月牙泉（七绝）

（中华新韵）

天宜居士

微茫大漠望无边，

忽地清泉在眼前。

万里黄中一点绿，

莫高窟外守千年。

（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：

当代诗人天宜居士的这首《月牙泉》七绝以极简笔墨，勾勒出天地间一大奇观。以下逐句解析，再作综合鉴赏。

逐句解析

第一句：微茫大漠望无边

“微茫”二字兼写视觉与心理感受——沙漠在日光下氤氲蒸腾、边界模糊的迷离状态，暗示空间的绝对广袤。“望无边”以人的视觉极限反衬自然之无限，行者置于其中，顿生苍茫微渺之感。此句暗藏“望”这一动作，为下句“忽地”埋下伏笔——正因一直在望，才有突然的发现。

第二句：忽地清泉在眼前

“忽地”是全诗的结构转折点，从无边苍茫到清泉乍现，构成巨大的心理反差。“清泉”与“大漠”形成质感、温度、意象上的全面对立：焦渴之于润泽，荒芜之于生命。“在眼前”以朴素直白的口语收束，却因其突兀而产生强烈的临场感。这是典型的“发现式”写法，近似王维“空山不见人，但闻人语响”的意外感，只是此处以视觉突变呈现。

第三句：万里黄中一点绿

“万里黄”以空间广度承继首句，“一点绿”以体量之微与之形成悬殊对照。黄与绿的色彩对比极其鲜明，近乎绘画的视觉效果。“一点”既是写实——月牙泉在大漠中的确如弹丸之地——又是一种聚焦手法，将读者视线从无边大漠骤然收拢于这一线生机。此句是全诗的视觉重心所在。

第四句：莫高窟外守千年

结句陡然引入时间维度。“莫高窟”将空间锚定于敦煌这一具体坐标，使前三句的普泛化大漠景观获得确切的文化归属。“守”字是诗眼——泉的千年不涸被赋予人格化的意志，仿佛它是有意识地在守护莫高窟这一文明圣地。由此，自然的奇观升华为文明守护的象征，格局豁然开朗。

综合鉴赏

1. 结构上的“放—收—放”

全诗四句完成了一次精妙的空间—时间双重运作：首句放开视野到无边大漠；次句以泉收拢；三句在“万里”与“一点”之间再放再收；末句以“千年”拉开时间纵深。这一收放节奏赋予短诗以宏阔张力。

2. “惊异”美学

诗的内核是一种发现式的惊异——在死亡般的荒芜中骤然撞见生命。这种惊异不依赖辞藻渲染，而通过结构本身传达：“微茫”“无边”营造的荒芜感越大，“忽地”“眼前”带来的冲击便越强。这是中国古典山水诗“遇合”传统的延续，但语境移至大漠边塞，别开生面。

3. 文明与自然的双重意象

月牙泉在此诗中既是自然景观，更是文化符号。末句“莫高窟外守千年”完成从自然到文明的升华。泉守窟，水护文明，这一意象令人联想到敦煌作为中西文明交汇之地的千年历史——月牙泉成为一个沉默的见证者与守护者，自然奇迹因此被赋予了深厚的文化意蕴。

4. 语言风格：绚烂之极归于平淡

全诗无一奇字僻典，“微茫”“忽地”“一点绿”皆如口语，却恰以此朴素传达大漠的赤裸与本真。这与敦煌戈壁的气质内在契合——在最简单的地貌中蕴藏最深沉的力量。

5. 新韵的考量

诗人特意标注“中华新韵”，说明对音韵有所用心。以新韵读之，“边”“前”“年”押“ian”韵，开口度适中，收尾有余音，恰如大漠驼铃的悠远回响。

这首七绝以二十八字完成了对月牙泉的空间定位、视觉呈现、时间延伸与文化赋义，将一处沙漠景观升华为关于生命与文明坚守的诗意象征。其成功在于以极简笔法容纳极大时空，在朴素语言中藏纳深沉力量。

The crescent spring (seven heavens)

(Chinese New Romance)

A paradise of paradise

The vast desert has no end in sight,

Suddenly a clear spring was in front of us.

A little green in a million yellows,

They lived outside Mogao for thousands of years.

(Introduction: Tian Yisheng, real name Xia Jinji, a native of Guizhou, PhD in Business Administration at European University.) Peking University does not have a signed writer for the unnamed HKU literary society. )

Comments:

Contemporary poet Tian Yisheng's seven paintings of "The Jade Spring" outline a great wonder in the heavens and the earth with extremely simple ink and paper. The following sentence-by-sentence explanation is provided for a comprehensive appreciation.

Explanation by sentence

One sentence: The vastness of the desert has no end in sight

The word "dim" describes both visual and psychological feelings - the desert's vague state of vapour and blurred boundaries in the sun suggests the absolute breadth of space. "The infinity of vision" contrasts with the limits of human vision to the infinity of nature, and when a person is placed in it, he feels a sense of emptiness. This sentence conceals the action of "looking" and sets the stage for the next sentence "all of a sudden" - it is because of the constant looking that the sudden discovery occurred.

Second sentence: Suddenly a clear spring is in front of you

"Suddenly" is the structural turning point of the whole poem, from infinity to lucidity, which constitutes a huge psychological contrast. "Clear water" and "desert" form a total opposition in terms of texture, temperature, and image: thirst for moisture, waste for life. "In front of the eye" is limited by plain and straightforward spoken language, but it creates a strong sense of being on the scene because of its abruptness. This is a typical "discovery" writing, similar to Wang Wei's unexpected feeling that "there are no people in an empty mountain, but people smell the sound of voices," only presented here in visual mutations.

Third sentence: A little green in a million yellows

"A thousand leagues of yellow" follows the first sentence by spatial breadth, and "a little green" contrasts with it by its small size. The contrast between the yellow and green colors is extremely vivid, almost the visual effect of a painting. A "point" is both a narrative - the crescent of crescents is indeed a tiny place in the desert - and a focus, bringing the reader's gaze suddenly from the infinity to life. This sentence is the visual center of the whole poem.

Fourth sentence: spending a thousand years outside the Mogao Caves

The sentence suddenly introduces a temporal dimension. "Mogao Caves" anchors the space to the specific coordinates of Dunhuang, allowing the generalised desert landscape of the preceding three sentences to obtain a precise cultural attribution. The word "devotion" is the eye of poetry - the thousand-year influx of the spring is given a personal will, as if it were consciously guarding Mogao Cave, a sacred site of civilization. Thus, the wonders of nature evolved into symbols of the protection of civilization, and the situation became clear.

Combined appreciation

1. The structure of "let-take-let"

The four sentences of the poem complete a masterful double operation of space-time: the first sentence opens your eyes to the infinite desert. The second sentence is united by a spring; Repeat the three sentences between "ten thousand miles" and "one point"; The last sentence opens the depth of time with the word "thousand years." This cadence gives the short poem a great deal of tension.

2. "Amazing" aesthetics

At the heart of the poem is a kind of discovery-like wonder - a sudden encounter with life in the wasteland of death. This surprise does not rely on rhetorical rendering, but is communicated through the structure itself: the greater the sense of waste created by the narrow "infinity," the stronger the sudden "immediate" impact. This is a continuation of the tradition of "harmony" in classical Chinese landscape poetry, but the context has moved to the borders of the desert and is unique.

3. The dual image of civilization and nature

The crescent spring is both a natural landscape and a cultural symbol in this poem. The last sentence, "A thousand years beyond Mogao," completes the sublimation from nature to civilization. The spring holds the cave, and the water protects the civilization, an image reminiscent of Dunhuang's thousand-year history as a place where Western and Chinese civilizations meet - the crescent spring became a silent witness and guardian, and natural wonders were thus given a profound cultural significance.

4. The style of language: the most brilliant is flat.

The whole poem contains no idioms, "dim," "sudden" and "a little green" are all spoken words, but they simply convey the naked and true nature of the desert. This is intrinsically compatible with the character of the Gobi of Dunhuang - the deepest power in the simplest landscape.

5. Considerations of a new rhythm

The poet specifically labeled "Chinese New Romance," indicating that he had some intentions for the rhythm. Read with new rhyme, "edge," "qian," "nian" and "ian" rhyme, the opening is moderate, and the end has a lingering sound, just like the distant echo of camel bells in the desert.

In 28 words, this seven poem completes the spatial positioning, visual presentation, time extension and cultural meaning of the crescent of crescents, elevating a desert landscape into a poetic symbol of life and civilization. Its success lies in the tremendous amount of time and space in a very simple stroke of writing, and in the deep power of plain language.

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 来源：北京大学未名湖文学社

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Director: Unnamed HKU Literary Society, Peking University

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By: Shu Xiaoli

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