“冰花現象” 的文化思考
在蓊蔚紛繁的新詩叢林處，有一個“玫瑰詩苑”。透過網上[冰花文軒]窗口，可窺見她是如何恣意地綻放魅力，其精緻、幽深，絶對的非比尋常！ 她就是“情詩皇后”冰花。冰花避開時尚目光和政治視角，緊緊抓住神聖的自然屬性，濃墨重彩地書寫自然之美、生命之美和人與人之間，人與自然之間的諧和、深情與摯愛。
謳歌生命之愛和情感之美，是冰花詩的核心意嚮。作傢以非常出色的詩句，營造出一個又一個充滿活力的美妙境界，把女性特有的溫柔、溫暖和愛的情懷，用她自己特有的情緒方式、語言方式和節奏方式，酣暢通透地傳達到讀者的心靈深處。詩人在花園裏，溪水邊，乃至在自己整個生命的原野上，精心培育着馥鬱的玫瑰花香，也培育着美好。
赤子般的熱情和真誠，令詩人在創作中自覺地、難能可貴地實踐着國學大師王國維對納蘭性德的稱頌：“以自然之眼觀物，以自然之舌言情” 。她把整個身心，全部溶入大自然的氣息之中，仿佛自己就是一簇晶瑩的冰花，直接與自然對話，直接溶入浩瀚蒼穹的有序與無序。這是一種充滿文化意藴的、非常獨特的生命體驗和精神感悟。
“以自然之眼觀物，以自然之舌言情” ， 促成詩人在創作過程中，總是以主體情感與客觀物象相溶合，善於給景象賦予靈性，這是冰花創作實踐的重要美學特徵，這一點，構成她頗具個性特質的創作風格。
從她的一些膾炙人口的短詩中，可以得到印證，如《雙面扇》，《不是輕浮 不是漂》等。精妙的句子和意象，都屬於對自然景物的細心觀察、聯想。
一個詩人的詩能夠贏得讀者如此廣泛的喜愛，這是近年發生的一種罕見現象。從這個意義上講，我們評論冰花的創作，就不能僅僅衹談作品，還要註意到這個無法繞開的現象。我們暫且把這個“現象”稱為“冰花現象”。
德國哲學家海德格爾說“作品存在就是建立一個世界……”，衹是冰花建立的這個“世界”有些特別，其引導讀者展開無止境的情感想象，無疑是最大特色。我們還可將其的效果概括為“一快三多一奇”：一快，傳播快；三多，讀者多，參與多，評論多；一奇，顛狂出奇。
冰花的詩受歡迎的程度，讓人想起一句蒙古族諺語：“大雁起飛時，掀動了湖裏的水花；姑娘出嫁時，帶着村子裏的風水。” 風笛詩社為冰花入社，發喜訊，緻歡迎辭，迊新熱潮一浪高過一浪。風笛詩社還在加州一傢報紙上為她刋出一整版“歡迎冰花入社”的專輯。這些年，冰花收到讀者的墨寶、贈畫等數十件。讀者以如此形式“參與”，無疑是對詩人的真情感謝。是讀者受到精神滋養後，對詩人的回饋。
冰花寫少女情懷的詩青澀、天真，很容易讓人沉靜在李清照《點絳唇》的氤氳之中。 冰花寫成熟女子的詩婉約, 感人。如《荷的心事》等。詩都是發表在網上，可偏有些讀者認為這是寫給他的。還頑強地認定詩人是少女。於是，夢遊在冰花詩的意境中，陷入了春的懷想，還買好了禮物要來看望她的。更有位網友魔癥纏身般地寫了上百封求愛信。這則詩壇佳話,可謂是天下奇聞!
“冰花現象” 的形成，既有社會因素，又有藝術本身的作用。顯然，研究這樣一位詩人，我們需要在一個特定的社會視野下，來審視她的創作狀態及其文化涵意。在物欲橫流的當下，人們更渴望回歸自然，尋回愛的本源。恰逢這樣一個時機，冰花的詩敲擊着人們的心扉，以 “潤物細無聲” 的方式，潛入人的內心深處的。
瘂弦先生說，“寫詩像戀愛” 。 “每一位詩人都是一位偉大的愛人 ” 。這麽看來，“冰花現象”也就見“奇”不“奇”了。無可爭辯的事實是，在社會轉型期，冰花擔當了一個特殊的文化角色。
多年來，詩壇已少見冰花這種震顫靈魂的童貞般的純潔與坦率。作者跨文化的詩歌創作，必將受到不同民族，不同語種讀者的共同喜愛。冰花留下的足跡和她卓越的詩歌，為文學研究提供了一些非常值得思考的話題。
In the lush woods of new poems thrives “a rose garden.” We can see how its flowers bloom in the online blog entitled Bing Hua Lounge. Its exquisiteness and depth are certainly extraordinary! The blogger is Bing Hua, “the Queen of Love Poems.” Unswung by the trendy rush or political preaching, firmly grasping the sacred essence of Mother Nature, she accents her iridescent color on the beauty of nature and life and on the harmony, affection, and true love among humans and between the humans and nature.
Her poems center on lauding the love of life and the beauty of affection. With remarkable poetic lines, she has created one after another vital and wonderful artistic realms. Thus, in her own way of sentiment, her own way of language, and her own way of rhythm, she has freely and fully instilled the female’s tender, warm, and affectionate feelings into the deep souls of her readers. She, by a creek, in a garden, or even in the field of her whole life, meticulously cultivates aromatic roses. In this, she also cultivates beauty.
With the enthusiasm and sincerity like a baby, she consciously practices in her creative works what Wang Guowei complimented Nalan Xingde, “To see the world through the eye of nature and to express the feelings with the voice of nature.” As if she were a cluster of ice flowers, she integrates her whole heart into nature so she could directly communicate with nature and directly submerge herself in the orderly and unorderly boundless firmament. This is indeed meritorious. This is a very unique and culture-rich life experience and mental enlightenment.
Her practice of Wang Guowei’s compliment empowers her, in the creation of poetry, to integrate subjective feelings with objective images and to enliven images with spirit. This is an important aesthetic aspect of her creative practice and forms a unique individuality in her creative style.
These characteristics are well revealed in some of her appealing, praiseworthy short poems such as The Hand Fan, Neither out of Flighty or Levity, etc., in which all the ingenious lines and wondrous images come from close observation of nature and are the reflection of it as well.
It is indeed a rare phenomenon in recent years that what a poet has produced has won such broad popularity among her readers. Looking from this perspective, when we talk about Bing Hua’s poems, we cannot just touch upon her works ---- We should also consider this unavoidable phenomenon. Let’s for the time being refer this “phenomenon” as the “Bing Hua Phenomenon.”
German philosopher Martin Heidegger once said in his Origin of the Work of Art, “To be a work means to _set_ up a world…,“ yet the “world” Bing Hua has _set_ up is somewhat special in that it evokes endless imaginations in her readers. This is undoubtedly the most important characteristic of her works, and its effectiveness can be summarized in three words: “quickly, widely, and surprisingly.” Here “quickly” refers to how quickly her works reach her readers; “widely” refers to how widely her readers become, respond, and comment; and “surprisingly“ refers to how surprisingly her readers cheer for her creation.
The popularity of Bing Hua’s poems reminds me of a Mongolian proverb “When a wild goose takes off, it splashes the water in the lake; when a girl marries, she carries the Feng Shui from the village.“ This explains why Fengdi Poetry Club went so far as to spread the glad news and give welcoming speeches when Bing Hua joined the club. The club pushed the welcoming wave so high that it even went out of its way to have bought a full-page of a California newspaper to run a special welcome news for her. Over the last few years, more than a dozen readers have sent her paintings and calligraphic works to express their sincere thanks for the spiritual nourishment they have drawn from her poems.
In Bing Hua’s poems, young maidens are pure and naïve, which infuses readers with the mood Li Qingzhao’s “Dian Jian Chun” would reflect while matured maidens, graceful and heartwarming, like those depicted in her The Lotus’ Obsession and other poems. These poems are posted online, but some readers still think these poems are written particularly for them. Some readers even think the poet must be a young maiden herself. With this imagination, they sleepwalk in the artistic realms she has created and sink into youthful longing. One of the readers even prepared a gift and planned to visit her. As if spell-bound, another reader has written over a hundred love letters to her. What a fascinating story in the world of poetry.
The formation of “Bing Hua Phenomenon” involves both social and artistic factors. Obviously, in studying such a poet, we should examine both her creative state and the cultural meaning of her works from a specific social perspective. In today’s world of materialism, more and more people long to return to nature to find the origin of love. This is the moment Bing Hua’s poems have reached their hearts. This is exactly like what a Tang’s poetic line depicts “spring rain quietly nourishes all beings.”
Mr. Ya Xuan once compared “poetry writing to love affairs” and pointed out that “every poet is a great lover him- or herself.” If we agree with him, then, the “abnormality” of “Bing Hua Phenomenon” would look quite “normal.” It is unarguable that Bing Hua has played a very special cultural role during this social transitional period.
Over the years, in the field of poetry, such soul-touching baby’s pureness and candor have been rarely seen. Her inter-cultural poetic creativity will almost certainly be well received by readers of different nationalities, from different ethnic backgrounds, and with different languages. Her remarkable poems, along with the footprints she has left on the poetic road, have provided thought-provoking topics for the study of literature.
(Translated by Xu Yingcai)