This kind of landscape natural poems often rely on natural objects to pin their noble character, childlike feelings and lofty ideals. It is the appreciation of all things in nature by people with moral spirit or harmony between man and nature. In the eyes of these poets, the reason why natural landscape is appreciated by people lies not only in the beauty of natural landscape itself, but mainly in the fact that the spirit contained in natural landscape conforms to people's morality or spirit. Such as Qu Yuan's Ode to an Orange, Tao Yuanming's Love of Chrysanthemums and Flowers, and Zhou Dunyi's Love of Lotus Flowers.
Such as Du Fu's "Wang Yue":
What a magnificent scenery Mount Tai is! Endless green spans Qilu and Qilu. ..
The magical nature brings together thousands of beautiful mountains in the south and the separation between morning and dusk in the north.
Caiyun lave? My mind is free and easy, and birds fly around in front of my nervous eyes ..
Try to climb to the top of the mountain: it dwarfs all the peaks under our feet.
This poem is the first four sentences describing the tall and majestic image of Mount Tai, with a magnificent realm. The last four sentences express the passionate feelings generated by watching Mount Tai. The author's description of Mount Tai is so magnificent that he shows his extraordinary ambition of "reaching the top of the mountain and taking a panoramic view" and expresses his great ambition when he was young.
Qi Jiguang's "Climbing to the Top of Panshan Mountain";
First frost cries sadly, and the clouds open the stone gate.
The north wind is not drunk when it blows wine, and the leaves come to cry countless times.
But it does not hinder the old white-haired talents.
I am the one standing on the top, so General Li dances on the sword platform.
This poem is vigorous and vivid. From the moment "autumn scenery" was written, he tried his best to exaggerate the depression and desolation of autumn scenery in the border region, which showed the poet's strong mind of guarding the border for the country and keeping away from old age and death, and made people realize the author's broad mind and noble sentiment.
Qu Dajun s Autumn Landscape in Yunzhou in the Late Qing Dynasty;
Outside the white antelope, Kong Wen groaned.
Look for Suwu Temple far away, not Lilingtai.
The wind blows the eagle and the clouds follow the horse.
There are countless willows on the riverside, and dragons pile up overnight.
This poem was written by the poet when he came to Guangzhou with his wife from Panyu, Guangdong Province. It was autumn, the vast grassland, and the sad weight just triggered the poet's desolate feelings. In the second half of the poem, the magnificent picture expresses the poet's longing for the situation that eagles soar and Ma Benteng is everywhere, thus driving Manchu to the distant Great Wall.
Du alpha pet-name ruby? ⒙ ⑿ ⑿ ⑿ ⑿ ⑿? [13] I love magpies when I am sick, but Connor is depressed? Subdue the emperor? About it? Hey? Betting on gadolinium? What's your problem? ち ち ち ち? Wojian returned to the magpie and stole satin? Subdue the emperor? Fishes? Hey? What's the matter? Are you scratching your head? What is the origin of Lailu Tomb? Even tigers? Time? Even risk quitting? Embarrassed crab jealous of southern pine? Resist Time? Still want to suppress spring? Graves, protruding sofas, wolves and cars?
The second type: the unity of man and nature based on aesthetic spirit.
In China's ideological tradition, Zhuangzi and Taoism are the most advocating nature. As the highest concept in Taoism, "Tao" can be interpreted as a metaphysical view of the world, can also be implemented in the theory of human nature, and can be experienced in real life. . With the rise of metaphysics in Wei and Jin Dynasties, this ubiquitous "Tao" was concentrated in the natural landscape. Zhuangzi not only inspires people to discover the beauty of nature, but also makes the natural landscape itself the embodiment of Tao. Influenced by Laozi and Zhuangzi's theory and Taoism, poets often observe epiphany from a purely aesthetic point of view when creating landscape poems, and integrate natural landscape with personality themes. Li Bai is an outstanding representative of this kind of landscape poetry.
China's landscape poems have a process of germination, formation and development. In The Book of Songs of Chu,
Natural scenery has gradually become a lyric means, but it has not yet become a direct aesthetic object. promote
In Song Dynasty, the poet regarded landscape as an independent aesthetic object, and landscape poetry was formally born. Xie Lingyun is the originator of landscape poetry. Xie Tiao came one after another, which played an important role in the development of landscape poetry.
The appearance of Li Bai opened up an unprecedented magnificent pattern of China's landscape poems and reached a superb peak. In Li Bai's eyes, landscape is not only an objective aesthetic object. When we read his poems, we feel that his body and mind have been completely relaxed in the mountains and rivers, and he is unrestrained in the mountains and rivers. The scenery understands him, and he understands the scenery. In Li Bai's consciousness, there is a trend of thinking that ignores one thing and ignores me. He saw himself in nature, the infinite space for self-extension and the value and significance of self-existence. From the natural landscape, he pursued and obtained a kind of freedom without any restrictions. Even his strong pursuit of achievement and his undisguised expression of secular wishes and desires are inseparable from his natural personality paradigm. When his wish can't be realized, and he cries out in frustration that "the road is as wide as the blue sky, but there is no way out at present", he can only get spiritual liberation in the majestic Jiang Dahai.
Li Bai wrote about Shu Dao and Tianmu, and the wide, high and strong connection between me and the spirit of heaven and earth and the mountains and rivers of Kyushu has long been widely known. Even if it is an impromptu lyric short chapter, people have become the soul of the landscape before they stand up directly. For example, "Climbing Yueyang Tower with Summer Twelve":
Yueyang Tower has the best scenery, and Sichuan belongs to Dongting.
It breaks my heart to see geese flying south, and the distant mountains are in the title of a good month.
On the upper floor of the sky, stay in the chair and upload a glass of wine from the sky.
The cool breeze rising after drunkenness, blowing the sleeves with the wind, we will return.
The poet hides himself behind buildings, rivers, geese, mountains and other landscapes, allowing the buildings to visit, the rivers to bypass, the geese to fly away with sorrow, and the mountains to bring the good moon. Everything in the world has unconsciously become the carrier of human life and feelings.
The third kind: people's observation of landscape nature guided by religious spirit.
Like Taoism, Buddhists also have the intention of loving nature, and Buddhism also has a great influence on landscape poetry. Zhao bian said, "It's a pity that the lakes and mountains are beautiful on earth, and the scenery belongs to monks." The ancients had a poem saying, "There are many famous mountains and monks in the world". These poems all tell a basic fact: Buddhism has a very close relationship with landscape nature.
The maturity of China's landscape poems was in the Liu and Song Dynasties in the 5th century, represented by Xie Lingyun. Xie Shishou
Under the influence of Buddhism, landscapes are often regarded as the embodiment of Buddha's shadow. For example, the poem "Shi Bi Li Zhaoti Jingshe" wrote:
I want to worship jiusan, but I still want to just follow him.
I never flew to the front of the court, in front of Gao Linying's window.
Zen room lives in an open space, telling stories and analyzing mysteries.
In Xie Lingyun's eyes, Shibi Mountain is imagined as a vulture mountain shining with Buddha's light and Buddha's nature. The waterfall in front of the courtyard and the towering trees behind the window can also learn from Buddhism.
Different from Taoist aesthetic view of nature and the integration of personality subject and landscape nature, Buddhism does not take the attitude of integration with nature, but observes silently; Different from the Confucian view of moral nature, Buddhism shows "virtue" to nature, which does not play an ethical role, but only metaphors the vastness of Buddhism. Buddhism experiences a kind of religious happiness in the nature of mountains and rivers.
For example, the Zen master in the Song Dynasty said that there were poems (see Confucius's Supplement to the Chronicle of Song Poetry):
Bamboo and yellow flowers are not foreign things, and white clouds and bright moons are all true.
My head is full of things from my family, and it's not dust.
In the eyes of China monks, nature is the embodiment of Zen. The so-called "dark yellow flowers" are nothing more than prajna paramita;
Green bamboo, always protect the body "is also. Hanshan, a famous monk in Tang Dynasty, said:
Climb Hanshan Road, Hanshan Road is not poor.
The stream in Shi Lei is very long, wide and covered with grass.
Moss is slippery, not rain, but singing.
Who can surpass the world, * * * sitting in the white clouds.
With the help of natural landscapes, the author got rid of the secular fatigue and transcended the secular, thus sublimated to the realm of Zen and realized the Buddha nature and self-nature.
Most of the landscape poems of poets, Zen monks and poets deeply influenced by Buddhist thought can be classified into this type.
The above is only a very rough classification of China's traditional landscape poems. In fact, many landscape poems cannot be rigidly integrated into one of them. In many landscape poets, there is the spirit of Confucianism's active entry into the WTO, and at the same time, there is a detached side of Taoism and Buddhism, and Taoism and Buddhism, Zhuang and Zen are mutually influential and inseparable. For example, in the poems of the early landscape poet Xie Lingyun, the meaning of "reason" explained by his consciousness is very rich, and the so-called reason in his poems often has both Buddhist and Taoist meanings.