#学诗##善公学诗#20220405
(引用的原诗文系古诗文网20220403-04推荐)
到得前头山脚尽,堂堂正正别前村/各得其用,各尽其性,则天人相应
宋代林景熙的《溪亭》
清秋有馀思,日暮尚溪亭。
高树月初白,微风酒半醒。
独行穿落叶,闲坐数流萤。
何处渔歌起?孤灯隔远汀。
高树月初白,微风酒半倾。09:44 2022-03-17
清秋有馀思,日暮尚溪亭。高树月初白,微风酒半倾。独行穿落叶,闲坐数流萤。何处渔歌起?孤灯乱远星。09:46 2022-03-17
金秋有馀思,日暮尚溪亭。高树月初白,微风酒半清。独行随落叶,闲坐数流萤。何处渔歌起?孤灯乱远星。10:26 2022-04-04
金秋有馀思,日暮尚溪亭。高树月初白,微风酒半清。独行随落叶,闲坐误流萤。何处渔歌起?孤灯乱远星。10:34 2022-04-04
宋代杨万里的《桂源铺》
万山不许一溪奔,拦得溪声日夜喧。
到得前头山脚尽,堂堂溪水出前村。
万山不许一溪奔,拦得溪声日夜喧。到得前头山脚尽,堂堂正正出前村。10:15 2022-04-04
万山不许一溪奔,拦得溪声日夜喧。到得前头山脚尽,堂堂正正别前村。10:16 2022-04-04
舜其大知也与!舜好问而好察迩言。隐恶而扬善。——《中庸·第六章》
舜其大知也与!舜好问而好察迩言。隐恶人而扬善众。03:40 2020-08-23
舜其大知也与!舜好问而好察迩言。隐人恶而扬人善。10:12 2022-04-04
吃着碗里看着锅里——《红楼梦·第十六回》
“吃一个、夹一个、看一个!”——语出电影《大决战》10:09 2022-04-04
“吃一个!夹一个!看一个!”——语出电影《大决战》10:39 2022-04-04
圆行方止,器之异也;金刚水柔,性之别也。——《梁书·列传·卷二十一》
圆行方止,器之异也;金刚水柔,性之别也。各得其用,各尽其性,则天人相应。照应其志,流通其性,则天下太平。10:30 2022-04-04
圆行方止,器之异也;金刚水柔,性之别也。各得其用,各尽其性,则天人相应。照应其志,流通其性,则天下顺宁。10:37 2022-04-04
不可以一时之得意,而自夸其能;亦不可以一时之失意,而自坠其志。——《警世通言·卷十七》
不可以一时之得意,而自伐其能;亦不可以一时之失意,而自损其志。09:50 2022-04-04
轻财足以聚人,律己足以服人,量宽足以得人,身先足以率人。——《小窗幽记·集醒篇》
轻财足以附人,则己足以信人,量宽足以得人,身先足以动人。09:45 2022-04-04
大成若缺,其用不弊。大盈若冲,其用不穷。——《老子·德经·第四十五章》
记得我给2005春晚小品《功夫》打了“98分”,——没有得“100分”,这是不是、算不算“大成若缺”呢?09:44 2022-04-03
记得我给2005春晚小品《功夫》打了“98分”,——没有得“100分”,这是不是、算不算“大成若缺,——“没毛病”!”呢?09:51 2022-04-03
记得我给2005春晚小品《功夫》打了“98分”,——没有得“100分”,这是不是、算不算“大成若缺,——没毛病!”呢?09:52 2022-04-03
记得我给2005春晚小品《功夫》打了“98分”,——没有得“100分”,这是不是、算不算“大成若缺,——“用”就是了,没毛病!”呢?09:54 2022-04-03
大成若缺,——“用”就是了嘛,没毛病!大盈若“盅”,——用就是了嘛,你一直用(下去)也用不到“尽头”的。202204031826
大成若缺,——“用”就是了嘛,没毛病!大盈若“盅”【真正“大”的盈满是像“盅”那样的盈满】,——用就是了嘛,你一直用也用不到“(尽)头”的。202204031839
大成若缺【真正“大”的成器是看上去像是“有点缺陷”的大器】,——“用”就是了嘛,没毛病!大盈若“盅”【真正“大”的盈满是像“盅”那样的盈满】,——用就是了嘛,(它是颠扑不破的,)你一直用也用不到“(它的)尽头”的。202204031923
大成若缺【真正“大”的成器是看上去像是“有点缺陷”的大器】,——“用”就是了嘛,没毛病!大盈若“盅”【真正“大”的盈满是像“盅”那样的盈满】,——用就是了嘛,(它是颠扑不破的,)你一直用也用不到“(它的)尽头”的。——说白了:看上去有缺陷的“大器”好用,好好的用!看上去器量小的“大器”也好用,好好用!202204031936
大成若缺【真正“大”的成器是看上去像是“有点缺陷”的大器】,——“用”就是了嘛,没毛病!大盈若“盅”【真正“大”的盈满是像“盅”那样的盈满】,——用就是了嘛,(它是颠扑不破的,)你一直用也不会用到“(它的)尽头”的。(——说白了:看上去有缺陷的“大器”好用,——好好的用!看上去器量小的“大器”也好用,——好好用!)21:19 2022-04-03
#图配文#20220404【外竞不栖,牵念不住,正念不灭】
为什么要学法?要多闻思?要念佛?要一心?遇到境界时你能有智慧,有觉悟,有觉醒,能不着,能自觉,能自救。能够随顺因缘,善用其心,以心转境,“精研妙明,四大不织”,那些障碍就都没有了。一来“执着”坏事,住于非住了。假使心念流溢前境,在那前境起那么一点儿执着那就是“迷”了,住于“非住”了嘛,功夫就在能“生无所住心”,念念之间心无所住,如日行空,外竞不栖,牵念不住,正念不灭。17:25 2022-04-03
(引用的原诗文系古诗文网20220403-04推荐)
到得前头山脚尽,堂堂正正别前村/各得其用,各尽其性,则天人相应
宋代林景熙的《溪亭》
清秋有馀思,日暮尚溪亭。
高树月初白,微风酒半醒。
独行穿落叶,闲坐数流萤。
何处渔歌起?孤灯隔远汀。
高树月初白,微风酒半倾。09:44 2022-03-17
清秋有馀思,日暮尚溪亭。高树月初白,微风酒半倾。独行穿落叶,闲坐数流萤。何处渔歌起?孤灯乱远星。09:46 2022-03-17
金秋有馀思,日暮尚溪亭。高树月初白,微风酒半清。独行随落叶,闲坐数流萤。何处渔歌起?孤灯乱远星。10:26 2022-04-04
金秋有馀思,日暮尚溪亭。高树月初白,微风酒半清。独行随落叶,闲坐误流萤。何处渔歌起?孤灯乱远星。10:34 2022-04-04
宋代杨万里的《桂源铺》
万山不许一溪奔,拦得溪声日夜喧。
到得前头山脚尽,堂堂溪水出前村。
万山不许一溪奔,拦得溪声日夜喧。到得前头山脚尽,堂堂正正出前村。10:15 2022-04-04
万山不许一溪奔,拦得溪声日夜喧。到得前头山脚尽,堂堂正正别前村。10:16 2022-04-04
舜其大知也与!舜好问而好察迩言。隐恶而扬善。——《中庸·第六章》
舜其大知也与!舜好问而好察迩言。隐恶人而扬善众。03:40 2020-08-23
舜其大知也与!舜好问而好察迩言。隐人恶而扬人善。10:12 2022-04-04
吃着碗里看着锅里——《红楼梦·第十六回》
“吃一个、夹一个、看一个!”——语出电影《大决战》10:09 2022-04-04
“吃一个!夹一个!看一个!”——语出电影《大决战》10:39 2022-04-04
圆行方止,器之异也;金刚水柔,性之别也。——《梁书·列传·卷二十一》
圆行方止,器之异也;金刚水柔,性之别也。各得其用,各尽其性,则天人相应。照应其志,流通其性,则天下太平。10:30 2022-04-04
圆行方止,器之异也;金刚水柔,性之别也。各得其用,各尽其性,则天人相应。照应其志,流通其性,则天下顺宁。10:37 2022-04-04
不可以一时之得意,而自夸其能;亦不可以一时之失意,而自坠其志。——《警世通言·卷十七》
不可以一时之得意,而自伐其能;亦不可以一时之失意,而自损其志。09:50 2022-04-04
轻财足以聚人,律己足以服人,量宽足以得人,身先足以率人。——《小窗幽记·集醒篇》
轻财足以附人,则己足以信人,量宽足以得人,身先足以动人。09:45 2022-04-04
大成若缺,其用不弊。大盈若冲,其用不穷。——《老子·德经·第四十五章》
记得我给2005春晚小品《功夫》打了“98分”,——没有得“100分”,这是不是、算不算“大成若缺”呢?09:44 2022-04-03
记得我给2005春晚小品《功夫》打了“98分”,——没有得“100分”,这是不是、算不算“大成若缺,——“没毛病”!”呢?09:51 2022-04-03
记得我给2005春晚小品《功夫》打了“98分”,——没有得“100分”,这是不是、算不算“大成若缺,——没毛病!”呢?09:52 2022-04-03
记得我给2005春晚小品《功夫》打了“98分”,——没有得“100分”,这是不是、算不算“大成若缺,——“用”就是了,没毛病!”呢?09:54 2022-04-03
大成若缺,——“用”就是了嘛,没毛病!大盈若“盅”,——用就是了嘛,你一直用(下去)也用不到“尽头”的。202204031826
大成若缺,——“用”就是了嘛,没毛病!大盈若“盅”【真正“大”的盈满是像“盅”那样的盈满】,——用就是了嘛,你一直用也用不到“(尽)头”的。202204031839
大成若缺【真正“大”的成器是看上去像是“有点缺陷”的大器】,——“用”就是了嘛,没毛病!大盈若“盅”【真正“大”的盈满是像“盅”那样的盈满】,——用就是了嘛,(它是颠扑不破的,)你一直用也用不到“(它的)尽头”的。202204031923
大成若缺【真正“大”的成器是看上去像是“有点缺陷”的大器】,——“用”就是了嘛,没毛病!大盈若“盅”【真正“大”的盈满是像“盅”那样的盈满】,——用就是了嘛,(它是颠扑不破的,)你一直用也用不到“(它的)尽头”的。——说白了:看上去有缺陷的“大器”好用,好好的用!看上去器量小的“大器”也好用,好好用!202204031936
大成若缺【真正“大”的成器是看上去像是“有点缺陷”的大器】,——“用”就是了嘛,没毛病!大盈若“盅”【真正“大”的盈满是像“盅”那样的盈满】,——用就是了嘛,(它是颠扑不破的,)你一直用也不会用到“(它的)尽头”的。(——说白了:看上去有缺陷的“大器”好用,——好好的用!看上去器量小的“大器”也好用,——好好用!)21:19 2022-04-03
#图配文#20220404【外竞不栖,牵念不住,正念不灭】
为什么要学法?要多闻思?要念佛?要一心?遇到境界时你能有智慧,有觉悟,有觉醒,能不着,能自觉,能自救。能够随顺因缘,善用其心,以心转境,“精研妙明,四大不织”,那些障碍就都没有了。一来“执着”坏事,住于非住了。假使心念流溢前境,在那前境起那么一点儿执着那就是“迷”了,住于“非住”了嘛,功夫就在能“生无所住心”,念念之间心无所住,如日行空,外竞不栖,牵念不住,正念不灭。17:25 2022-04-03
#双语阅读#【古文里的高级审美词汇,怎样翻译成英文?】品佳作,赞盛景,本想脱口而出,奈何词穷无言。中华文化广而博,这里整理了一些古文中高级审美词汇表达,学起来吧!
1.洗炼 Terseness / Make Writing Succinct
精简词句,提炼要义。洗炼是一种文字干净、主旨鲜明的文学风格。
This term means that wording should be refined to highlight the essential message. Terseness is a mark of neat and thematically explicit writing.
▌引例
不洗不净,不炼不纯。惟陈言之务去,独戛戛乎生新。(孙联奎《诗品臆说》)
Nothing will be clean until it is cleansed. Nothing will be pure until it is refined. Only by ridding ourselves of any banality, can we become truly original.
2.雄浑 Powerfulness
指雄健有力、浑厚自然的艺术风格与审美气象。
This term, which literally means power and splendor, refers to a natural and powerful artistic style and aesthetic taste.
▌引例
大力无敌为雄,元气未分为浑。(杨廷芝《 <二十四诗品> 浅解》)
Powerfulness means invincible power and indivisible mass of vital energy.
3.纯素 Pure and Unadorned
纯粹而素朴。指纯然素朴、不加人工雕饰的本色之美。
This term refers to natural, unadorned beauty.
▌引例
纯素之道,惟神是守。守而勿失,与神为一。 (《庄子·刻意》)
Within spiritual being lies the value of pure simplicity. If you retain your spirit without fail, you became one with it.
4.隐秀 Latent Sentiment and Evident Beauty
诗歌与文章既隐含丰富的思想感情,又有秀美的名言佳句。
This term means that prose and poetry may contain latent sentiments and thoughts, as well as expressions and sentences that present an apparent sense of beauty.
▌引例
情在词外曰隐,状溢目前曰秀。 (张戒《岁寒堂诗话》卷上引刘勰语)
Latency happens when feelings and thoughts are hidden between the lines of a literary work. Evident beauty occurs when messages of sentiment and feelings are vividly portrayed by the images the author creates.
5.飘逸 Natural Grace
指诗歌作品中所表现出的逍遥自适、超凡脱俗、无拘无束的审美情趣和艺术风格。
Natural Grace refers to free and unconstrained aesthetic style and artistic appeal in poetic works.
▌引例
子美不能为太白之飘逸,太白不能为子美之沉郁。 (严羽《沧浪诗话·诗评》)
Du Fu could not write as freely and unconstrained as Li Bai, while the latter did not possess the style of melancholy and profoundness typical of Du Fu’s poems.
6.空灵 Ethereal Effect
空灵用笔洗练,重在传达神韵,具有空灵特点的作品澄澈透明、飘逸灵动,能使人体悟到自由超脱的审美愉悦。
The notion of ethereal effect values simple layout and economical use of details, seeking to convey character and imagination. Works that make use of ethereal effect convey a wonderful lucidity, and possess openness, freedom, and natural grace. Such works enable viewers to appreciate the aesthetic joy of free imagination.
▌引例
古人用笔极塞实处愈见空灵,今人布置一角已见繁缛。(恽格《南田画跋·题画》)
When painting, classical artists made use of ethereal effect all the more where a dense collection of objects normally was required. However today’s artists no sooner begin to paint than they fill the space with elaborate details.
7.枯淡 Dry Plainness
指诗文作品所呈现的质朴干枯、平和清淡的艺术风格。
This refers to a literary style that appears plain and dry, mild and moderate.
枯淡不是枯涩寡味、平庸浅薄,而是指外表看似干枯平淡、内里丰腴醇厚的一种表现手法,旨在用质朴平淡的语言和描写来表现丰富深刻的思想内容,创造出含蓄深邃、醇厚高远的意境。
▌引例
所贵乎枯淡者,谓其外枯而中膏,似淡而实美,渊明、子厚之流是也。(苏轼《评韩柳诗》)
I value the style of dry plainness because it looks withered and dry outside but is rich inside; it appears plain but is in fact beautiful. Poetry by such writers as Tao Yuanming and Liu Zongyuan is like this.
8.畅神 Free Flow of One's Mind
指精神与自然合一时所达到的自由舒畅的一种审美状态。
The term describes a state of mind one achieves when appreciating an artwork, in which process one's inner feelings interact freely and joyfully with nature.
▌引例
圣贤映于绝代,万趣融其神思,余复何为哉?畅神而已。(宗炳《画山水序》)
As sages of remote past already discovered the philosophical wisdom inherent in nature through imagination and contemplation, what more do I need to do now? All I have to do is relishing the joy when my mind interacts freely with the depicted landscape.
9.高古 Unadorned Antiquity
高远古朴,高雅简古。用于文艺批评,主要指文艺作品中所体现出的意蕴高远古朴、情志高雅,凝重而又深具历史感的艺术风格。
This term describes the quality of loftiness or primitive simplicity, and is used primarily in literary criticism to refer to an ancient nobility, an aspiration or sentiment, or an artistic style of historical gravity.
它有时也指高人雅士独具的一种人格境界。
This term is also used to refer to an elevated state of being attained by noble-minded persons.
▌引例
汉人诗文,存于今者,无不高古浑朴。(章学诚《文史通义·内篇五·妇学篇书后》)
Prose and poetry by Han Dynasty authors, so long as they have survived to this day, all show a lofty adherence to an unadorned antiquity and a charming rusticity.
10.气象 Prevailing Features
原是自然界中景色物候的总称,也指某个时期社会的总体精神风貌。
Qixiang (气象), originally a term about the general state of scenery and physical objects in nature, also refers to the prevailing features of a society in a given period of time.
具体到艺术领域,指艺术作品所呈现出的风格与气概,内涵偏重于宏伟壮大,多用“雄浑”(heroic)“浑厚”(immense)“峥嵘”(sublime)等来修饰。
▌引例
盛唐诸公之诗,如颜鲁公书,既笔力雄壮,又气象浑厚。(严羽《答出继叔临安吴景仙书》)
Works of many poets during the prime of the Tang Dynasty struck readers with their powerful expression, just like the calligraphy of Yan Zhenqing.(内容来源于中国日报网英语点津)
1.洗炼 Terseness / Make Writing Succinct
精简词句,提炼要义。洗炼是一种文字干净、主旨鲜明的文学风格。
This term means that wording should be refined to highlight the essential message. Terseness is a mark of neat and thematically explicit writing.
▌引例
不洗不净,不炼不纯。惟陈言之务去,独戛戛乎生新。(孙联奎《诗品臆说》)
Nothing will be clean until it is cleansed. Nothing will be pure until it is refined. Only by ridding ourselves of any banality, can we become truly original.
2.雄浑 Powerfulness
指雄健有力、浑厚自然的艺术风格与审美气象。
This term, which literally means power and splendor, refers to a natural and powerful artistic style and aesthetic taste.
▌引例
大力无敌为雄,元气未分为浑。(杨廷芝《 <二十四诗品> 浅解》)
Powerfulness means invincible power and indivisible mass of vital energy.
3.纯素 Pure and Unadorned
纯粹而素朴。指纯然素朴、不加人工雕饰的本色之美。
This term refers to natural, unadorned beauty.
▌引例
纯素之道,惟神是守。守而勿失,与神为一。 (《庄子·刻意》)
Within spiritual being lies the value of pure simplicity. If you retain your spirit without fail, you became one with it.
4.隐秀 Latent Sentiment and Evident Beauty
诗歌与文章既隐含丰富的思想感情,又有秀美的名言佳句。
This term means that prose and poetry may contain latent sentiments and thoughts, as well as expressions and sentences that present an apparent sense of beauty.
▌引例
情在词外曰隐,状溢目前曰秀。 (张戒《岁寒堂诗话》卷上引刘勰语)
Latency happens when feelings and thoughts are hidden between the lines of a literary work. Evident beauty occurs when messages of sentiment and feelings are vividly portrayed by the images the author creates.
5.飘逸 Natural Grace
指诗歌作品中所表现出的逍遥自适、超凡脱俗、无拘无束的审美情趣和艺术风格。
Natural Grace refers to free and unconstrained aesthetic style and artistic appeal in poetic works.
▌引例
子美不能为太白之飘逸,太白不能为子美之沉郁。 (严羽《沧浪诗话·诗评》)
Du Fu could not write as freely and unconstrained as Li Bai, while the latter did not possess the style of melancholy and profoundness typical of Du Fu’s poems.
6.空灵 Ethereal Effect
空灵用笔洗练,重在传达神韵,具有空灵特点的作品澄澈透明、飘逸灵动,能使人体悟到自由超脱的审美愉悦。
The notion of ethereal effect values simple layout and economical use of details, seeking to convey character and imagination. Works that make use of ethereal effect convey a wonderful lucidity, and possess openness, freedom, and natural grace. Such works enable viewers to appreciate the aesthetic joy of free imagination.
▌引例
古人用笔极塞实处愈见空灵,今人布置一角已见繁缛。(恽格《南田画跋·题画》)
When painting, classical artists made use of ethereal effect all the more where a dense collection of objects normally was required. However today’s artists no sooner begin to paint than they fill the space with elaborate details.
7.枯淡 Dry Plainness
指诗文作品所呈现的质朴干枯、平和清淡的艺术风格。
This refers to a literary style that appears plain and dry, mild and moderate.
枯淡不是枯涩寡味、平庸浅薄,而是指外表看似干枯平淡、内里丰腴醇厚的一种表现手法,旨在用质朴平淡的语言和描写来表现丰富深刻的思想内容,创造出含蓄深邃、醇厚高远的意境。
▌引例
所贵乎枯淡者,谓其外枯而中膏,似淡而实美,渊明、子厚之流是也。(苏轼《评韩柳诗》)
I value the style of dry plainness because it looks withered and dry outside but is rich inside; it appears plain but is in fact beautiful. Poetry by such writers as Tao Yuanming and Liu Zongyuan is like this.
8.畅神 Free Flow of One's Mind
指精神与自然合一时所达到的自由舒畅的一种审美状态。
The term describes a state of mind one achieves when appreciating an artwork, in which process one's inner feelings interact freely and joyfully with nature.
▌引例
圣贤映于绝代,万趣融其神思,余复何为哉?畅神而已。(宗炳《画山水序》)
As sages of remote past already discovered the philosophical wisdom inherent in nature through imagination and contemplation, what more do I need to do now? All I have to do is relishing the joy when my mind interacts freely with the depicted landscape.
9.高古 Unadorned Antiquity
高远古朴,高雅简古。用于文艺批评,主要指文艺作品中所体现出的意蕴高远古朴、情志高雅,凝重而又深具历史感的艺术风格。
This term describes the quality of loftiness or primitive simplicity, and is used primarily in literary criticism to refer to an ancient nobility, an aspiration or sentiment, or an artistic style of historical gravity.
它有时也指高人雅士独具的一种人格境界。
This term is also used to refer to an elevated state of being attained by noble-minded persons.
▌引例
汉人诗文,存于今者,无不高古浑朴。(章学诚《文史通义·内篇五·妇学篇书后》)
Prose and poetry by Han Dynasty authors, so long as they have survived to this day, all show a lofty adherence to an unadorned antiquity and a charming rusticity.
10.气象 Prevailing Features
原是自然界中景色物候的总称,也指某个时期社会的总体精神风貌。
Qixiang (气象), originally a term about the general state of scenery and physical objects in nature, also refers to the prevailing features of a society in a given period of time.
具体到艺术领域,指艺术作品所呈现出的风格与气概,内涵偏重于宏伟壮大,多用“雄浑”(heroic)“浑厚”(immense)“峥嵘”(sublime)等来修饰。
▌引例
盛唐诸公之诗,如颜鲁公书,既笔力雄壮,又气象浑厚。(严羽《答出继叔临安吴景仙书》)
Works of many poets during the prime of the Tang Dynasty struck readers with their powerful expression, just like the calligraphy of Yan Zhenqing.(内容来源于中国日报网英语点津)
#上海博物馆# #盛世芳华——上海博物馆受赠文物展#
明 陈洪绶 探梅图轴
年代:明(1368-1644年)
尺寸:纵131.3厘米,横49.0厘米
质地:绢本
庄长江、庄良友2001年捐赠
陈洪绶(1598-1652年),字章侯,号老莲,甲申(1644年)后号悔迟、老迟等,浙江诸暨人。通诗文,有《宝纶堂集》十卷传世。工书善画,人物、花鸟、山水皆能,尤以人物画为后世所重。初师蓝瑛,后取法李公麟、赵孟頫,所作人物,造型夸张变形,高古伟岸,运笔旋转,一气呵成,线条凝练遒劲,设色古拙,形成了高古静穆的独特画风。此图树石工笔水墨(色)相间,绘三人一马行至岸边,驻足停留,线条劲健利索,树杈枝干翻挺矫健,枝叶繁茂,给人以清幽深邃之感。
明 陈洪绶 探梅图轴
年代:明(1368-1644年)
尺寸:纵131.3厘米,横49.0厘米
质地:绢本
庄长江、庄良友2001年捐赠
陈洪绶(1598-1652年),字章侯,号老莲,甲申(1644年)后号悔迟、老迟等,浙江诸暨人。通诗文,有《宝纶堂集》十卷传世。工书善画,人物、花鸟、山水皆能,尤以人物画为后世所重。初师蓝瑛,后取法李公麟、赵孟頫,所作人物,造型夸张变形,高古伟岸,运笔旋转,一气呵成,线条凝练遒劲,设色古拙,形成了高古静穆的独特画风。此图树石工笔水墨(色)相间,绘三人一马行至岸边,驻足停留,线条劲健利索,树杈枝干翻挺矫健,枝叶繁茂,给人以清幽深邃之感。
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