积雨辋川庄作
积雨空林烟火迟，蒸藜炊黍饷东菑。
漠漠水田飞白鹭，阴阴夏木啭黄鹂。
山中习静观朝槿，松下清斋折露葵。
野老与人争席罢，海鸥何事更相疑。
Long rains in the empty woods; smoke rises slow,
Steamed greens and cooked millet to eastern fields go.
Across the misty paddies white egrets fly,
In the shaded summer woods orioles warble high.
In the hills I practice stillness, watch morning blooms fall,
Beneath pines, in pure fast, I pick dew-wet mallow tall.
The old rustic no longer contends for a seat,
Why should the seagull still distrust my retreat?
逐句注释
积雨空林烟火迟，蒸藜炊黍饷东菑。
积雨：久雨。空林：幽静空旷的林野。烟火迟：因雨久湿重，炊烟缓缓升起。蒸藜炊黍：蒸灰菜、煮黄米饭。饷东菑：送饭到东边新垦的田亩。此联写雨后田家生活，以缓慢炊烟与送饭劳作显出宁静质朴的田园气息。
Jiyu means long continued rain; konglin is the quiet, empty woods. Yanhuo chi describes cooking smoke rising slowly because of damp weather. Zheng li chui shu means steaming goosefoot greens and cooking millet; xiang dong zi means carrying food to the newly cultivated eastern fields. The couplet presents rural life after rain with calm, slow details.
漠漠水田飞白鹭，阴阴夏木啭黄鹂。
漠漠：水田广布、迷蒙开阔的样子。阴阴：夏日树木浓阴深密。白鹭飞、黄鹂啭，一为视觉动态，一为听觉音响；色彩、明暗、动静相对，构成辋川夏日雨后的清丽画境。
Momo describes the wide, misty expanse of paddy fields; yinyin describes the deep shade of summer trees. The white egrets in flight are visual and dynamic, while the orioles’ song is auditory. Color, light and shade, motion and sound are paired to create a vivid summer landscape after rain at Wangchuan.
山中习静观朝槿，松下清斋折露葵。
习静：修习静心，近于禅观。朝槿：木槿花朝开暮落，常喻世事无常。清斋：清净素食、斋戒。露葵：带露的葵菜。此联由外景转入内心，以观槿悟无常、折葵守清斋，表现王维晚年禅寂生活。
Xijing means cultivating quietude, close to Chan contemplation. Zhaojin is the hibiscus that blooms in the morning and falls by evening, a common image of impermanence. Qingzhai is pure vegetarian fasting; lükui is mallows wet with dew. The couplet turns from landscape to inner life: watching the hibiscus awakens awareness of impermanence, while picking mallows embodies a pure, disciplined retreat.
野老与人争席罢，海鸥何事更相疑。
野老：诗人自指，如乡野老人。争席：典出《庄子·寓言》，阳子居初有骄矜之态，旅舍之人避席；其后谦下自然，众人与之争席。此谓已混同村野、无机心。海鸥：典出《列子·黄帝》，海上好鸥者无机心则鸥鸟亲近，一有捕捉之念鸥鸟便舞而不下。末联以两典自明心迹：我已无争无诈，海鸥何必仍相疑。
Yelao is the poet’s self-reference as a rustic old man. Zhengxi alludes to the Zhuangzi story of Yang Zijü: at first people yielded seats to him in awe, but later, having become humble and natural, he contended for seats with them like an equal. This means the poet has become one with village life and free of calculating mind. The seagull alludes to the Liezi tale of a man who loved seagulls: when he had no scheming intent, the birds came near; when he thought of catching them, they circled and would not alight. The closing couplet declares that the poet is free of contention and deceit, so why should the seagulls still suspect him?
今日赏析
此诗作于王维晚年隐居蓝田辋川别业时期。王维字摩诘，盛唐山水田园诗代表，兼擅音乐、绘画，晚年尤好佛理，人称“诗佛”。辋川庄有山林田亩之胜，诗人半官半隐，常在自然中习静、斋戒、观物。诗中写久雨初歇时的田家风光与自身禅寂心境，将田园劳作、夏日景物、佛教无常观和道家自然无机心之感融为一体，是王维七律中体现“诗中有画”与禅意的名篇。
This poem was written during Wang Wei’s later years when he lived in semi-retirement at his Wangchuan estate in Lantian. Wang Wei, style name Mojie, was a leading High Tang poet of landscape and rural poetry and was also accomplished in music and painting; in later life he was deeply drawn to Buddhist thought and is often called the Poet Buddha. The Wangchuan estate offered hills, woods, fields, and streams, where he practiced quiet contemplation and vegetarian fasting. The poem depicts rural scenes after long rain and the poet’s Chan-like serenity, blending farm life, summer landscape, Buddhist awareness of impermanence, and the Daoist ideal of a mind free from scheming. It is a famous seven-character regulated verse that exemplifies Wang Wei’s “painting in poetry” and Zen spirit.
每日唐诗精选唐代经典作品，提供原文、英文翻译、逐句注释与赏析，适合古诗词学习、双语阅读和日常诗意积累。