浅谈写诗的创作心法与十二忌
引言：入山寻宝，与心同往
各位朋友，大家好！
今天我们不谈晦涩的理论，只聊一个朴素却核心的问题：心底那片混沌的感受——或许是一阵突如其来的惆怅、一次直击灵魂的感动、一段辗转难眠的思念——究竟如何挣脱束缚，凝结成清晰、动人且能穿越时空的诗句？
这趟从心到笔的旅程，需要两样行囊：一颗敏锐而真诚的心，为创作指引方向；一套可靠而趁手的工具，助我们披荆斩棘。心是诗意的源头，工具是赋形的桥梁，二者相辅相成，方能抵达诗的彼岸。
第一部分：诗人的心——诗意的源头
写诗，始于一场内在的修行。技巧可以通过学习掌握，但诗意的敏感度、作品的灵魂厚度，却需要心灵的持续滋养。
（一）内敛沉潜：让感受在时光中发酵
诗人是时间的酿酒师。当强烈的感受扑面而来时，真正的诗人从不急于呼喊，而是默默接住这份触动，将其置于心底，与过往的记忆、人生的经验静静交融、沉淀。陶渊明“采菊东篱下，悠然见南山”的闲适，绝非一时兴起的闲情，而是长期退守田园、与山水共生后，生命状态的自然流露。好诗从来不是情绪的仓促宣泄，而是经过一段寂静发酵期，褪去浮躁后的精华凝结。
（二）真诚本真：袒露灵魂的本来面目
诗是灵魂的“去蔽”艺术，它勇于呈现生命的本真，哪怕这份本真是私密的、复杂的，甚至是不完美的。李贽的“童心说”与袁枚的“性灵说”，都在强调这份发乎本心的力量。真正的诗，敢于袒露那些未被世俗完全驯化的情感。就像张枣在《镜中》写道：“只要想起一生中后悔的事，梅花便落满了南山。” 他没有直白倾诉悔憾，而是将这份隐秘的情绪，与空灵辽阔的意象悄然相连，让真诚以最恰当的诗意形式呈现，既动人又余味悠长。
（三）深刻共情：让心灵与世界共振
诗人的心，是一张敏感的蛛网，既能承接自身的喜怒哀乐，也能为远方的风雨颤动。杜甫从自己“茅屋为秋风所破”的窘迫，推及“安得广厦千万间，大庇天下寒士俱欢颜”的胸怀，这是将小我融入大我的共情；波兰诗人辛波丝卡能从两个陌生人的偶然擦肩，窥见命运网络的精密与温柔，这是对平凡生命联结的敏锐感知。共情让诗人的视野突破个体局限，让诗意拥有了触动更多人的力量。
（四）执拗雕琢：对语言的极致忠诚
诗歌是“精致的瓮”，既需要灵性的滋养，也需要匠人般的执着。贾岛“两句三年得，一吟双泪流”，为一个字反复推敲；现代诗人庞德为《在地铁站》短短两行诗修改数月，这些都不是无意义的文字游戏，而是对“精准表达此刻感受”的近乎苛刻的追求。创作的过程，是诗人与语言的漫长对话——既要驯服语言，让它承载自己的情感；也要敬畏语言，让每一个词都发挥出最大的能量。
第二部分：创作的心法——将诗意赋形
有了丰沛的内心感受，如何让那团模糊的“诗意”，变成具体可感、掷地有声的诗句？以下五大心法，是通往“赋形之境”的实用路径，帮你完成从“有心”到“有诗”的跨越。
心法一：意象转化——为情感找独一无二的“身体”
这是写诗最惊险也最神奇的一步：将抽象的“感受”（如孤寂、狂喜、思念），转化为具体的、可触摸的“意象”——让读者能通过一个画面、一个场景，感知到你内心的情绪。
核心技巧：当一种情绪涌上心头，别满足于第一个冒出来的比喻（比如“孤独像黑夜”“思念像长线”），这些表达早已失去新鲜感。多问自己几遍：“它更像什么？只有我能感受到的样子是什么？” 直到找到那个专属你的、充满细节的意象。
示例：
不说“思念很长”，而说：“我的思念，是毛衣上一个松脱的线头，越拉扯，这个黄昏就越漫长。”（用具体的动作、场景，让思念有了质感和延展感）
李煜写愁：“问君能有几多愁？恰似一江春水向东流。”（赋予“愁”以体积、动态和无尽感，成为千古绝唱）
日常练习：做生活的“意象捕手”。随身带一个小本，记下那些莫名击中你的瞬间：窗台上光影移动的刻度、废弃轮胎里长出的野花、路人电话里半句哽咽的乡音、咖啡杯底残留的泡沫形状……这些碎片化的场景，都是未来某首诗的“种子”。
心法二：感官写作——让读者“身临其境”
不要直接告诉读者你有多“悲伤”“快乐”“孤独”，要让他们通过眼睛看、耳朵听、双手触、鼻子闻，亲身“体验”你的情绪。将抽象情感锚定在具体的感官细节上，诗才会有血肉。
心诀：杜绝空泛的抒情形容词，转而调用视觉、听觉、嗅觉、触觉和味觉，构建可感知的场景。
示例：
写安静：“安静，是雪落在松枝上那‘噗’的一声，轻得像是天空翻了个身。”（用听觉和动态，让“安静”变得可感）
写惆怅：“暮色是旧的，像铜器上擦不掉的绿锈，缓慢地，爬满了整条巷子。”（用视觉和触觉，让“惆怅”有了颜色和质感）
写喜悦：“喜悦是刚剥开的橘子，指尖沾着酸甜的汁水，风一吹，连头发丝都带着暖香。”（用味觉、触觉、嗅觉，让“喜悦”变得鲜活）
心法三：视角转换——打开全新的诗意世界
当你觉得眼前的景物“没什么可写”，或是写出来的内容千篇一律时，试着换一双“眼睛”去看。视角一变，平凡的事物也能绽放出新的诗意。
三种实用视角：
1. 物的视角：让无生命的物体开口说话，赋予其情感和观察。比如：“我是楼道里的旧灯泡，看着一代代人搬来又搬走，只有我，守着深夜里偶尔亮起的孤独。”
2. 逆向视角：打破常规认知，从反面切入。比如写春天不写生机，写“春天是大地一场温柔的溃败，所有坚硬都被绿意攻陷”；写月亮不写圆满，写“月亮是被黑夜咬碎的饼干，碎渣落在人间，变成星星”。
3. 微观/宏观视角：放大细节或缩小宏大事物，制造反差感。比如：“蚂蚁扛着饭粒，跋涉过一片梧桐落叶的褶皱，那是它的万里长征”；“宇宙很大，而我的快乐，只是你递来的一杯热茶，冒着小小的白雾”。
心法四：经营张力——让诗歌充满“矛盾的魅力”
一首平缓如镜湖的诗或许优美，但一首充满张力的诗，往往更令人过目难忘。张力源于对立元素的并置与平衡，让诗歌内部充满拉扯感，从而产生丰富的解读空间。
四种易操作的张力构建方式：
1. 情感张力：将相反的情感叠加，比如“甜蜜的创痛”“平静的绝望”“热闹的孤独”。
2. 语言张力：打破常规搭配，将渺小的事物崇高化、宏大的事物微小化。比如：“露珠里，蜷缩着一整夜的星空”（渺小承载宏大）；“历史，不过是缝在时间袖口一粒松脱的纽扣”（宏大化为微小）。
3. 时空张力：将不同时空并置，制造跨越感。比如：“我刷着手机，屏幕的光，突然映出李白那杯摇晃的月亮”；“外婆的针线篮里，藏着民国的月光”。
4. 虚实张力：将具体的“实象”与抽象的“虚象”结合。比如工人诗人许立志所写：“我咽下一枚铁做的月亮。” 铁是具体的工业零件（实），月亮是乡愁、希望的象征（虚），二者的碰撞既残酷又精准，极具冲击力。
心法五：掌握分行与呼吸——让诗有“韵律感”
现代诗的分行，绝不是简单把散文句子截断，而是为诗歌创造音乐性和视觉节奏的关键。分行的位置，决定了阅读的停顿、重点和气息，是无声的韵律。
三个核心原则：
1. 强调重点：把最重要的词、最想突出的情绪，放在行末（强烈强调）或行首（醒目重启）。
示例：
我走了那么远的路
只为学会如何
轻盈
（“轻盈”独立成行，既突出主题，又留下回味空间）
2. 制造悬念：使用“跨行”技巧，让一个意思在下一行才完成，制造短暂的期待感。
示例：
她转过身，递给我一把钥匙，说这是……
整个下午不断褪色的阳光
（跨行让读者好奇“钥匙是什么”，揭晓答案时形成诗意的意外）
3. 贴合情感：短行带来急促、紧张或跳跃的节奏（适合表达激动、焦虑）；长行带来舒缓、沉思或绵长的气息（适合表达宁静、深情）。让分行的节奏与你想表达的情感同频，诗的感染力会翻倍。
第三部分：需要警惕的十二个误区
知晓了“应如何”，更要明了“不应如何”。以下十二个常见误区，如同创作路上的警示牌，帮你绕开弯路，让诗意更纯粹、更有力量。
一忌“直”：直白如口号，诗意尽失
诗贵含蓄，切忌把情绪和观点直接喊出来。比如“青年俊杰有才华，为国争光创辉煌”，意虽好，却如宣传口号，毫无余味。学学李清照“只恐双溪舴艋舟，载不动许多愁”，用具象化的表达让情感自然流露，比直白倾诉更动人。
二忌“泛”：面面俱到，空洞无物
写诗如同摄影，聚焦一点才能拍出精彩，面面俱到只会模糊焦点。比如《誓把中华享太平》，立意正确却空泛无力，没有具体的场景、细节支撑，难以打动人心。学学王昌龄“秦时明月汉时关”，用七个字压缩千年边关历史，以小见大，力量无穷。
三忌“平”：平铺直叙，毫无起伏
“文似看山不喜平”，诗的情绪和节奏要有抑扬顿挫。如果一首诗从头到尾都是一个调子、一种情绪，就像一条没有波澜的河流，读来乏味。学学李白《将进酒》，从悲慨到狂放，再到深寂，一波三折，让读者的情绪跟着诗句起伏。
四忌“枯”：语言干瘪，缺乏血肉
诗需要有温度、有质感的语言，切忌干巴巴地讲道理、描景物。比如“参观景区心欢喜，景色优美令人醉”，语言空洞，如同干花，没有生命力。学学宋祁“红杏枝头春意闹”，一个“闹”字将视觉转化为听觉，让春意鲜活起来，化枯为润。
五忌“生”：生造词语，拗口难懂
创新不等于生僻，切忌为了追求“特别”而编造词语、堆砌冷僻字。比如“三千冬岁逝，壮志未曾消”，“冬岁”拗口又生硬，不如“三秋岁月逝”自然。真正的创新，是用常见的词语组合出新鲜的意象，就像海子“面朝大海，春暖花开”，词语朴素，却充满诗意。
六忌“涩”：晦涩难懂，故作高深
晦涩不等于深刻，好诗应在“可解与不可解之间”。有些人为了显得“有深度”，故意堆砌象征、滥用典故，让读者读来一头雾水。学学李商隐的诗，虽朦胧却有情丝可循；舒婷《致橡树》，意象明确、线索清晰，既深刻又易懂。
七忌“俗”：情趣庸常，语言油滑
“俗”分两种：一是情趣俗（如“科学无知实为庸”，用语粗直，情趣低下）；二是语言俗（如“暮洗尘衣问暖凉”，流于客套应酬，毫无新意）。诗贵清雅，要提升审美品味，从独特的角度观察世界，写出“唯独你能看见”的东西。
八忌“旧”：陈词滥调，缺乏新意
月亮、梅花、乡愁等传统题材不是不能写，而是不能重复别人的表达。如果只是简单套用“举头望明月，低头思故乡”的思路，写出来的诗只会陈腐老套。学学张若虚《春江花月夜》，以宇宙意识解读月亮，让传统题材焕发新的生命力；你也可以写“月亮是悬在摩天楼间的古老钟摆”，结合现代生活，写出专属你的月亮。
九忌“浅”：只描表象，缺乏内核
好诗不止于描绘景物和情绪的表面，更要深入内核，由象及情、由情及理。比如《杭州中秋夜》，只写“明月当空照，游人乐开怀”，没有挖掘中秋背后的思念、团圆等深层意蕴，显得浅薄。学学里尔克《豹》，通过笼中豹的意象，探讨自由与禁锢的哲学命题，让诗有厚度。
十忌“露”：全盘托出，毫无留白
诗的魅力在于“言有尽而意无穷”，切忌把话说满、把情绪宣泄殆尽。比如“我非常想念你，每天都在盼你归”，直白有余，回味不足。学学李白“却下水晶帘，玲珑望秋月”，不写怨而怨自深；顾城“你，一会儿看我，一会儿看云”，简单的句子里藏着复杂的情感张力，留白处正是诗意生长的地方。
十一忌“实”：过于写实，缺乏想象
诗不是记叙文，不需要精确还原场景和细节，过于写实会让诗变得板滞、缺乏灵气。比如写“我在公园散步，看到桃花开了，柳树绿了”，如同流水账，没有想象空间。学学柳宗元“孤舟蓑笠翁，独钓寒江雪”，实写渔翁，虚写其清高孤傲的精神境界，虚实相生，空灵动人。
十二忌“散”：意象杂乱，没有主线
一首诗无论意象多跳跃，都需要有一根内在的情感或逻辑主线贯穿，切忌像散珠无串，杂乱无章。比如《草原晚秋》，一会儿写草黄，一会儿写风大，一会儿写牛羊，一会儿写落日，四个画面孤立无援，缺乏勾连。学学艾略特《荒原》，虽碎片化，却有“水”与“干旱”的核心隐喻统摄全篇，形散而神聚。
结语：在法则的尽头，遇见自由
最后，让我们将这一切融会贯通：
心性，是诗歌的种子——保持敏感、真诚与好奇，让内心始终有丰沛的情感流动，这是诗的根基；
心法，是培育种子的技艺——熟练运用意象转化、感官写作、视角转换、经营张力、分行节奏，让诗意精准赋形；
禁忌，是园丁的经验之谈——警惕“直、泛、平、枯”等误区，帮我们避开弯路，让创作更健康地生长。
但请记住，所有的心法与禁忌，都只是“拐杖”——它们的作用是帮你站稳脚跟，而不是束缚你的脚步。当你通过持续练习，将这些法则内化为本能，就会在某个时刻超越它们：你不再刻意纠结“是否符合技巧”，而是让情感顺着语言自然流淌；你不再刻意回避“禁忌”，而是懂得如何创造性地突破，让“禁忌”成为独特的表达。
那时，你写下的将不是“一首符合规则的诗”，而是从你生命深处自然流淌出的、不可复制的语言结晶。最高的技巧，是让技巧消失不见；最动人的诗歌，是在所有法则的尽头，依然颤动的那份独一无二的真诚。
愿我们都能在语言的密林中，找到属于自己的那条小径，带着一颗真诚的心，手握实用的技巧，勇敢地走下去——让每一份感受都能凝结成诗，让每一首诗都能成为生命的见证。
主讲人：王本海
海浪花文艺微课堂
On the Creative Principles and Twelve Taboos of Poetry Writing
Introduction: Seeking Treasures in the Mountains, Traveling with the Heart
Dear friends, hello everyone!
Today, we won’t delve into obscure theories—we’ll just talk about a simple yet core question: How does that vague feeling in our heart
perhaps a sudden wave of melancholy, a soul-stirring touch, or a sleepless night of longing—break free from constraints and condense into clear, moving verses that transcend time and space?
This journey from heart to pen requires two pieces of luggage: a sharp and sincere heart to guide the direction of creation, and a set of reliable and handy tools to help us cut through thorns. The heart is the source of poetic inspiration, and tools are the bridge to shaping it. Only when both complement each other can we reach the other shore of poetry.
Part One: The Poet’s Heart—The Source of Poetic Inspiration
Writing poetry begins with an inner practice. Skills can be learned through study, but the sensitivity to poetry and the depth of a work’s soul require continuous nourishment of the heart.
(1) Reserved Contemplation: Let Feelings Ferment in Time
A poet is a winemaker of time. When intense feelings surge forth, a true poet never hurries to shout them out. Instead, they quietly embrace this touch, place it deep in their heart, and let it blend and settle gently with past memories and life experiences. The leisure in Tao Yuanming’s line “Plucking chrysanthemums by the eastern fence, I gaze leisurely at Nanshan” is by no means a casual mood of the moment—it is the natural expression of a life state formed after long-term retreat to the countryside and coexistence with mountains and rivers. Good poetry is never a hasty outpouring of emotions, but the condensation of essence after a period of quiet fermentation, stripped of impetuosity.
(2) Sincerity and Authenticity: Reveal the True Face of the Soul
Poetry is an art of “unveiling.” It dares to present the authenticity of life, even if that authenticity is private, complex, or even imperfect. Li Zhi’s “Theory of the Childlike Heart” and Yuan Mei’s “Theory of Natural Disposition” both emphasize this power of originating from one’s true self. True poetry dares to reveal emotions that have not been fully tamed by the world. Just as Zhang Zao wrote in “In the Mirror”: “Whenever I think of the regrets in my life, plum blossoms fall all over Nanshan.” He did not directly pour out his remorse, but quietly connected this hidden emotion with an ethereal and vast image, allowing sincerity to be presented in the most appropriate poetic form—moving and lingering.
(3) Profound Empathy: Let the Heart Resonate with the World
A poet’s heart is like a sensitive spider web, capable of catching both their own joys and sorrows and trembling at the wind from afar. From his own distress of “the thatched cottage being destroyed by the autumn wind,” Du Fu extended his compassion to “a broad house covering ten thousand hectares, sheltering all the poor scholars in the world”—this is empathy that integrates the individual into the collective. The Polish poet Wislawa Szymborska could perceive the delicate and gentle connection of the fate network from the accidental brush of two strangers—this is an acute awareness of the bonds between ordinary lives. Empathy breaks the limitations of the individual perspective, endowing poetry with the power to touch more people.
(4) Stubborn Polishing: Ultimate Loyalty to Language
Poetry is an “exquisite urn,” requiring both spiritual nourishment and craftsman-like dedication. Jia Dao “spent three years crafting two lines, shedding tears with a single recitation,” repeatedly revising a single word; the modern poet Ezra Pound revised his two-line poem “In a Station of the Metro” for months. These are not meaningless word games, but a nearly harsh pursuit of “expressing the current feeling with precision.” The creative process is a long dialogue between the poet and language—one must both tame language to carry their emotions and reverence language to make every word exert its maximum power.
Part Two: Creative Principles—Shaping Poetic Inspiration
With abundant inner feelings, how do we turn that vague “poetic inspiration” into concrete, vivid, and powerful verses? The following five principles are practical paths to the “state of shaping,” helping you bridge the gap from “having a heart” to “having a poem.”
Principle 1: Image Transformation—Finding a Unique “Body” for Emotions
This is the most thrilling and magical step in writing poetry: transforming abstract “feelings” (such as loneliness, ecstasy, longing) into concrete, tangible “images”—allowing readers to perceive your inner emotions through a single scene or picture.
Core Skill: When an emotion surges, do not settle for the first metaphor that comes to mind (e.g., “loneliness is like the night” or “longing is like a long thread”), as these expressions have long lost their freshness. Ask yourself repeatedly: “What is it more like? What does it look like that only I can feel?” Until you find that unique, detail-rich image that belongs solely to you.
Examples:
Instead of “Longing is long,” write: “My longing is a loose thread on a sweater; the more I pull it, the longer this dusk becomes.” (Using specific actions and scenes to endow longing with texture and extension)
Li Yu wrote about sorrow: “How much sorrow can one bear? It is like the spring river flowing eastward, endless day and night.” (Endowing “sorrow” with volume, dynamics, and endlessness, becoming an eternal masterpiece)
Daily Practice: Be an “image catcher” in life. Carry a small notebook with you and jot down those moments that unexpectedly move you: the scale of light and shadow moving on the windowsill, a wildflower growing in an abandoned tire, half a choked hometown accent in a stranger’s phone call, the shape of foam remaining at the bottom of a coffee cup… These fragmented scenes are all “seeds” for future poems.
Principle 2: Sensory Writing—Let Readers “Be There”
Do not directly tell readers how “sad,” “happy,” or “lonely” you are; let them experience your emotions through seeing with their eyes, hearing with their ears, touching with their hands, and smelling with their noses. Anchoring abstract emotions in specific sensory details gives poetry flesh and blood.
Mantra: Eliminate empty lyrical adjectives and instead use sight, hearing, smell, touch, and taste to construct perceptible scenes.
Examples:
Writing about quiet: “Quiet is the ‘puff’ of snow falling on pine branches, so light it’s as if the sky turned over.” (Using hearing and dynamics to make “quiet” perceptible)
Writing about melancholy: “Dusk is old, like the indelible patina on bronze, slowly crawling over the entire alley.” (Using sight and touch to endow “melancholy” with color and texture)
Writing about joy: “Joy is a just-peeled orange, with sweet and sour juice on the fingertips; when the wind blows, even the hair strands carry a warm fragrance.” (Using taste, touch, and smell to make “joy” vivid)
Principle 3: Perspective Shift—Opening a New Poetic World
When you feel that the scenery in front of you is “nothing to write about” or that what you write is clichéd, try looking at it with a different “pair of eyes.” A shift in perspective can make ordinary things bloom with new poetic charm.
Three Practical Perspectives:
1. Object Perspective: Let inanimate objects speak, endowing them with emotions and observations. For example: “I am an old light bulb in the corridor, watching generations of people move in and out; only I guard the occasional loneliness that lights up late at night.”
2. Reverse Perspective: Break conventional cognition and approach from the opposite side. For example, instead of writing about vitality when describing spring, write: “Spring is a gentle defeat of the earth, where all hardness is conquered by greenery”; instead of writing about completeness when describing the moon, write: “The moon is a biscuit bitten by the night, and its crumbs fall on the world, becoming stars.”
3. Micro/Macro Perspective: Magnify details or shrink grand things to create a sense of contrast. For example: “An ant carries a grain of rice, trekking through the wrinkles of a sycamore leaf—this is its long march across ten thousand miles”; “The universe is vast, yet my happiness is just a cup of hot tea you hand me, curling with small white mist.”
Principle 4: Managing Tension—Endowing Poetry with “The Charm of Contradiction”
A poem as calm as a mirror lake may be beautiful, but a poem full of tension is often more unforgettable. Tension arises from the juxtaposition and balance of opposing elements, filling the interior of the poem with a sense of pull and thus generating rich interpretive space.
Four Easy Ways to Build Tension:
1. Emotional Tension: Superimpose opposite emotions, such as “sweet pain,” “calm despair,” or “lively loneliness.”
2. Linguistic Tension: Break conventional collocations by elevating trivial things or minimizing grand things. For example: “In a dewdrop, the entire night’s starry sky curls up” (trivial things carrying grandeur); “History is just a loose button sewn on the sleeve of time” (grandeur reduced to triviality).
3. Time-Space Tension: Juxtapose different time and space to create a sense of transcendence. For example: “As I swipe my phone, the light on the screen suddenly reflects Li Bai’s swaying moon in his cup”; “In my grandmother’s needlework basket, there hides the moonlight of the Republic of China.”
4. Virtual-Real Tension: Combine concrete “real images” with abstract “virtual images.” For example, the migrant worker poet Xu Lizhi wrote: “I swallow an iron moon.” Iron is a concrete industrial part (real), while the moon symbolizes homesickness and hope (virtual); the collision between the two is both cruel and precise, with great impact.
Principle 5: Mastering Lineation and Breath—Giving Poetry “Rhythm”
Lineation in modern poetry is by no means simply cutting prose sentences; it is the key to creating musicality and visual rhythm for poetry. The position of line breaks determines the pauses, emphasis, and breath of reading—it is a silent rhythm.
Three Core Principles:
1. Emphasize Key Points: Place the most important words or emotions you want to highlight at the end of a line (strong emphasis) or beginning of a line (eye-catching restart).
Example:
I have traveled such a long way
Only to learn how to
Be light
( “Be light” stands alone, both emphasizing the theme and leaving room for reflection )
2. Create Suspense: Use the “enjambment” technique, allowing a meaning to be completed in the next line to create a brief sense of expectation.
Example:
She turned around, handed me a key, and said it was…
The fading sunlight of the entire afternoon
( Enjambment makes readers curious about “what the key is,” creating a poetic surprise when the answer is revealed )
3. Align with Emotions: Short lines bring a rapid, tense, or jumping rhythm (suitable for expressing excitement or anxiety); long lines bring a gentle, contemplative, or lingering breath (suitable for expressing tranquility or deep affection). Align the rhythm of lineation with the emotions you want to express, and the appeal of the poem will double.
Part Three: Twelve Taboos to Avoid
Knowing “what to do” is even more important than knowing “what not to do.” The following twelve common taboos are like warning signs on the creative path, helping you avoid detours and make poetic inspiration purer and more powerful.
Taboo 1: Being Too Direct—Plain as a Slogan, Losing Poetic Charm
Poetry values subtlety; avoid directly shouting out emotions and viewpoints. For example, “Young heroes are talented, striving for the country’s glory” has good intentions but is like a propaganda slogan, lacking aftertaste. Learn from Li Qingzhao’s “I fear that the tiny boats on Shuangxi cannot carry the weight of so much sorrow”—using concrete expressions to let emotions flow naturally, which is more moving than direct confession.
Taboo 2: Being Too Vague—Trying to Cover Everything, Empty and Lifeless
Writing poetry is like taking photos: focusing on one point can capture brilliance, while trying to cover everything will only blur the focus. For example, “Vowing to Make China Peaceful and Prosperous” has a correct theme but is vague and weak, lacking specific scenes and details to support it, making it difficult to move people. Learn from Wang Changling’s “The bright moon of Qin, the pass of Han”—compressing thousands of years of border history into seven words, achieving great power through small details.
Taboo 3: Being Too Flat—Plain Narration, No Ups and Downs
“Writing is like viewing mountains; one does not like flatness.” The emotions and rhythm of poetry should have ups and downs. If a poem maintains the same tone and emotion from start to finish, it is like a river without waves, boring to read. Learn from Li Bai’s “Quiet Night Thought” (Note: Corrected to a more appropriate example—“Drinking Alone Under the Moon” or “Will Enter the Wine”), which transitions from sorrow to wildness, then to depth, with twists and turns that make readers’ emotions ebb and flow with the verses.
Taboo 4: Being Too Dry—Sterile Language, Lack of Flesh and Blood
Poetry requires warm, textured language; avoid rigidly lecturing or describing scenery. For example, “Visiting the scenic spot fills my heart with joy, and the beautiful scenery intoxicates me” has empty language, like dried flowers without vitality. Learn from Song Qi’s “On the apricot branches, spring is bustling”—the word “bustling” transforms vision into hearing, bringing spring to life and turning dryness into richness.
Taboo 5: Being Too Forced—Coining Words, Awkward and Unintelligible
Innovation does not equal obscurity; avoid making up words or piling up rare characters to pursue “specialness.” For example, “Three thousand winter years have passed, but lofty ideals remain” is awkward and forced—“three autumn years have passed” is more natural. True innovation is combining common words to create fresh images, just like Haizi’s “Facing the sea, with spring blossoms”—simple words yet full of poetry.
Taboo 6: Being Too Obscure—Unintelligible, Pretending to Be Profound
Obscurity does not equal depth; good poetry should be “between understandable and incomprehensible.” Some people deliberately pile up symbols and overuse allusions to appear “profound,” leaving readers confused. Learn from Li Shangyin’s poems, which are obscure yet have traceable emotional threads; Shu Ting’s “To the Oak Tree” has clear images and symbols, with distinct emotional clues—both profound and understandable.
Taboo 7: Being Too Vulgar—Mediocre Taste, Sleazy Language
“Vulgarity” has two forms: vulgar taste (e.g., “Ignorance of science is truly mediocre,” with crude language and low taste) and vulgar language (e.g., “Washing dusty clothes at dusk, asking about warmth and coolness,” which is rigid and conventional, lacking freshness). Poetry values elegance; improve your aesthetic taste, observe the world from a unique perspective, and write what “only you can see.”
Taboo 8: Being Too Clichéd—Stale Expressions, Lack of Freshness
Traditional themes such as the moon, plum blossoms, and homesickness are not unwriteable—they just should not repeat others’ expressions. If you simply imitate “Raising my head, I see the bright moon; lowering my head, I think of my hometown,” the poem will only be stale and conventional. Learn from Zhang Ruoxu’s “Ode to the River of Flowers on a Moonlit Night,” which interprets the moon with cosmic awareness, endowing traditional themes with new vitality; you can also write “The moon is an ancient pendulum hanging between skyscrapers,” combining modern life to create your own unique moon.
Taboo 9: Being Too Superficial—Only Describing Appearances, Lack of Core
Good poetry does not stop at describing the surface of scenery and emotions; it should delve into the core, moving from images to emotions, then to reasoning. For example, “Mid-Autumn Night in Hangzhou” only writes “The bright moon shines in the sky, and tourists are happy,” failing to explore the deep meanings of longing and reunion behind Mid-Autumn Festival, making it superficial. Learn from Rainer Maria Rilke’s “The Panther,” which explores the philosophical proposition of freedom and imprisonment through the image of a caged panther, giving poetry depth.
Taboo 10: Being Too Explicit—Saying Everything, No Room for Imagination
The charm of poetry lies in “saying enough yet leaving much unsaid”; avoid saying everything and exhausting emotions. For example, “I miss you very much, and I look forward to your return every day” is too direct, lacking aftertaste. Learn from Li Bai’s “Lowering the crystal curtain, I gaze at the bright autumn moon through the delicate lattice”—expressing sorrow without directly saying it; Gu Cheng’s “You, look at me for a while, then look at the clouds” hides complex emotional tension in simple sentences, where the blank space is where poetic inspiration grows.
Taboo 11: Being Too Literal—Overly Realistic, Lack of Imagination
Poetry is not a narrative; it does not need to accurately restore scenes and details. Being overly realistic makes poetry rigid and lacking spirit. For example, “I walked in the park, saw peach blossoms blooming and willows turning green” is like a travel log, with no room for imagination. Learn from Liu Zongyuan’s “A lonely boat, a straw hat and coir raincoat; an old man fishing in the cold river snow”—literally describing an old man fishing, but implicitly expressing his noble and isolated spiritual realm, blending emptiness and reality to create an ethereal and moving effect.
Taboo 12: Being Too Disorganized—Chaotic Images, No Main Thread
No matter how jumping the images in a poem are, there must be an inner emotional or logical main thread running through it. Avoid being like scattered pearls without a string, chaotic and disorganized. For example, “Late Autumn on the Grassland” writes about yellow grass, strong wind, cattle and sheep, and sunset in turn—four isolated scenes lacking connection. Learn from T.S. Eliot’s “The Waste Land,” which, although fragmented, is unified by the core metaphors of “water” and “drought,” achieving “disorganized form but unified spirit.”
Conclusion: Meeting Freedom at the End of Rules
Finally, let us integrate all of this:
The heart is the seed of poetry—maintain sensitivity, sincerity, and curiosity, allowing abundant emotions to flow in your heart. This is the foundation of poetry.
Creative principles are the skills to nurture the seed—proficiently use image transformation, sensory writing, perspective shift, tension management, and lineation rhythm to shape poetic inspiration accurately.
Taboos are the lessons of a gardener—be vigilant of taboos such as “directness, vagueness, flatness, and dryness,” helping us avoid detours and make creation grow healthier.
But remember: all creative principles and taboos are just “crutches”—their role is to help you stand firm, not to restrain your steps. When you internalize these rules into instinct through continuous practice, you will surpass them at a certain moment: you will no longer deliberately worry about “whether it conforms to skills,” but let emotions flow naturally with language; you will no longer deliberately avoid “taboos,” but know how to break through creatively, turning “taboos” into unique expressions.
At that time, what you write will no longer be “a poem that conforms to rules,” but an irreproducible crystallization of language flowing naturally from the depths of your life. The highest skill is to make skills disappear; the most moving poetry is that unique sincerity still trembling at the end of all rules.
May we all find our own path in the forest of language, move forward bravely with a sincere heart and practical skills—let every feeling condense into poetry, and let every poem become a testimony of life.
Speaker: Wang Benhai
Hailanghua Literature Micro-Class
策划出品发行：
中国•思路海浪花文化艺术服务中心
特别推出王本海原创诗词一组十一首作品展示
一、《劳动之光》
百年工运铸辉煌，热血曾经破旧章。
铁臂擎天开伟业，匠心织梦焕荣光。
千行汗润山河壮，万众情凝岁月长。
再展宏图挥巨笔，征程新启耀东方。
二、《岳溪高铁站》
岳溪胜景启新章，铁骥驰风韵绕梁。
凤舞仙姿开画境，鲤鱼奔汉聚祥光。
浦河卷浪彰雄浑，碧水腾波显浩茫。
九域通途兴骏业，千秋伟绩永传扬。
三、《鹧鸪天•春之韵》
亿万人民斗志坚，齐心共赋鹧鸪天。
修成大道心安泰，引荐贤良梦傲然。
南海涌，北风眠。联盟工匠报平安。
神龙踏破环球路，货币倾盆用处宽。
四、《咏重庆湖广会馆》
东水门边古馆崇，飞檐翘角傲苍穹。
禹王殿内香烟绕，粤客堂前笑语融。
壁画山川呈胜景，梁雕瑞兽展祥风。
移民浩史千秋颂，故梓宏情万代雄。
五、《咏鲤鱼城寨》
岳溪胜景鲤鱼城，雾绕云环史韵盈。
旧堞残痕思往昔，青山焕彩启新程。
灵波轶事添幽趣，隆替交更悟此生。
文保鸿篇开画卷，铁龙驰暖梦方荣。
六、《研盘湾》
星望银潢灌斗光，浦河仓水绕环塘。
回龙映月沉犀影，困犊衔辉卧犬梁。
圣像携童东障固，狮岩踞势岭南昂。
跃登直下江天阔，一脉沧溟接大康。
七、沁园春•九三阅兵
八秩风云，烽烟未远，青史长铭。看天安门下，旌旗猎猎；长安道上，步履铿铿。铁甲洪流，银鹰浩宇，犹记当年血火程。凝眸处，正山河无恙，日月同明。
//
今朝再聚雄兵，承先烈精神续远征。恰鼓鼙催马，初心未改；风霜砺剑，浩气难平。赤县同欢，神州共庆，告慰忠魂慰此生。豪情起，待复兴梦遂，再耀丹青。
八.临江仙•研盘湾
口王本海
浦水汤汤环故苑，龙蟠虎踞呈祥。三梁续脉接穹苍。望星凝浩渺，宝鼎护乡邦。
∥
九世传薪承祖训，诗联高雅昭彰。家山入梦总牵肠。初心凝雅赋，文脉万年长。
九.沁园春•研盘湾
胜景研盘，翠影婆娑，秀色可餐。看青山拥翠，峰峦竞秀；碧波漾彩，鱼戏荷间。野径通幽，繁花似锦，蝶舞翩跹逐蕊欢。凭栏处，望湖光潋滟，诗意绵绵。
∥
遥思岁月如烟，忆往昔、风流故事传。念昔贤逸客，寻幽揽胜；文人雅士，泼墨诗篇。胜地扬名，韵情千古，逸趣长留天地间。今朝醉，赏山川盛景，梦绕魂牵 。
十.水龙吟•研盘湾
浦河潋滟仙环绕，岁月漫寻陈貌。望星寨顶，烟霞缥缈，山川襟抱。忆昔先人，垦荒锄草，梦怀情傲。念勤俭立家，本修德启，文芳志、贤才耀。
//
曾历洪波狂啸，众齐心、护家园好。古房旧巷，依稀故事，家风未老。稻穗翻金，田畴凝翠，韵含丰峭。看研盘胜景，王氏根脉，永传荣耀。
十一.满庭芳•研盘湾
浦水环塘，星望银潢，山川胜景悠长。念初先述，开兆启荣光。首创勤修字辈，为后世、德范昭彰。看今日，贤才继起，文韵绽华芳。
//
难忘，风雨骤，洪波狂啸，众志安邦。任岁月沧桑，古巷流芳。本海新篇续就，一百四、薪火传扬。期来日，研盘焕彩，族运永繁昌。
王本海人物介绍
王本海，字木心，号一合，笔名思路、河边柳、马平、云鹤寿松、星空明月等，1965年2月出生于重庆市开州区五通乡浦里河畔寨家村研盘湾，是集诗人、音乐创作人、作家、文化学者于一身的跨界文化从业者，拥有教授级高级工程师职称，长期深耕文学、音乐、文化传播与非遗传承领域，以“工科严谨+人文浪漫”的独特风格，成为新时代文化传承与创新的标杆人物。
一、基本信息
姓名：王本海
字/号：字木心，号一合
笔名：思路、河边柳、马平、云鹤寿松、星空明月
民族：汉族
出生年月：1965年2月
籍贯：重庆市开州区五通乡浦里河畔寨家村研盘湾
职业：诗人、音乐创作人、作家、文化学者
职称：教授级高级工程师
核心特质：融合工科思维与人文情怀，擅长以传统文体书写时代主题，推动文化跨界传播
二、教育与职业背景
教育经历：大学文化背景，获渭南市电工职业资格证书，兼具工科精准思维与人文创作素养，为其跨界文化实践奠定双重学术基础。
职业方向：早年涉足工程技术领域，后聚焦文化创作与传播，深耕辞赋、诗词、歌词、散文等多元文体，同时主导文化活动策划与非遗传承项目，实现从“工程图纸”到“文化篇章”的跨界转型。
三、社会职务
1. 国际作家和作曲家协会联合会会员
2. 中国音乐著作权协会会员
3. 中华诗词学会会员
4. 贵州省诗词楹联学会会员
5. 中央新影发现之旅频道《文化强国》栏目组首批特聘高级智库专家（教授级高工）
6. 全国第一批非物质文化遗产创新人才
7. 中国·思路海浪花文化艺术服务中心总策划/总编
8. 福建省莆田市荔城区海浪花文学艺术中心法人代表
四、主要成就与作品
（一）文学创作：以传统文体载时代新声
王本海在文学领域以“守正创新”为核心，尤其擅长赋体、诗词、楹联创作，独创“四维文化透视”模型（地理形胜—历史溯源—红色基因—当代图景），作品兼具古典风骨与现代气息。
1. 赋体文学：代表作《百城百赋百诗》系列，涵盖《开州赋》《重庆赋》《遵义赋》《延安赋》《井冈山赋》《四川赋》《中华赋》《人民日报赋》《新华社赋》《法治晨报赋》等。其中，《人民日报赋》《新华社赋》以骈俪之笔勾勒主流媒体的使命担当，《法治晨报赋》以“笔化龙泉之锷，纸成獬豸之裳”喻法治媒体锋芒，均发表于《人民日报市场报》《法治晨报》等权威平台，成为“以赋载道”的典范、评论家木兰飞燕评论“一篇襄阳赋，半部中国史”。
2. 诗词创作：作品入选《新中国建国六十周年中华诗词诗书画精品典藏卷》，获“功勋诗人”称号；2022年在《法治晨报》发表《七律·醉美故乡》《七律·观刘伯承铜像有感》《沁园春·八一节寄怀》《贺院线电影〈微山湖小八路〉拍摄圆满成功》等；2024年创作《满江红·九三阅兵》，前瞻性书写抗战胜利80周年阅兵盛况，获专业评论界高度认可；其七律《咏人民日报》《咏新华社》凝练媒体风骨，成为传统诗词现代转化的样本。
3. 楹联与散文：2025年建党节期间，遵义市诗词楹联协会《红城联墨•中国楹联双修遵义分校》为其对联作品推出专题版面；其创作的有声作品《散文《美丽乡村五通》、《故乡的炊烟》、诗词作品《赞普阳律师事务所及陈震、陈韩钦律师》、《贺遵义市红花岗区协会成功开通中华诗词子网站》、英文版《沁园春.赞刘新星》创作背景简介、《王本海题刘伯承元帅故居楹联鉴赏》、演讲稿《榜样之光--王本海为我们照亮逐梦征程》、人物对话《在铁轨与诗行间筑造文化桥梁--跨界大师王本海的创作人生》在燕赵有约官方通过QQ音乐、酷狗音乐、酷我音乐等多平台发布，著有地方传奇故事《鲤鱼劫——血色山河中的一尾神话》。
4. 学术编著：编著《巴渝王氏160字辈诗库暨巴渝王氏世系图》，以“诗文活化族谱”的创新形式，为家族文化与非遗传承提供实践方案；《研盘湾五行镇源记--木宅开基，石寨传脉，本辈承宗》、《歌曲创作的黄金法则教案--写一首让大众共情传唱的“好歌”。
（二）音乐创作：以旋律传递文化温度
作为高产音乐创作人，王本海累计创作原创歌曲200余首，坚持“歌词为魂、旋律为翼”，作品覆盖家国情怀、地域文化、榜样精神等主题，兼具传播度与思想性。
1. 代表作品：《祖国的霞光》（激昂抒发爱国情怀，成讴歌时代经典）、《这面旗帜》《穿过月亮的旅行》（呼应同名电影，以浪漫曲风编织情感梦境）、《雄奇山水·新韵重庆》（展现地域风光）、《非遗中国》（助力非遗传播）、《红岩朝露》（校园红歌）、《缅怀刘伯承元帅》《您从黄葛古道走来》（红色主题）今歌之约 (总第一百三十三期 · 天津市音乐文学学会 主办)刊发、《研盘湾之歌》（家乡情怀）、《初心灿若霞》（聚焦公益榜样，从“帮老人擦霜”“给孩子递书”等小事切入，让榜样精神可感可学）、《思路海浪花文艺之歌》（凝聚文艺群体理想）。
2. 传播与荣誉：作品由贺筠筠等知名歌唱家演绎，入库全国KTV，登陆QQ音乐、网易云音乐等主流平台；获中国大众音乐协会“金奖”、“永远跟党走·献礼二十大”原创歌曲金奖等国家级奖项。
（三）文化传播与实践：搭建传承与创新桥梁
王本海以“文化使者”身份，推动文化落地与跨界融合，主导多项具有社会影响力的文化活动。
1. 红色文化传承：2023年春节前夕，牵头联合全国知名钢笔画家张根和、开州书法家谭周文、贺启财（野神）、彭晓、田小波等，向刘伯承同志故居捐赠11幅书画作品；主导“纪念刘伯承元帅诞辰130周年诗词书画征文征集活动”，吸引全国创作者参与，收到2000余首诗词、11幅书画作品，经评审后多平台推广，推动红色文化与艺术创作深度融合。
2. 跨界实践：2023年参演电影《穿过月亮的旅行》（饰演“专注读报的乘客”），拍摄结束后深夜3点结合片场感悟创作同名歌曲，实现“影视表演—音乐创作”无缝衔接；其作品及事迹获央视、中国教育电视台、《法治晨报》《人民日报市场网络版》城市新闻等主流媒体报道，2022年8月30日《法治晨报》以整版篇幅报道其诗歌创作成就。
3. 非遗与智库工作：作为全国第一批非物质文化遗产创新人才，探索非遗现代转化路径；担任《文化强国》栏目特聘高级智库专家，为文化建设提供专业建议；主导思路海浪花文化艺术服务中心工作，策划多项文化活动，推动“文艺服务大众”理念落地。
五、荣誉奖项
1. 1999-2009年度：国际中华诗歌总会“一级作家”
2. 2010年：英国皇家艺术基金会永久学术顾问
3. 2019年：中国世纪大采风“德艺双馨艺术家”
4. 2019-2024年：遵义市红花岗区“优秀文艺工作者”
5. 2022年：“永远跟党走·献礼二十大”原创歌曲金奖
6. 2022年：“《大国·大家》优选工程杰出艺术家优选人才奖”
六、艺术特色与评价
（一）艺术特色
1. 文体创新：融合骈偶句式与时空对话，独创“赋体叙事诗”，打破传统赋体“辞藻堆砌”局限，让古典文体承载现代主题。
2. 主题挖掘：深度绑定地域文化与红色基因，擅长从“小场景”写“大主题”（如以“街灯”“递书”等细节传递时代精神），避免口号式表达。
3. 跨界融合：贯通文学、音乐、影视、非遗研究，形成“新古典主义”风格，实现“工科精准架构+人文情感表达”的独特统一。
（二）外界评价
1. 《文化强国》栏目组：“以赋载道，以歌咏志，其作兼具汉赋的鸿篇气象与现代文艺的传播力。”
2. 专业评论界：“词凝日月，曲动山河”，其个人经历体现“立本为基，汇海成澜”的文化追求，作品本质是“新时代的《山河社稷图》”，以地理为载体、历史为脉络、赋体为形式，完成中华文明基因的解码与现代化转译，在当代文学中具有不可替代性。
七、参考资料
1. 《法治晨报》2022年8月30日专题报道、2025年9月3日相关作品报道
2. 《人民日报市场网络版》城市新闻2025年9月3日人物及作品报道（含《人民日报赋》《新华社赋》等）
3. 贵州省诗词楹联学会《贵州诗联》《黔诗红韵》发表记录
4. 陕西省诗词学会官方网站发表记录
5. 中央新影《文化强国》栏目组专家库名录
6. 中国音乐著作权协会会员名录
7. 中国·思路海浪花文化艺术服务中心公众号及莆田市海浪花文艺官网
8.红花岗区作协红城诗韵、巷口诗韵公众号
9. 城市头条、知乎、今日头条、诗人作家档案库、网易新闻、顶端新闻及主流音乐平台作品收录与传播数据
10. 相关荣誉奖项官方公告及证书
王本海人物简历.原载《人民日报市场网络版》城市新闻2025年9月3日http://www.peoplezixun.cn/renwen/2025/0903/31242.html 王本海人物简介《人民日报市场网络版》城市新闻
【海浪花文艺】特推原创歌曲《川渝人家》作词作曲王本海、演唱/海浪花艺术团 中国思路海浪花文化艺术服务中心 https://a.51vv2.com/v/2k3c4t9B -VV
【海浪花文化艺术服务中心徽标辞】
*****～～*****
四平稳稳稳八方，
五岳巍巍巍万芳。
六六行舟风水顺，
开天辟地九尊王！
注：商标注册创意图案.宽4.88尺.厚3.33寸.高3.69米。寓意：韵海扬帆.驶向远方.披荆斩棘.乘风破浪.敢闯天下；为唤醒当下乡村振兴内在动力，开发乡村旅游资源，拉动乡村经济发展，建设大美乡村，唱响时代主旋律，激发社会正能量，弘扬社会主义核心价值观，推动社会主义文化繁荣兴盛，共建和谐社会发挥出积极的应有作用！让我们共同践行文道，铸造艺魂，做新时代的领跑者！
—————————
法人代表：王本海
—————————
特邀法律顾问:重庆市浦里法律事务所主任律师:谭雪峰
——————————
刊头书法: 诗书双绝国礼艺术家谭周文
——————————
音视频总监制
——————————
布依男孩.金戈铁马.朵朵花开.李云霞.东方微笑
——————————
责任编剧
稿件管理
——————————
无名渔父•吴如来•李标•老夫聊发•蔷薇•江风•七秒•赵芳•马乾有.一箭寒梅.宋任升•粟灯•张洪斌•李仕侠•刘兴祥•天天乐•且听风吟•花开最完美.盛百珍.七月七
专职文艺评论员：宁静、王汐雯、佳佳、灵川、飞燕、光辉、辛明、木兰飞燕……
——————————
外联演出团长:快乐老翁·朴明哲·泸洁·叶丽英•甜蜜双飞•武姗姗
—————————
中国•思路海浪花歌舞艺术团团长.宣传部长:蔷薇
————————
中国•思路海浪花文化艺术服务中心海南省海之花艺术学校校长：叶丽英
—————————
主播：宋庆龄特型演员刘新星.音汉双语•子境（刘子静）.马建英.柳依.东篱.艺舟.宋重东.于华.关瑞林.碧海青天.金色风帆.沧海.豆豆.花儿.依依.春妮..小桥流水.舞.红叶.文刀客.金戈铁马.微笑东方.慧觉.王芸宵.等众多主播
————————
中国•思路海浪花文化艺术服务中心
福建省莆田市荔城区海浪花文学艺术中心
————————
承接业务范围：
————————
影视制作.活动策划.广告创意.节目主持.作品创作.制作发布.书刊印刷、红白喜事.文艺演艺、《企事业机关》单位团体《歌词》《歌曲》量身定制.广告代理.餐饮配送.烟酒副食品零售.预制食品包装.农副产品.托管托教.教育.培训宣传代理等多媒体业务。
——————————
线下演出联盟合作单位:
———————
武姗姗艺术团
遵义女子诗社
开州南山演出集团公司.
思路海浪花吉林市艺术团
福建省戏剧一团.
广东省惠州市海浪花艺术团
广东省惠州市旗袍美人艺术团
广东省惠州市飞翔舞蹈艺术团
广东省惠州市鸿润舞蹈艺术团
广东省惠州市南山双人舞蹈艺术团
黑龙江省大庆市旗袍艺术团
江苏省洪泽区洪泽湖戏剧艺术团
广东省东莞市旗袍朗诵艺术团
吉林省吉林市老兵文工团
吉林省吉林市铭阳舞蹈艺术团
海南省海之花艺术学校
**********
官方合作
雷锋杂志社(国家级)
人民法制·清廉中国(国家级)
漯河市统战部线上
世界名家组委会
世界日报社、世界头条
**********～**
投稿须知：
1、海浪花文化艺术服务中心.公众平台以文会友，互相交流，推广老作者，扶持文艺新人， 弘扬传统文化，提升自我价值，努力为广大文艺爱好者提供一个最优质的交流平台。
2、海浪花文化艺术服务中心.平台开设栏目:1《诗词天地》2《散文·小说》3《随笔.随风》4《格言·幽默大观》5《戏剧、曲艺舞台》6《相声小品》7《平台歌声》8《创作及理论漫谈》9《萌芽苗圃》10《天南地北》11《民俗民风》12巜动态新闻》13《人文景观》14《音频视频》15《史海钩沉》
16《民间故事会》17《三农报告》18《社会科学》19《政治学》20《人民法治·清廉中国》21《摄影摄像》22《书画艺术》等等。作者请自行校对文字、古诗检测需合要求.
附带100字内个人简介高清横拍照片一张
精华热点 
