The artistic achievements of Xie Lingyun's landscape poems are mainly manifested in four points: the description of lust, the personification of rhetoric, the clever use of ancient book language, the natural transfer of subjectivity and objectivity and the overall blending in the process of landscape writing.
The first feature: the sound, color and light of the landscape are vividly described.
The observation and experience of natural scenery in "Into the Lake Mouth of Peng Li" is very detailed, and the description is also quite delicate. The dynamic description of "circle" and "collision", the mourning of apes under the moon, and the bright colors of "green field show" and "Baiyun tun" are all impressive.
The second feature: personification rhetoric.
The personification technique in Xie Lingyun's landscape poems has been widely used, such as "Stone House Returning to the Lake": "Meteorology fans, mountains and rivers meet with brightness. Qinghui can entertain people, and the wanderer forgets to return. "
This is the subjective feeling of the writer, but the poet's plain style shows such kindness, which makes the ignorant landscape seem to have life and feelings and become a pair of intimate friends with the poet.
The third feature: using the language in ancient books and records more skillfully.
The fresh language style of Xie Lingyun's landscape poems is mainly reflected in the absorption of classics, history, Confucius and sentences into the poems. For example, "fishing for Song" borrows the meaning of "waste is straight, song is complete" in Laozi, which actually implies the way of life;
The phrase "When you make friends, you don't show your signs, but eat apples and deer" is taken from "Yellow Birds don't concentrate on signs" (Xiaoya Yellow Birds) and "Yo-yo Luming Literature, apples in the wild" (Xiaoya Luming Literature). After being associated with these poems, there are "Who is with Mu Gong" and "People are here", which are not important.
We can speculate that the poet is thinking of his bumpy life. Because Xie Lingyun's poetic style is unpretentious and unpretentious, his landscape poems have eliminated the immortal literature that has been flourishing since the Jin Dynasty, and initially broke the metaphysical poetic style, which has certain progressive significance.
The fourth feature: the natural transfer of subjectivity and objectivity and the overall blending in the process of landscape writing.
On the whole, Xie Lingyun's landscape poems have a distinct and strong personal color, and we can always feel a capitalized "I" when reading his poems. In other words, there is a strong sense of self in his landscape poems.
A poem similar to "I have lived in seclusion all my life, but I am totally powerless" is not as strong emotionally as Ouyang Xiu's "Tears ask flowers without words, and red flies over the swing", but I can still see the personal feelings expressed by the poet in the poem. Poets always jump out from time to time to express their depressed mood and philosophical sentiment when visiting landscapes.
When Xie Lingyun's pen and ink reached the level of scenery description, his attitude immediately became objective, so a series of realistic and beautiful landscape poems without the author's personal feelings were written by the poets they nested. So judging from some sentences describing scenery, Xie Lingyun's poems are more objective and realistic.