The biggest difference between landscape poems in the prosperous Tang Dynasty and those in the middle and late Tang Dynasty lies in the charm of style. Hu Yinglin once said in "Poetry", "What did the words of the prosperous Tang Dynasty say? ... night gives way to the ocean of the sun, and the old year melts in freshness? Mid-Tang Dynasty? Snow, river ice flow? Late Tang Dynasty? The crow crows in Maodian, and people swim in Banqiao cream? They all describe the scenery, the wonders of the ages, and the boundary between prosperity and middle and late period is cut, so we know that the article is related to fate.
Non-manpower. "
During the Kaiyuan and Tianbao periods, the Tang Dynasty reached its peak, and poetry flourished in an all-round way. During this period, the emergence of a number of landscape poets such as Wang Wei, Meng Haoran and Chu Guangxi pushed the artistic achievements of landscape poetry to an unprecedented height. They inherited the creative tradition of Xie Lingyun and Xie Tiao's landscape poems since Jin and Song Dynasties, and formed a school of poetry with the same theme and similar artistic style. Their poems focus on exploring the beauty of nature, expressing distant feelings of self-satisfaction and creating my realm. Generally speaking, the language of landscape poems in the prosperous Tang Dynasty is fresh and lofty, with a broad pattern and a myriad of weather.
Meng Haoran is one of the most outstanding representative writers of landscape poetry school in the prosperous Tang Dynasty. His landscape poems are very close to his own life, and the description of scenery in Meng Haoran's poems often seems to be a part of his living environment, which is more spontaneous and simple. Such as "Xunyang Night Looking at Lushan Mountain": a thousand miles of seats are hung, but no famous mountains are seen. When I parked my boat outside Xunyang, I saw the censer peak was unusual.
I have read Biography of Hui Yuan, and its dusty traces will always make me miss it. Although Vihara's residence is close at hand, there is no bell.
This poem is plain and traceless, and is lamented by later generations as "a masterpiece of nature". This poetic sentence is natural and pure, simple and elegant, which makes people appreciate the realm of "prosperity and truth". In Qing Dynasty, Shen Deqian called Meng Haoran's poems "light but not light" (Selected Poems of Tang Dynasty in Shen Deqian). Reading Meng Haoran's landscape poems carefully, we can find that his poems don't like to describe scenery with piled images and complicated vocabulary, but pursue the blurring of images and the weakening of style. "... he pays attention to the inner power of poetry. Meng Haoran wrote many landscape poems describing magnificent landscapes. Generally speaking, we will find that most of him don't like to use difficult words and complicated descriptions, but set off the main scene from all angles and render the atmosphere "[2] (P.207). For example, in his "Watching Tides with Yan Qiantang in Zhang Ting", Qiantang in August said, "According to the moon, the moon and autumn clouds, the sky floats.
The sea is wide. The stormy waves come like snow. If you sit still, you will feel cold. "The pen is vigorous and has the momentum of overlooking everything, which is the embodiment of everyone's weather in the prosperous Tang Dynasty. Another example is his famous sentence "Dongting gives Prime Minister Zhang", which describes the spectacular Dongting:
The autumn water rises and almost blends with the shore, mixing water and sky with the sky. Ozawa's water vapor transpiration on the cloud soil is white, and the waves seem to shake the whole Yueyang.
I'm going to cross the water to find a boat and paddle. It's a shame to return home in the sacred age. Sitting around watching other people's hard river fishing can only envy the fish caught in the fish.
In the first four sentences, the poet transcends the limitations of his vision and melts his whole body and mind into the depths of the universe to feel the power of Yueyang Tower shaken by the fog and transpiration of Dongting Lake, the chaotic momentum of Tianshui and the choppy waves.
Wang Wei is a great master in the history of China's poetry. He is versatile and his landscape poems are at their peak. Wang Wei's landscape poems can be divided into two periods. There are very few in the early stage, and most of them are written after middle age. Although the ideological content of the poems in the early and late periods is obviously different, they are all full of lofty beautiful voices in the prosperous Tang Dynasty.
Wang Wei was proud in his early years, full of ambition to make contributions and have a positive attitude towards life. In landscape poetry, majestic mountains and rivers are chosen to describe it, which is consistent with Kaiyuan's prosperous economy, enlightened politics and developed culture. Later, he lived a secluded life, withdrew from the political arena, converted to Buddhism, and lived a idyllic life. Therefore, a large number of landscape poems created by him in his later period are basically an elegant mood, which regards nature as a pure ideal kingdom, and mostly depicts the charm of quiet rocks and clear streams and pastoral songs, showing the pleasure of lingering and the satisfaction of jumping out of the dust. The former is like Hua Yue:
Clouds are floating in Xiyue, and the snow is too clear. Even the sky is bright and dark, and it is hundreds of miles away.
It's cold during the day. It's a gloomy city. Yesterday, Wen gan Kun received it, and naturally he was born with talent.
Step on your right foot and cut it with your left hand. The heavens and the earth suddenly opened and the river poured into the east.
Therefore, it is the West Moon in Xiong Xiong Town, Qin Jing. The king is wrapped up, and eventually the morality will be born.
God is telling, welcome Jin Tiansi. People only look at cars for a long time, so why bother to meditate on Yunting?