In the pre-Tang poetry, Nanshan was used as a metaphor for longevity.

Song is one of the most abundant and diverse images in poetry. There are many images of pine trees in the poems of the prosperous Tang Dynasty, which are closely related to the poet's temperament and life experience. This paper takes the image of pine trees in Tang poetry as the research object and analyzes its literary connotation from many angles. The full text mainly consists of three chapters. The first chapter mainly introduces the natural attributes of pine and the development of pine image before Tang Dynasty. Starting with the natural attributes and cultural connotations of the Song Dynasty, this paper analyzes the symbolic significance of the image of the Song Dynasty in the poems of the Pre-Qin, Han, Wei, Jin, Southern and Northern Dynasties, and explains how the Song Dynasty changed from a natural image to a rich literary image in literary works. In the pre-Qin period, the image of "pine" in literary works mostly expressed its natural beauty; During the Han, Wei, Jin, Southern and Northern Dynasties, with the awakening of self-consciousness, the lyrical color of the image of "Song" in poetry was stronger than that in the pre-Qin period. Although the number of poems is small, it broadens the expression space of "Song" images, and images such as "Lonely Song" and "Sword" appear, which laid the foundation for its prosperity in Tang poetry. The second chapter is the main part of this paper. This part divides the allusion images of "Song" in Tang poetry into seven categories for analysis, and discusses its inheritance and development in Tang poetry. First, the "withered pine" in Tang poetry has both fortitude and firmness in character and integrity in bearing. Secondly, "the pine of the pillars" is regarded as a symbol of talents. In the poems of the early Tang Dynasty, the poet used "the looseness of pillars" to express his inner unfortunate feelings. This image in the poems of the middle and late Tang Dynasty adds a transcendental color of yearning for nature and preserving the age. Thirdly, the image of "pine at the bottom of the ravine" comes from Zuo Si's Ode to History, which is regarded as the ratio of literati who have never met before. Poetry in the early Tang Dynasty inherited the traditional connotation of the image of "pine at the bottom of a ravine" and expressed the unexpected injury in the heart. After the Anshi Rebellion, the imbalance of political affairs led to the confusion of the imperial examination system, and people could not give full play to their talents. In her poems, Ziyi deeply discussed the social causes of this phenomenon, and extended the meaning of lofty interest and seclusion from the image of "pine at the bottom of the stream". Fourth, loose in "Chu Ci? It has the color of seclusion and elegance, which is frequently used in Tang poetry, because the Tang Dynasty, where Taoism and Buddhism prevailed, was an era of advocating seclusion. The seclusion of Song Dynasty brought elegance and freedom of Taoism and Zen of Buddhism, but behind these appearances, the poet's heart was hidden. Fifth, pine has a long life cycle and has always been considered as a prayer for longevity. In Tang poetry, poets use it to express their feelings about life.