"Thousands of miles of warblers sing green and reflect red, and the water town is full of wine flags." The beginning of the poem, like a rapidly moving focal plane, swept across the southern land: the vast south of the Yangtze River, orioles singing, green trees reflecting clusters of red flowers; You can see the villages by the water, the battlements by the mountain and the wine flags fluttering in the wind. Charming Jiangnan, moved by the poet's brilliant pen, is even more exciting. In addition to the richness of the scenery, I am afraid it is different from some garden attractions, confined to a corner, but because it is spread over a large area of land. Therefore, if there is no word "a thousand miles" at the beginning, these two sentences will be weak. However, Yang Shen in Ming Dynasty said in Poems of Sheng 'an Temple: "Who can listen thousands of miles away? "Thousands of miles of green, who can see? If you travel ten miles, you will see green and red scenery, village Guo, balcony, monk temple and wine flag. " For this kind of opinion, He Huan Wen once refuted it in Textual Research on Poems of Past Dynasties: "Even if you make ten miles, you may not be able to hear it. The title cloud "Spring in the South of the Yangtze River" shows that Wan Li in the south of the Yangtze River is vast, and among the Wan Li, birds are singing and reflecting the green. There are no wine flags everywhere in Shuicun Mountain, and most of the towers of the 480 Hall are in the misty rain. This poem is wide, so it is not allowed to refer to one place, so it is called "Spring in the South of the Yangtze River" ... "He's statement is right, which is for the needs of typical generalization of literature and art, and the last two sentences are the same. "Four hundred and eighty halls in the southern dynasties, how many towers are misty and rainy." From the first two sentences, birds are singing, red and green are set against each other, and wine flags are flying. It should have been a sunny scene, but these two sentences are clearly written in misty rain, just because the rain is different everywhere within a thousand miles.
What needs to be seen is that the poet grasped the characteristics of Jiangnan scenery with typical techniques. Jiangnan is characterized by beautiful mountains and rivers, bright flowers, intricate colors, rich levels and strong three-dimensional sense. While reducing thousands of miles to a scale, the poet focused on the colorful scenery in the south of the Yangtze River in spring. The first two sentences of the poem are red and green, mountains and rivers, villages and battlements, movements and sounds. But these are not rich enough, and they only depict the bright side of Jiangnan in spring. So the poet added a wonderful stroke: "Four hundred and eighty halls in the southern dynasties, how many towers are misty and rainy." The resplendent and heavily built Buddhist temple has always given people a deep feeling, but now the poet deliberately lets it linger in the misty rain, adding a hazy and blurred color. This kind of picture and color are in harmony with the beautiful scenery of "thousands of miles of warblers singing green and reflecting red, and the wind of national wine flags in water towns and mountains", which makes this picture of Jiangnan Spring more colorful. The word "Southern Dynasties" adds a distant historical color to this picture. "480" is a saying that the Tang people emphasize quantity. The poet first emphasized that there was more than one magnificent Buddhist temple, and then sang with the sigh that "misty rain is coming", which is particularly reverie.
Du Mu is especially good at depicting beautiful and moving pictures with just four sentences and twenty-eight characters, presenting profound and beautiful artistic conception, expressing implicit and profound feelings, and giving people the enjoyment of beauty and the enlightenment of thinking. "Jiangnan Spring" reflects that the aesthetics in China's poems and paintings are beyond time and space, indifferent and free and easy, with the thought of "epiphany" of Confucianism, Buddhism and Taoism, and more poetic feelings of nostalgia, seclusion and freehand brushwork.