is the following.
古石何年卧，枯桑几过童。
Since what year has the ancient stone lain here? How many springs has the withered mulberry seen?
古石何年卧，枯桑几过童。
Since what year has the ancient stone lain here? How many years has the withered mulberry endured?
末写古石何年卧、枯桑几过童，是全诗写怀古之慨的归结。“古石何年卧”写古石何年卧——“古石何年卧”写古石何年在此偃卧——古石何年卧；“枯桑几过童”写枯桑几过童——“枯桑几过童”写枯桑历经几度春秋（童指未发之人）——枯桑几过童。二句写古石何年卧、枯桑几过童：古石何年卧，枯桑几过童。以“古石何年卧”写古石偃卧、不知何年，以“枯桑几过童”写枯桑历久、几度春秋，正是阴铿诗写怀古之慨的归结——古石枯桑，岁月悠悠。
The stone. Since what year has the ancient stone lain here? How many springs has the withered mulberry seen? The ancient-stone-since-what-year and the withered-mulberry-how-many-springs are the close. To have lain here would be a lying; the since-what-year-has-the-ancient-stone-lain-here-how-many-springs-has-the-withered-mulberry-seen is the lying.
Study
Word focus
Related Reading
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