西北行

——赴西藏拜冈仁波齐
（七绝，中华新韵）

天宜居士

高原盛夏彩云飘，
越野旅团千里飙。
心向神山西北赴，
画中驰骋最风骚。

（作者简介:天宜居士，本名夏金峣，贵州人，欧洲大学工商管理博士。北京大学未名湖文学社签约作家。）

点评：

当代诗人天宜居士《西北行》一诗以现代语汇入古典格式，记录了赴西藏拜谒冈仁波齐神山的旅途，情感豪迈而景象瑰丽。以下逐句解析并综合鉴赏：

逐句专业解析

第一句“高原盛夏彩云飘”
起笔以时令与景象定调。“高原”点明地域海拔特征，“盛夏”交代季节，但此处的高原之夏并无溽热，而是以“彩云飘”三字勾勒出天高云淡、色彩明丽的视觉意象。“飘”字轻盈，赋予画面流动感，开篇即营造出澄明辽阔的氛围，为全诗铺设了明亮昂扬的基调。

第二句“越野旅团千里飙”
次句由静转动，描写行进方式。“越野”点明交通工具的强悍，暗示路途之艰险与行者之豪情；“旅团”交代此行并非孤身，而是群体性的朝圣或探险。“千里”以空间之广写行程之远，“飙”字极为生动，既写车速之快，更写出一种驰骋天路的奔放意气。此句节奏陡然加快，与首句的舒缓形成张力，画面由静态风景转入动态征程。

第三句“心向神山西北赴”
前两句写景叙事，此句转而揭示此行目的与精神指向。“神山”直指诗题中的冈仁波齐，此山为藏传佛教、印度教、耆那教、苯教共尊的圣地，被奉为世界的中心。“心向”二字点明，此行不仅是身体的位移，更是灵魂的趋赴。“西北赴”以方位词收束，实写进藏方向，同时“赴”字带有庄重的奔赴感，与“神山”之神圣性相呼应。此句为全诗注入了精神内核，提升了立意高度。

第四句“画中驰骋最风骚”
末句收束全篇，将前三句的意象总揽升华。“画中”回扣首句的彩云高原，言此一路如在画中穿行，风景如绘；“驰骋”呼应次句的“飙”，保持动态的酣畅。“最风骚”三字最为关键——此处“风骚”不取轻浮之意，而当以古典义解之：“风”指《诗经》之国风，“骚”指《离骚》，合称“风骚”代指文采风流、精神超拔。此句意为：在这如画江山中驰骋，乃是人生至为超迈风流的境界。以一个充满自信与豪情的判断句作结，余韵悠扬。

综合深度鉴赏

此诗以七绝之体写高原朝圣之旅，在传统山水纪游的框架中注入了现代越野驰骋的壮怀，呈现出古今交融的独特风貌。全诗四句起承转合分明：首句以景起，次句以行承，三句以心转，末句以情合，章法严谨，一气呵成。

从意象经营看，诗人将“彩云”“神山”“画”等柔美静态意象，与“飙”“驰骋”“赴”等刚健动态意象交错并置，形成刚柔相济的审美张力。高原的辽阔与越野的奔放相互映发，自然的神圣与人的豪情彼此激荡，意境壮阔而不失空灵。

从情感脉络看，诗中有层层递进的喜悦：初为见高原彩云之悦目，进而为千里飙驰之快意，再进为心向神山之虔敬，最终抵达“画中驰骋”的物我两忘之境。“最风骚”一语自信而洒脱，既是对行程的总结，更是对生命状态的礼赞——在神圣山水间的自由驰骋，正是人生至高的诗意存在。

语言风格上，此诗融通俗与典雅于一炉。“越野”“旅团”等现代语汇坦然入诗，与“神山”“风骚”等古典意象并行不悖，体现出当代旧体诗创作中吸纳新词汇而不损古典韵致的努力。全诗音韵铿锵，“飘”“飙”“赴”“骚”押中华新韵“豪”韵，开口呼的响亮韵脚与全诗豪迈的情感基调高度统一。

全篇语言明快，气势奔放，既是对冈仁波齐的向往，也是对生命自由与壮美自然的礼赞，彰显了现代人在古老圣途中追寻精神家园的赤子之心。此诗以短小篇幅容纳了地理的辽阔与精神的高远，完成了从纪游到言志的自然升华。在当代旧体诗创作中，如此将现代旅行体验与传统山水精神相融合的尝试，诚为可贵，勘称佳作。

Going northwest
Travel to Xizang to Baikon Rinpoche

(The Seven Flowers, the New Chinese Romance)

A paradise of paradise

Bright clouds floated in the highlands during summer,
The cross-country caravan goes a long way.
My heart goes to the northwest of the mountain,
The chase is the most gorgeous in the painting.

[Author’s Profile]: Tian Youqi, real name Xia Jinyao, from Guizhou Province. He holds a doctorate in Business Administration from a European university. He is a contracted writer with the Baiming Lake Literature Society of Peking University.]

Comments:

Contemporary poet Tian Yisheng's poem "The Journey to the North West," which is incorporated into classical form in modern language, records the emotionally ambitious and scenic journey to Xizang to visit the Ganesh Pagoda. The following sentence-by-sentence analysis and synthesis are provided:

Professional analysis sentence by sentence

First sentence "Colorful clouds float in highland summer"
The writing is based on the season and the scenery. "Highlands" indicates the altitude of the region, and "high summer" accounts for the season, but the summer of the Highlands here is not hot, but instead uses the words "colorful clouds" to outline the visual image of high, cloudless, and brightly colored sky. The word "floating" is light and gives the picture a sense of flow, and the opening scene creates a clear and expansive atmosphere, setting a bright and uplifting tone for the whole poem.

The second sentence "The cross-country caravan goes a long way."
The second sentence, which moves in silence, describes the way of travel. "Off-road" indicates the strength of the means of transport, and implies the hazards of the road and the pride of the rider. The group explained that the trip was not alone, but a group pilgrimage or expedition. The word "thousands" describes the distance of the trip by the breadth of space, and the word "so" is very vivid, not only describing the speed of the car, but also expressing the spirit of travelling through the sky. The rhythm of this sentence suddenly accelerates, creating tension with the soothingness of the first sentence, and the picture moves from a static scenery to a dynamic journey.

Third sentence "The heart goes to the northwest of the mountain of the gods."
While the first two sentences describe the scenery, this one in turn reveals the purpose and spiritual direction of the trip. The "Mountain of the Gods" refers directly to the poem's title of Gangren Poki, a sacred site revered by Tibetan Buddhism, Hinduism, Jainism, and Belief, and held as the center of the world. The word "heart toward" means that this trip is not only a movement of the body, but also a journey of the soul. The word "Northwest To" is bound by a geographical word, which is written in the Tibetan direction, and the word "To" carries a solemn sense of journey, which echoes the sacredness of the sacred mountain. This sentence injects a spiritual core into the whole poem and elevates the point of view.

The fourth sentence "The chase in the painting is the most delightful."
The last sentence conveys the whole sentence and elevates the image of the preceding three sentences. The first sentence of the "painted" returnee's "painted plateau" means that this road is as if it were traveling in a painted picture, and the scenery is as picturesque as it is painted. "Running" echoes the second sentence's "galloping" to keep the dynamic smooth. The three words "most gorgeous" are the most important - here "gorgeous" is not meant to be frivolous, but to be interpreted in a classical sense: "feng" refers to the national style of the Psalm, "so" refersto the lonely sorrow, and "gorgeous," collectively, means gorgeous and spirited. The meaning of this sentence is that riding in a country like this is a world of great adventure in life. Finish with a judgment full of confidence and pride, and the rest is rich.

A comprehensive in-depth appreciation

This poem writes about the pilgrimage to the plateau in the form of seven images, injecting the ambition of modern cross-country racing in the framework of traditional landscape tourism, and presenting a unique landscape of intermingling between ancient and modern times. The four lines of the poem are clear: the first sentence begins with the scene, the second sentence begin with the exercise, the third sentence begin by the heart, and the last sentence begin when the sentiment is aligned. The rules are strict, and the whole poem is complete.

From the perspective of image management, the poet intersperses soft static imagery such as "colored clouds," "sacred mountains," and "painting" with rigid dynamic imagery suchas "galloping," "galloping" and "suing," to form a gentle and gentle aesthetic tension. The vastness of the plateau and the freedom of the cross-country reflect each other, the sanctity of nature and the grandeur of man ignite each other. The landscape is grand but not empty.

From an emotional point of view, the poem contains layers of progressive joy: at first, the pleasure of seeing the colorful clouds of the plateau, then the joy of galloping across a thousand feet, then the devotion to the sacred mountain, and finally the moment when I forget the object "galloping in the painting." The word "most gorgeous" is confident and free-spirited, not only as a summary of the itinerary, but also as a praise for the state of life - freedom among the sacred landscape is the highest poetic existence of life.

In terms of language, this poem combines commonality and elegance. Modern terms such as "cross-country" and "caravan" are readily incorporated into poetry, and they go hand in hand with classical imagery such as "sacred mountain" and "whims" reflecting the efforts of contemporary old-fashioned poetic creation to incorporate new words without compromising the classical cadence. The whole poem has a strong cadence. "Floating," "surging," "suing" and "sing" rhymes with the new Chinese rhyme "hao." The loud rhyme footage of the opening sentence is highly consistent with the heroic emotional tone of the whole poem.

The entire text is bright and powerful, both a yearning for Genenbozio and a praise for freedom of life and the magnificence of nature, demonstrating the ardent heart of modern people in their ancient pursuit of spiritual home. In a short space of time, this poem contains the vastness of geography and spiritual prominence, completing the natural sublimation from chronology to speech. In contemporary Old Testament poetry, such an attempt to combine modern travel experience with traditional landscape spirit is a worthy achievement.

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