What development does Fan Chengda's pastoral poetry have on traditional pastoral poetry?

Fan Chengda successfully transformed the traditional theme, making pastoral poetry a veritable poem reflecting rural life. Qian Zhongshu called it "the epitome of China's ancient pastoral poetry" in Notes on Selected Poems of Song Dynasty. This kind of poem had a great influence in the late Southern Song Dynasty. During the ten years when Fan Chengda retired from Shihu, he wrote many pastoral poems, among which Miscellanies of Four Seasons Pastoral was the most famous. This group of poems ***60 seven-character quatrains, with 12 poems as a group, is divided into rural life of wing chun day, late spring day, summer day, autumn day and winter day.

In the history of ancient poetry, most of the pastoral poems are actually poems of literati expressing their seclusion. For example, the pastoral scenery in the poems of Wang Wei and Meng Haoran all appeared as the externalization of the poet's quiet mood. Except for a few Tao poems, farming, the most important content of pastoral life in ancient pastoral poems, was ignored, and the occasional woodcutter and farmer were often endowed with the character of hermit.

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Fan Chengda also wrote some short poems reflecting people's miserable lives, such as The Feeling of Sitting at Night, The Singer who sings to the River City, The Man who smells the fish and vegetables outside the wall in the snow, The Bitter Throat of Selling, The Three Musts and so on. Fan Chengda's poetic language is natural and fresh, and his style is mild and euphemistic. Only a few works are sharp in style. The artistic achievement of Fan Chengda's poetry is very high, but the poetic style is not clear enough.

Fan Chengda's prose was also famous at that time. His poems are full of affection. His early works are close to Qin Guan, and his later works are close to Su Shi. He also wrote some works about making friends, traveling, mourning for the old and sad, and even talking about Buddhist scriptures and meditation.