Liu Changqing (709-780? ), the word study, Hejian (now Hejian, Hebei) people. In the twenty-first year of Kaiyuan, he was a scholar. During the calendar year, after the official arrived in Hubei and Vietnam, he was falsely played as an observation. He was imprisoned in Gusu and later banished to Nanba. It was eventually the secretariat of Suizhou.
Liu Changqing's "Poem Name of Shangyuan and Baoying" (Chronicle of Tang Poetry). Most of his poems are relegated to wandering feelings and leisurely landscapes. He is good at body-approaching, especially the five laws, and once called himself "the Great Wall of Five Words". The style is subtle and gentle, elegant and refined, close to Wang Meng.
There are also several poems reflecting the reality in his collection, such as "Mu Lengguan meets everyone in the north and goes to Yuyang". With a very concise poem, he wrote the desolate and carved scene after the Anshi Rebellion:
I met you on the way to Mulingguan, and you will go back to Sanchi alone. The green hills of Chu are still old, and the rest of the sun gives off a chill. After hundreds of urban wars, several old people are still on the earth. There are ruins everywhere, and you will cry while walking.
In addition, poems such as "Tired Soldiers" and "Send Li Zhongcheng to Xiangzhou", or write about soldiers who have been trapped in the frontier for a long time and cannot go home, or write about veterans who have been stopped from returning home, also feel the same way.
He wrote poems about seclusion in mountains and rivers and achieved great success. Writing landscapes and expressing feelings with poems with strict rhythm can make nature concise and fresh. Representative works such as "Looking for the Mountain Residence of Changshan People in Nanxi":
Walking along a path, there is a scar on the raspberry moss. After a while, the clouds fell low on the quiet lake, and the grass closed the lazy door. A pine tree that has become greener because of rain, a stream that originated from the mountain source. Mixed with truth, I have forgotten what to say.
He wrote in his poem that the quiet scenery he saw all the way to Nanxi Mountain was refreshing and quite tolerant. At the end, I wrote empty Zen, but my thoughts and feelings were negative. Another example is An Interview with Huangfuxiang in Bijian Villa:
The abandoned village has seen the sun again and fallen leaves are falling. There are no travelers in the ancient road, and Hanshan sees you alone. The wild bridge is broken by rain and the stream is divided into fields. Who will go to Baiyun without the same disease?
No one wants to come to this secluded villa. Huangfu waited on him, but he was satisfied without saying anything. His quatrain "Lord of the Lotus Mountain in the Snow" is also a masterpiece that has been passed down all the time:
The setting sun is far away, the weather is cold and the house is poor. Chai Men heard dogs barking and went home on a snowy night.
The scene seen by poor families staying in the mountains on a snowy night is portrayed in just a few words, which makes people feel subtle and cordial.
He also wrote some works that recalled the past and hurt the present. These poems are often combined with his own frustration of being relegated. For example, when passing through Jia Yi's home in Changsha:
Jia Yi lived here in exile for three years, which is a tragedy of tens of millions of generations. I look for traces of human existence in autumn grass and watch the sunset slowly tilt in the cold forest. Han Wendi is weak and weak, and Xiangjiang River water doesn't want to pay tribute, okay? Leaves fall in the lonely and lonely mountains. Poor you don't know why you are wandering in the world.
This is a metaphor for the past and a feeling for the present, which is very profound. In three or four sentences, the words and artistic conception of Jia Yi's Pengniao Fu are integrated into the scenery, especially the artistic skill.
However, his ideological life is relatively narrow, so his poetic realm lacks more changes. Gao Zhongwu's "Miracle between ZTE" said that his poems were "generally more than ten, with a little agreement", which hit home the artistic weakness of his poems.