Landscape pastoral poetry, one of the ancient Han poems. It originated from Xie Lingyun of the Southern and Northern Dynasties and Tao Yuanming of the Jin Dynasty, and was represented by Wang Wei and Meng Haoran of the Tang Dynasty. This type of poetry is good at describing natural scenery, rural scenery, and comfortable and tranquil secluded life. The poetry is meaningful and beautiful, the style is quiet and elegant, the language is clear and concise, and the line drawing technique is mostly used.
Origin:
Poets such as Tao Yuanming formed the Pastoral Poetry School of the Eastern Jin Dynasty, poets such as Xie Lingyun and Xie Tiao formed the Landscape Poetry School of the Southern Dynasties, and poets such as Wang Wei and Meng Haoran formed the Landscape Poetry School of the High Tang Dynasty. Poets take landscapes and pastoral areas as their aesthetic objects, and cast delicate brushstrokes on the quiet mountains, forests, and leisurely fields, creating a pastoral life to express their dissatisfaction with reality and their yearning for a quiet and peaceful life. [1]?[2]?
History of development:
The embryonic stage
"The Book of Songs" and "Chu Ci" are the two major works of Han poetry before the Qin and Han Dynasties. Although there are a large number of descriptions of natural scenes on the peak, such as "Guan Sui", "Peach Blossom" ("The Book of Songs"), "Mint", "Zhenniao" (Chu Ci), etc., they are either used as a medium for comparison, or as a metaphor for morality. The thing itself has no aesthetic value. Such beautiful sentences as: "In the past, I left, and the willows clung to me; now I come to think about it, and the rain and snow are falling", and "The autumn wind is blowing, and the waves in the Dongting are under the leaves." These beautiful sentences only appear as a background for human activities. , it functions as an artistic medium and is not an independent aesthetic object in itself. In the long history of the "Book of Songs" and "Chu Ci", there has not yet been a poem specifically describing natural landscapes as its main content. In the hundreds of years since the Han Dynasty, Yuefu five-character poems, especially the poems written by Pucai Wen, have contained more descriptions of natural scenery. It was only during the Jian'an period at the end of the Han Dynasty that Cao Cao wrote "Guan Cang Hai", which was regarded as the final chapter of the song and presented the only complete landscape movement to the poetry world before the Han Dynasty. Before the Wei and Jin Dynasties, the content of Han poetry was all about survival, desire, politics, war, etc. related to people themselves. The natural scenery was still a piece of natural jade that was not recognized by anyone.
The Era of Emergence
Really taking natural landscape as an independent aesthetic object, and poets writing poems with natural landscape as the theme, began in the Wei, Jin and Six Dynasties, which has a profound history cultural reasons.
The Wei, Jin and Six Dynasties were an era of wars, political chaos, decline of Confucian classics, prevalence of metaphysics, open-mindedness, and the awakening of human nature. There were dynasty changes and killings like a revolving door, and human lives were in danger, and the horror was before dawn. and sorrow, which made many poets with awakening consciousness, including poets with official status, have the understanding that "the education is in vain, the wealth is harmful, the commoner can last a lifetime, and the favor and salary are not enough". In order to avoid disaster, they had to leave the turbulent politics and hide among the mountains, springs and trees. The desire for seclusion was strong for a while. In the poetry circle of the late Wei and early Jin Dynasty, landscape poems gradually increased. In the poems of Ji Kang, Zhang Hua, Zuo Si, Guo Pu and others, there appeared "white clouds stop at the Yin Gang, and the red flowers shine in the Yang forest. The stone spring washes Qiong Yao, and the scales are slim." There are also ups and downs. (Zuo Si's "Nian Yin Poems"). Landscape poetry went through the twists and turns of five-character poetry. In the Jin and Song Dynasties, two great poets, Tao Yuanming and Xie Lingyun, finally emerged and established their position in the country of poetry.
The Golden Age
After the formation of landscape poetry, although it constantly sought to open up external space and improve internal systems, it took on new styles and postures in different eras. However, the life interest and artistic spirit of Dao Shi Xuan Chan have always been present in the development of landscape poetry. With the advent of the prosperity of Tang poetry, landscape poetry has become more spectacular. Wang Wei and Meng Haoran inherited it. Tao Yuanming and Xie Lingyun's landscape poetry tradition formed a landscape pastoral school that complemented the frontier poetry school. Among the poets of the Tang Dynasty, there was no one who did not write poems with natural landscape themes. Many poets in the Tang Dynasty were famous for their landscape poetry. , but those who can represent the maturity of landscape poetry are mainly Meng Haoran, Wang Wei, and Li Bai. After the Song Dynasty, landscape pastoral poetry used poetic language to express emotions, describe objects, describe scenes, and narrative, and it was eclectic and refreshing. However, the realm of landscape poetry is far inferior to that of the Tang Dynasty
Representative poet:
Tao Qian
Tao Xie is a pastoralist in the mountains. The poets who founded the sect were all obviously influenced by the metaphysical trend of thought. However, due to their different status and life paths, metaphysics had different imprints in their poems. The mysterious purpose and rationale in Tao's poems are not only reflected in the poems. There is an understanding full of life experience, and more importantly, the mysterious meaning permeates the pastoral scenes of "there is true meaning" in the poem. Xie's poems mainly use those "empty greenery is difficult to gain a reputation, and fishing hooks are easy to make." "Music" is expressed through metaphysical concepts such as "when things are moved and reviled, their survival must be wonderful", but the "mysterious purpose" has not been fully integrated into his poems.
Although Tao's poems He takes nature as his aesthetic object and admires it, but what he pursues is not the external object itself, but the interest of the soul. His poems are freehand brushwork, not imitation. Tao Yuanming was originally a wise bird flying in the countryside, full of emotions and nature. , freedom is his nature. Because of his straightforward nature, he cannot be a good official in the dirty world. Once he escapes from the cage and returns to nature, he cannot control his joyful mood. "(two poems) vividly outlines a great poet who is transcendent, leisurely and comfortable. Through the morning mist and dusk, he walks through the morning mist, wearing mango shoes and carrying a hoe.
The author talks about simple residences and ordinary villages with a very appreciative tone, willing to be indifferent and stay true to himself. The poet's forthright heart and outstanding integrity are like the rolling dew of lotus flowers and the white moon and clear wind. His pastoral poems are the externalization of his personality and spirit. Therefore, when he writes about scenery, he focuses on freehand brushwork. He only pursues the fusion of a peaceful and leisurely state of mind and a diluted and simple physical environment, showing a natural realm. Writing poetry, for him, is just a natural expression of his "broad and true" embrace. Su Dongpo said, "Tao Yuanming's intention is not in poetry, but in poetry to convey his meaning to the ears." Yuan Haowen said, "Why does this old man write poetry? He writes directly to the sky in his heart."
Xie Lingyun
If Tao Yuanming was the first to imitate pastoral landscapes, Xie Lingyun, who was contemporary with Tao but later, was the first to imitate landscapes and carve lines. Xie Lingyun's landscape poems are eloquent and skillful. Like a craftsman who is good at adjusting language, he often conveys the mood of the landscape word by word. He has extraordinary talent in refining poetic meaning and comprehending language. Even Li Bai admired this. For example, "The forest ravines collect the dark colors, and the clouds collect the sunset." ("Shibi Jingshe Returns to the Lake") "The turbulent currents tend to become normal, and the solitary island rises to the middle of the river." ("Climbing the Solitary Island in the River and Mountains") "The white clouds embrace the tranquility The rocks are green and clear." ("Crossing the Ningye") "Spring grass grows in the pond, and songbirds grow in the willow garden." ("Climbing the Pond and Going Up the Stairs") "The green fields are beautiful in the spring evening, and the rocks are as high as Yuntun." ("Entering the mouth of Pengli Lake") "The wilderness and the river bank are clean, the sky is high and the moon is bright in autumn." ("First Arrival in the County") The beautiful mountains and rivers The changes in state, dusk, cloudy and sunny are extremely detailed and exquisite, and the details are uniquely described, reproducing an artistic realm of natural beauty. From this point of view, Xie Lingyuan has absolute wisdom, observes things very delicately, and has a very superb ability to control language. The landscapes and scenery, edited by his skillful hands, instantly create a clear and beautiful picture that is overflowing with color. Therefore, he is very popular among Han poetry in the Wei and Jin Dynasties. It is unique and makes future generations say that "a poem of thanks is like a new hibiscus, naturally lovely".
Meng Haoran
Meng Haoran, who lived in Lumen Mountain in Xiangyang, was deeply attached to the mountains and rivers and never served as an official throughout his life. He was one of the rare commoner poets in the feudal era who was famous throughout the ages. Li Bai has a poem "Gift to Meng Haoran": "My love for Master Meng is known all over the world. The beauty abandons the crown, and the white head lies in the pine clouds. The drunken moon often makes the saint, and the lost flowers have no regard for the king. The high mountains are safe, I can look up, and I bow to the Qing Dynasty. Fen. "Meng Haoran is a true hermit. Scholars in ancient times "if they are successful, they can help the world; if they are poor, they can only take care of themselves." He chose the second path, with a pure heart and few desires, indulging in the natural mountains and rivers indifferently and peacefully, pursuing the highest realm of poetry-natural beauty. His poems are close to Tao's poems, but have their own style. There are not many poems with powerful imagery such as "Steaming clouds and dreamy lakes, waves shaking Yueyang City", "The stormy waves come like snow, and it feels cold when you sit down". The representative ones are those poems that present a quiet, cold artistic conception and are deeply imprinted with the sentiment of the hermit. His poems describe the feelings of the hermit: "In the white clouds of the North Mountain, the hermit feels happy. When we look at each other, we start to climb high, and our hearts follow the geese flying into the sky...". ("Autumn Climbing Lanshan and Posting Five Pieces") He wrote a poem about the joy of Tian's family: "An old friend, with chickens and millet, invited me to Tian's house. The green woods are close by, and the green mountains are sloping outside. Open the pavilion and the garden, and talk about the mulberry trees over wine. Hemp. When the Double Ninth Festival comes, there will be chrysanthemums." ("Passing Through My Old Friend's Village") The quiet and cold artistic conception, the natural and tranquil taste, cannot conceal the loneliness and loneliness in the heart. Holding the scroll and meditating, we seem to see a proud and arrogant poet walking alone on the mountain road, with the mountain wind blowing his elegant gown.
Wang Wei
Wang Wei wrote political poems and frontier fortress poems, but what reflects his unique achievements are his unique landscapes and pastoral poems. After he witnessed the strife in the officialdom, the upheaval of the world, and experienced the ups and downs of his official career, his ambition and enthusiasm for meritorious service quickly cooled down. After middle age, he adopted the life attitude of "I am not an arrogant official in Qiyuan, I am responsible for the affairs of the world. But I am a minor official and a few trees are dancing." He has been a secret official and an external official, and has chosen a life path of being both an official and a private person. . His landscape and pastoral poems are not only a reflection of his personal soul, but also a projection of the ideological trends of the times in the country of poetry.
Wang Wei's landscape poems include not only majestic and spectacular natural scenes, but also more elegant and elegant landscape scenes. For example: "Hanjiang Linfan" "Chu Sai Sanxiang is connected, and Jingmen is connected to nine factions. The river flows beyond the sky and the earth, and the mountains are beautiful. The county and town Fuqianpu, the waves are moving in the distance. A good windy day in Xiangyang, leaving drunkenness with the mountains "Weng." Another example is "Zhongnan Mountain": "Taiyi is close to the sky, and the mountains are connected to the sea. The white clouds look back and the mountains are changing, and there are many valleys in the sky. "Asking the Woodcutter across the Water." The previous poem describes the scenery of Jianghan and Han Dynasty, using the landscape and brushstrokes of ink and wash. The ink is applied in large areas to outline the majestic and majestic scenery of Jianghan and Han Dynasty, with water and sky floating together, and the mountains appearing and disappearing. The latter poem describes the beautiful scenery of Zhongnan Mountain. The imagery is hazy and rich in meaning. The green mist in the mountain is verdant, and the thousands of rocks and ravines are all shrouded in the vast "white clouds" and the misty "green mist".
However, Wang Wei's poems are mostly composed of elegant and elegant pictures with a bit of Zen thought. He is a person with extremely high understanding. His superhuman talents are not only in poetry, calligraphy, and painting, but also in poetry, calligraphy, and painting. He has great achievements in this field, and he also has great wisdom in Zen meditation and enlightenment. The painter's vision, the musician's hearing, the poet's feeling, and the Buddhist mentality gave him an extraordinary artistic power. He injected his unique soul and feeling into almost every scene, and melted himself into the scenery. , forming the Zhuang Zen realm where things are me and I am things. Wang Wei's landscape poems use the environment to describe the heart, without any trace, with images outside the image, scenes outside the scenery, unexpected and intentional, rhyme and harmony, and a far-reaching artistic conception. Such as "Luchai", "Zhulihuang", "Birdsong Stream", "Caoweiwu", etc.
Empty mountains, green bamboos, streams, bright moon, flowers and birds... What a quiet, beautiful, pure and flawless world this is, and what an independent and closed world it is. This quiet, ethereal and uninhabited state is exactly the poetic state of Zhuang Zen where things and I are forgotten!
"Wangchuan Collection" and the landscape works in his later years all shine with a kind of Zen suspense that still exists, showing a picture of things and myself being one, thinking about the harmony of the environment. Here, the poet absorbs nature into himself and dissolves his life into the scenery, forming a "no man's land" where things are me and I am things; the "sunshine on the moss, the scenery in the forest" The bright moon, the mountain birds under the moon, the "catkins" that bloom and fall... they are not only external objects, but also the illusion of the poet's quiet inner heart. Wang Wei's harmonious landscape poems not only contain a kind of connotation. It is static and beautiful, and shows the artistic characteristics of "clearness and refinement" and "profound elegance".
Li Bai
After Wang and Meng, Li Bai opened up a new realm for landscape poetry. The distinctive feature of landscape poetry is the individualization of natural landscapes. Landscape poetry is originally the objectification of the poet's aesthetic ideal and the externalization of the poet's soul. However, in the poets such as Wang Wei and Meng Haoran, nature is the expression of the poet's self. Landscape painting is mainly a place where he places his spirit and dissolves his depression. Therefore, "self" is often dissolved into the natural scenery. For Li Bai, natural landscape painting is not only a place where he places his spirit and dissolves his depression, but more importantly, it is his pursuit. A world of personal freedom and liberation. With a strong sense of subjectivity, the poet's "self" does not disappear into the natural landscape paintings, but allows nature to actively express the poet's self in some of his most personal poems, such as "The Yellow River falls into the sky and walks across the East China Sea." , Thousands of miles are written into the mind", "How majestic the West Mountain is, the Yellow River flows like silk from the sky", "Flying down three thousand feet", "Lushan Mountain shows off the South Douban, the screen is nine folds of clouds and brocade", "Climbing high is spectacular, the sky and the earth are vast, "The vast river will never return" expresses the poet's unrestrained and unbridled self. The Yellow River here falls from nowhere, the star-studded Lushan Mountain, and the waterfalls flying thousands of feet have all been integrated into the poet's unruly and arrogant self. Distinctive personality. The natural landscapes in Li Bai's poems are often characterized by flowing and unrestrained, showing a dynamic beauty, which is in contrast to Wang Wei's static landscapes. If the self is hidden, then Li Bai often uses the dynamic natural landscape to emerge the poet's self.
Looking at nature with the "Tao" cosmology of Taoism and Taoism, all things in nature are not just dynamic. , and it is this dynamic that shows that all things have "life". Therefore, the poet can interact with those dynamic and living things in the experience of "the heaven and the earth and I have given up life, and all things and I are one". All things in nature are in harmony with each other and communicate closely: "The ape on the branch has a broken heart, and the tears of the bottle at the bottom of the mountain are filled." When the white clouds saw me leaving, I flew over for good. "("A Letter of Deep Love to the Elephant Tree") "A pot of wine among the flowers, drinking alone without any blind date. Raise a glass to invite the bright moon, and make three people in the shadows. "("Drinking Alone under the Moon") White clouds, bright moon, mountain flowers, breeze, etc. have all become sentient beings, and they are in tacit agreement with the poet and interact with each other.
The artistic thinking of the unity of things and myself , produced an empathic effect. When the poet was sitting alone on Jingting Mountain, he left the following words: "All the birds flew away, and the lonely cloud went away alone." I never tire of looking at each other, only poems like "Jingting Mountain".
Li Bai's landscape poems are also full of the spirit of leisurely travel and the fantasy of transcending this world. Some landscape poems have a strong color of immortality. , such as "Climbing Taibai Peak" "Climbing Taibai Peak in the west, climbing at sunset. Taibai talks to me and opens the heaven for me. I would like to ride on the cold wind and go straight out of the floating clouds. You can reach the moon if you raise your hand, and there are no mountains when you move forward. Farewell to Wugong Mountain, when will I return again? "Here it is not so much that the poet is writing about landscapes, but rather that he is traveling to immortality through mountains and rivers. In fact, Li Bai blended Tao Xie's landscapes and Guo Pu's poems about immortality into one pot, creating his own style.
Yang Wanli
Yang Wanli moved from "learning from the ancients" to "learning from nature", established his own unique artistic style, and became "the main hub of the transformation of poetry at that time. He created a fresh and pungent writing style that set off Lu (You) ) Fan (Chengda) are all conservative or stable. "(Qian Zhongshu's "Foreword to Selected Poems of the Song Dynasty") Critics call his poetic method "catch alive". Specifically, it means observing with your own eyes, feeling with your own heart, and when everything is over, use fresh The words vividly and skillfully describe his personal feelings, such as: "Mo said that it would be easy to go down the mountain, which won the praise of passers-by." Entering the circle of thousands of mountains, every mountain passes through its obstacles. "("Crossing Songyuan Chen Chuiqi Gongtian") is a very common thing, written vividly and freshly, full of interest, and revealing a certain philosophy. Yang Wanli has a special sensitivity to natural scenery, unique vision and mind, and observes Detailed, profound understanding, unique and interesting descriptions, often capturing the extraordinary interest in the ordinary, such as: "New rice seedlings are inserted randomly into tic-tac-toe, but the farmer cannot understand the calligraphy." " ("Walking in the Fields at Dusk") He is also good at capturing his own momentary feelings, using line drawing techniques or anthropomorphic hand images to highlight them, such as: "A good mountain is wrinkled and no one can see it, but the setting sun reveals it. " ("The Boat Crosses the Xie Lake") The flowing clouds are "a peak suddenly stolen by the clouds", and the strong wind is "the reed flowers are still unwilling to stop". Jiang Zhi, a poet of the same generation, joked with him: "Everywhere in the mountains and rivers, I am afraid of Lord Chi." .
Fan Chengda entered the ranks of outstanding poets in the Song Dynasty with his sixty-piece "Pastoral Miscellaneous Poems in Four Seasons", the most complete collection of ancient Chinese pastoral poems.
This group of poems is a multi-dimensional three-dimensional, a combination of genre paintings and style paintings. It has a strong sense of reality and exudes a strong earthy atmosphere. Qian Zhongshu pointed out in "Selected Notes on Song Poems": "Fan Chengda's "Pastoral Miscellany in Four Seasons" "Sixty poems give the pastoral poems that are divorced from reality a breath of earth and blood and sweat, and vividly depict the rural labor and life in the four seasons based on his friendly feelings, giving the pastoral poetry a new life. Expanding the same realm, Fan Chengda can be compared with Tao Qian, or even surpass him in the late Southern Song Dynasty. Poets represented by the "Yongjia Four Spirits" and "Jianghu Poets" have written some landscape poems about small natural scenes, but most of them imitate mountains and rivers and express leisure and fun. By the Ming and Qing dynasties, landscape pastoral poetry was in decline. It was still imitative and rarely original. Although there were Gong'an and Jingling schools who "expressed their souls alone" and talented poets such as Yuan Mei and Zheng Wei, there were only a handful of outstanding poets. , landscape pastoral poetry gradually reached the end of classical poetry due to the emergence of capitalism.
Work:
Meng Haoran's "Passing Through My Old Friend's Village"
My old friend brought chicken millet and invited me to Tian's house.
The green trees are adjacent to the village, and the green mountains and hills are sloping outside.
Open a dining room and chat over wine.
On the Double Ninth Festival, I will come to see chrysanthemums.
Du Fu's "Quatrains"
The rivers and mountains are beautiful in Chiri, and the spring breeze is fragrant.
Swallows fly when the mud melts, and mandarin ducks sleep in the warm sand.
Du Fu's "Quatrains"
Two orioles sing in the green willows, and a row of egrets ascends to the blue sky.
The window contains Qianqiu snow of Xiling, and the door is docked with a ship thousands of miles away from Dongwu.
Tao Yuanming’s Five Poems on Returning to the Garden and Living in the Fields
One of them
Having no suitable rhymes, he loves hills and mountains by nature. He fell into the dust net by mistake and passed away for thirty years. .
The birds are nostalgic for the old forest, and the fish in the pond are thinking about their old abyss. They open up the wilderness in the south and return to the garden.
The square house is more than ten acres, with eight or nine thatched houses. Behind the shade of elms and willows Eaves, in front of Taoliuo Hall.
The distant village is warm, and the smoke in the ruins is lingering. Dogs bark in the deep lanes, and roosters crow on top of the mulberry trees.
The courtyard is clean of dust and clutter, and the room is empty. Have some spare time. After being in a cage for a long time, you can return to nature.
Second
There are few people in the wild, and there are few martingales in the back streets. In the daytime, under the bushes, I have no thoughts about wine. .
At that time, people came and went in the market, wearing straw. There were no words when we met, but the road was full of mulberry trees.
The mulberry trees have been growing for a long time, and my land has been growing for a long time. .I am often afraid of the arrival of frost and sleet, and the scattered grass will be scattered.
The third one
At the foot of the southern mountain where beans are planted, the grass is full of grass and the bean seedlings are sparse. In the morning, I clean up the wasteland and filth, and return home with a hoe in the moon.
The road is narrow, the grass and trees are long, and the evening dew touches my clothes. I don’t regret the stains on my clothes, but my wish is fulfilled.
Fourth: Go to the mountains and rivers for a long time , enjoying the wilderness in the wild woods. Try taking your children and nephews to walk in the deserted ruins.
Wandering among the hills and ridges, people still live in the past. There are remains of wells and stoves, and decayed mulberry and bamboo trees.
< p>I would like to ask the firewood collectors, how are these people like the firewood collectors? The firewood collector told me that there will be no remnant after death.Forsaking the court and market for a lifetime is true. Life seems to be an illusion, and it will end in nothingness.< /p>
Fiveth Part
Returning from grief and regret alone, it is a rugged journey. The mountain stream is clear and shallow, and I can wash my feet when I encounter it.
Pulling my newly cooked wine, A pair of chickens brings closeness to the game. When the sun enters the room, it is dark, and the thorn bushes replace the bright candles.
The joy comes but the evening is short, and it has returned to the sky.
Reward Zhang Shaofu
Wang Wei
In his later years, he was very quiet and did not care about anything.
There is no long-term strategy for self-care, and there is no hope of returning to the old forest.
The pine wind blows the belt, and the mountain moon shines on the piano.
When you ask about the poor understanding, the fisherman's song goes deep into Pu Shen.
Autumn darkness in the mountains
Wang Wei
After the new rain in the empty mountains, autumn comes late.
The bright moon shines among the pines, and the clear spring rocks flow upward.
The bamboo noise returns to Huan Nu, and the lotus moves off the fishing boat.
Let the spring fragrance rest at will, and the kings and grandsons can stay.
"Returning the Shibi Jingshe to the Lake"
Xie Lingyun
The climate changes at dusk, and the mountains and rivers are filled with clear light.
Qinghui can entertain people, but wanderers forget to return home.
The day of leaving the valley is still early, and the sun has already faded when entering the boat.
The forest valleys are dim and the clouds are closing in the sunset.
The wildflowers and lotuses reflect the sky one after another, and the weeds depend on each other.
The wind blows on the south path, and the east gate opens happily.
Consideration of indifference means taking things lightly, and it is not against the law to be comfortable.
I would like to send a message to health-preserving people, try this recommendation.
Wang Wei's Landscape Idyll
"Deer and Chai": No one can be seen in the empty mountain, but the sound of people's voices can be heard. Returning to the deep forest, the light shines on the moss again.
"Xinyiwu": There are hibiscus flowers at the end of the wood and red calyxes in the mountains. There is no one in the stream. They open and close one after another.
"Mountain Dwelling in Autumn": After the new rain in the empty mountains, the weather is late and autumn comes. The bright moon shines among the pines, and the clear spring flows over the rocks. The bamboo noise returns to Huan Nu, and the lotus moves off the fishing boat. Let the spring fragrance rest at will, and the kings and grandsons can stay.
"Birdsong Stream" People are busy, osmanthus flowers fall, the night is quiet and the spring mountains are empty. The moonrise scares the mountain birds, and they sing in the spring stream.
A poem in "Weichuan Tianjia": The slanting light shines on the countryside, and the cattle and sheep return in the back alleys. The old man in the wild misses the shepherd boy and leans on his stick to wait for the thorn gate. The pheasants are flying and the wheat seedlings are showing, and the silkworms are sleeping and the mulberry leaves are sparse. The husband of the field came to work with his hoe, and they met each other and talked to each other. That is to say, this envy of leisure and relaxation, the song of sadness has faded away.
Wang Jian of Tianjiaxing
The male voice is cheerful and the female face is pleasing to the eye, and people don’t complain when they say goodbye.
Although it is hot in May, the wheat wind is clear, and the eaves are ringing and the cars are humming.
Wild silkworms make cocoons that no one can take, and autumn moths flutter among the leaves.
When the wheat is harvested and the silk is on the axis, the officials know enough to lose.
Don’t look forward to the entrance and get back on your body, and don’t sell yellow calves to the city.
The Tian family’s food and clothing are not rich, and they are happy when they don’t see the county gate!
Ye Laoge Zhang Ji
The poor old farmer lives in the mountains and cultivates three or four acres of mountain fields.
The seedlings were so sparse and taxed that they could not be eaten, so they were imported into official warehouses and turned into soil.
At the end of the year, I am hoeing and plowing in the empty house, and I am calling my children to climb the mountain to collect acorns.
In Xijiang Jiake, there are hundreds of dendrobium trees. The dogs raised in the boat grow to eat meat.
Nie Yi slandered the Tian family
In February, he sold new silk,
In May, he sold new grain.
Healing the sores in front of the eyes,
cutting out the flesh in the heart.
I wish the king’s heart to become a candle of light.
Not the Qiluo Banquet, but the escape room.
Viewing Tianjia Wei Yingwu
It rained lightly and all the flowers were new, and a thunder startled the insects.
The Tian family had a few days of leisure, and farming began.
The young and strong are all in the wild, and the fields and gardens are also in order.
Jing Changyan came back and drank water from Duxi Jian.
Hunger does not cause pain, but nourishment brings joy.
There is no storage in the warehouse, and the corvee is still there.
Those who are ashamed and do not cultivate will be rewarded with food and money.
Du Xunhe, a widow in the mountains
My husband defended Pengmao because of the soldiers, and his clothes and temples were burnt.
The mulberry trees are abandoned but still taxed, and the fields are desolate but the seedlings are collected.
At the same time, pick wild vegetables and roots and boil them, and spin them into firewood and burn them with their leaves.
No matter how deep the mountain is, there should be no way to avoid the corvee.
Wang Wei of Tianjia in Weichuan
The slanting light shines on the village, and the cattle and sheep return in the back alleys.
The old man in the wild misses the shepherd boy and leans on his stick to wait for the thorn tree.
The pheasants and robins are showing off the wheat seedlings, and the silkworms are sleeping on the mulberry leaves.
Tian Fuhe arrived, hoeing, and talked to each other.
This envy of leisure and relaxation fades away with sadness.
Wang Wei in the Spring Pastoral
The spring doves are singing in the house, and the apricot blossoms are white beside the trees.
I wield an ax to cut down distant poplar trees and hoe the spring veins.
Returning to Yan recognizes the old nest, and the old sees the new calendar.
When I came to the wine table, I suddenly felt helpless, and I felt melancholy as a traveler from afar.
Visiting my old friend Zhuang Meng Haoran
My old friend brought chicken and millet and invited me to Tian's house.
The green trees are adjacent to the village, while the green mountains and hills are sloping outside.
Open a dining room and chat over wine.
On the Double Ninth Festival, I will come to see chrysanthemums.
Suiyang's trip to Du Fu
The clouds are turning late in the year, and there is a lot of north wind, in the white snow in Xiaoxiang Dongting. The fisherman's net is frozen in the cold weather.
Don't shoot wild geese and sing with mulberry bows. Last year, rice was expensive for the army, but this year, rice is cheap, which greatly hurts farmers.
High-powered officials hate wine and meat, and this generation is empty. Chu people value fish but not birds.
Don't kill Nan Feihong in vain. It is said that men and women are flirting with each other everywhere, cutting off kindness and forbearing love, but returning rent and mediocrity.
In the past, money was used to catch private castings, but now lead, tin and bronze are allowed. Carving clay is the easiest to get.
If your likes and dislikes don't match your appearance, you will be confused. The horns are blown on the city walls of all nations, when will this sad song end?
Singing Songs and Wen Tingyun
Get up and look at Nanshan Mountain, the mountain fire is burning the mountains and fields. The reddish sunset seems to be extinguished, and the short flames are connected again.
Going towards the rock, slowly climbing the green wall. When the wind blows away, the red eaves shine from a distance.
The neighbor can speak clearly, and he can't help but sigh. He said that the Chu country was more customary, and burning rice was called "Haotian".
Bean sprouts and insects are swarming, and the flowers on the fence serve as houses. The pigs return to their pens in the abandoned stacks, and the chickens peck at the millet in the square.
The New Year brings rain and clear weather, and the sound of racing is everywhere. When you hold money, people will tell you, and when you knock on tiles, you will hear the sound in the forest.
The hexagram on the mountain was obtained and returned under the mulberry jujube tree. Blow the fire to the white grass, and the sickle on your waist reflects the sugarcane.
The wind drives away the mist of oak leaves, and the oak trees connect the mountains. The stars burst out beyond the clouds, and the flying embers fell in front of the steps.
Looking back and moaning and sneezing, the crow mother curses a prosperous life. Who would have thought that the green beauty would be used as official tax?
Four Seasons Pastoral Excitement Fan Chengda
One of them
The plums are golden and the apricots are fat, and the wheat flowers, snow and cabbage flowers are sparse.
No one passes through the fence during the long day, only dragonflies and butterflies fly.
Second
Working in the fields during the day and planting hemp at night, the children of the village are each responsible for their own affairs.
The children and grandchildren have not yet been released to farm and weave, and they also learn to grow melons by the mulberry tree.
Evaluation:
Landscape poetry does not only describe the scenery of mountains and rivers. The name "landscape" is just an example of it. Some are about people's livelihood, and some are written casually... We cannot think that as long as there is a description of landscape in the poem, it is a landscape poem. At least, it should be regarded as a landscape poem only when the main part of the whole poem describes the landscape. At the same time, we should also pay attention to the author's attitude towards the scenery he describes: whether he views the landscape itself as an aesthetic object, or whether he uses the landscape as a pretext for other sustenance. You should also pay attention to the difference in the content of your sustenance.