Xie Lingyun in the Southern Dynasties was the first important poet who wrote a large number of landscape poems, and was called the originator of landscape poems. The rise of landscape poetry in ancient poetry began in the Southern Dynasties. After the evolution of Qi and Liang Dynasties, the theme of landscape poetry has been continuously expanded and the styles have become increasingly diverse, which directly promoted the prosperity of landscape poetry creation and the formation of landscape poetry school in Tang Dynasty. Landscape poetry is an important part of all fields of Tang poetry, with outstanding achievements, forming a school of landscape pastoral poetry, mainly including Wang Wei, Meng Haoran, Chu Guangxi, Chang Jian and so on. In the Tang Dynasty, there were many landscape poets, many of whom were famous. They created a large number of landscape poems with their own talents, which greatly enriched the treasure house of Tang poetry.
First, an overview of landscape poems in the early Tang Dynasty
Poetry in the early Tang Dynasty still inherited the spirit of Qi and Liang Dynasties, so the landscape poems in the early Tang Dynasty were generally silent. Even so, there are still some works worth mentioning. Looking at Nanshan written by Emperor Taizong is very imposing, while Du Fu's grandfather Du Fu's Listening to the Flowing Water in the Piano and Looking at the Mountain in the Painting is unique, fresh and natural. The landscape poems of Song Dynasty and Shen Quanqi are also quite distinctive and have played an important role in the development of modern poetry. Although Chen Ziang's landscape poems are few in number, they present new artistic features. In particular, his "Looking at Chu in Jingmen" is also a famous work in the early Tang Dynasty: "
Go to the martial arts and watch the stage. Bashan River is exhausted, and Jingmen is full of smoke. The city is divided and the trees are broken by white clouds. Nowadays, crazy singers, who knew they would come to Chu. "
The poet wrote the magnificent mountains and rivers in Bachu when he first went to Sichuan in a fluent style. Style is different from other poets. At the turn of the early Tang Dynasty, the poet Zhang's "He Yin engages in pan-Dongting": "Pinghu looks at the water and looks for caves and springs. Suddenly I was surprised that the river was full of flowers, and I suspected that I went to Japan by boat. " Dongting Lake meets the sky, the light and shadow of the jungle on the shore are reflected in the lake, the lake reflects the sunshine, and the golden waves on the lake are rippling, which is a spectacle.
Due to the influence of the style of palace poetry, the theme of landscape poetry at this time is basically limited to the scope of the palace pool, and the poet specifically describes the artificial landscapes such as Taige Mountain Pond or sings with each other. Lu, Luo, and Yang Jiong, known as the "four outstanding figures in the early Tang Dynasty", launched a literary revolution in palace poetry, and the theme of landscape moved towards the real natural landscape. As Mr. Wen Yiduo said, four outstanding poets moved palace poems from Taige to Jiangshan and desert. Out of the sightseeing banquet in the Palace Pavilion, four outstanding artists came into contact with the vast mountains and rivers in their long journey, and their landscape poems separated from the Palace Garden and became a surprise discovery and fascination with the magnificent beauty of nature. This way of writing landscapes with deeds undoubtedly broadens the horizon of describing landscape poems. Of course, the styles and techniques of the four masters' landscape poems were not completely divorced from Qi Liang to the early Tang Dynasty, such as flowers, birds, fish, insects, butterflies, grass, trees, streams, springs and simple and bright colors. However, due to their great ambition and gloomy spirit, the landscape poems of the four masters often inject strong emotions when writing landscapes, which is not only reflected in the transcendence of the palace landscape poems in the early Tang Dynasty, but also in fact the transcendence of the landscape poems in the Jin and Song Dynasties.
After the four outstanding poets, Du Fu, Shen Quanqi, Song and others made new contributions to landscape poetry. Most of them had the experience of relegation, wrote many poems on the journey, and also wrote many wilderness documentary poems, of which quite a few were excellent landscape poems. At the same time, in the external performance, they have made outstanding contributions to the style of landscape poetry from both ancient and modern aspects. On the one hand, in view of the fact that the landscape poems in the early Tang Dynasty followed the Qi and Liang Dynasties, Xie Lingyun's five ancient styles were strongly advocated to revive the ancient landscape tune; On the other hand, it also makes the meter of modern poetry more standardized and strict, changes the rough phenomenon of modern poetry in the early Tang Dynasty, makes the landscape style more concise and enriches the landscape poetry. So as to lay a solid foundation for the greater development of landscape poetry in the prosperous Tang Dynasty.
Zhang Shuo and Zhang Jiuling had a direct influence on the prosperity of landscape poetry in the prosperous Tang Dynasty. Zhang said that when he was relegated to Yuezhou (now Yueyang, Hunan), he wrote many landscape poems. The Book of the New Tang Dynasty called his works when he was in Yuezhou "mountains and rivers helped each other". At the same time, a group of literati who moved to exile at the same time gathered around him, forming a literati group, and the atmosphere of singing mountains and rivers in Huxiang area rose. On the other hand, Zhang Jiuling's landscape poems are good at depicting the beauty of mountains and rivers with great boldness of vision, and at the same time contain profound historical thinking, which is called "the combination of God and power". During the Kaiyuan period, the two poets complemented each other and were recognized as a generation of philosophers and literati. They not only created a large number of excellent chapters by themselves, but also guided their writing style with the aesthetic ideal of "natural beauty". In fact, almost all the important poets in the prosperous Tang Dynasty were promoted by them and embarked on the literary world. Therefore, these two poets had the most direct influence on the poets in the prosperous Tang Dynasty. Hu Yinglin's Poems in the Ming Dynasty said that Zhang Jiuling "pioneered the school of light, and Meng Haoran, Wang Wei, Chu Guangxi, Chang Jian and Wei all benefited from the lightness of Qujiang", which exactly described the general context of the development of the landscape poetry school in the Tang Dynasty.
In a word, the landscape poems in the early Tang Dynasty basically inherited the characteristics of detailed description of landscape poems in the Southern Dynasties, and the blending of scenes has not yet become the main writing feature; Second, there are many famous sentences about mountains and rivers in the article, but the whole article is about mountains and rivers and is well written. Thirdly, the situation of landscape poetry has not been opened yet, and it is rare to see it as magnificent as Zhang Shuo's poem "River Songs Make a Pan-Dongting".
Second, the landscape poems in the prosperous Tang Dynasty
In the prosperous Tang Dynasty, the creation of landscape poems became a magnificent sight, and the poet's understanding of landscape became deeper, and his artistic ability to grasp and describe landscape was further improved, and the creation of landscape poems reached an unprecedented peak. The landscape poems in the prosperous Tang Dynasty have fresh language, high rhyme, broad pattern and colorful weather. Their styles can be roughly divided into two categories: one is the Qing Dynasty, represented by Wang Meng; One is male, represented by Du Li.
(A) Meng Haoran's landscape poems
The most prominent feature of Meng Haoran's landscape poems is lightness. Mr. Wen Yiduo said in "Miscellaneous Poems of the Tang Dynasty": "The real Meng Haoran is not to build poems tightly in a couplet or a sentence, but to dilute them and disperse them evenly throughout the whole article. When I can't see the poem, it is really Meng Haoran's poem. " In Meng Haoran's poems, this lightness is reflected in the shallowness of language, the thinness of images and the desalination of emotions. Most of Meng Haoran's poems embody this feature, but his Facing Dongting is magnificent and unique in his works. This poem, together with Du Fu's "The Story of Climbing Yueyang Tower", became a famous piece describing Dongting Lake. Meng Haoran's landscape poems are mostly based on daily life, showing a simple and natural artistic conception of life. His representative works, such as Returning to Lumen Mountain at Night, Passing by the Old People's Village, Thinking of Xin in the South Pavilion in Summer, Zhang in Autumn Mountain, and Yungong, a Taoist in the Mountain, are indifferent and detached in terms of shaping the image of noble scholars, the interest in traveling in the mountains, the outline of rural scenery and the friendship of sharing seclusion and obedience.
Meng Haoran, despite his outstanding talent, had poor opportunities and missed his career. His creative theme is mainly to write about the secluded life in his hometown or the mountains and rivers he saw while roaming. He was also one of the early poets influenced by Tao Qian in the Tang Dynasty. He combined landscape pastoral poetry with landscape poetry and formed the poetic style of landscape pastoral poetry in the prosperous Tang Dynasty.
The characteristics of Meng Haoran's poems are embodied in three aspects:
First of all, there is both the elegance and tranquility of pastoral poetry and the freshness of landscape poetry. Even if he writes an ordinary scene, it will be particularly beautiful and harmonious after his artistic treatment. For example:
In the evening, the bell of the temple echoed in the valley, and a noisy voice sounded at Yulu Ferry. When others went home along the river bank, I also went to Lumen by boat.
The moonlight at the deer gate made the mountain tree appear, and I suddenly came to the seclusion of exile. Thatched doors, pine paths, loneliness and silence, only you come and go at night. -"Night Return to Lumen Mountain"
This poem is about the sight seen on the way back to Lumen Mountain by boat at dusk. Through the description of the hustle and bustle of crossing the river, the return of the river village and the loose path of the moon, two completely different scenes are combined in the same poem, which reflects the poet's nostalgia at this moment and his admiration and yearning for the lonely hermit. This kind of poetry can reflect the new situation of the combination of landscape and pastoral poetry. This combination sometimes reaches the level of harmony and difficult sentence analysis. Please see:
The sun came out early in Xu Dong, and the birds in Zhu Zhu were shocked. Lying in the fish mouth, the radial sound is dark.
The width of the river is known at sunrise. Beautiful women often pick up, take photos and foam.
Drink water to scare apes, offer fish to meet otters. The boat trip is not boring, and the situation is clear. -"Early Fishing in Putan"
This is an impromptu trip. The whole poem begins with the scene of Putan (near Fuchun River, 30 miles east of Fuyang County, Zhejiang Province) fishing for the first time, which fully shows the sense of freshness and comfort on the river. The first four sentences convey the scenery of the river bank and Temple and the life breath of the water boatmen who go to work early by describing the feeling that the waterfowl is frightened by the morning light and the boat moves with the radial paddle. In the middle four sentences, I wrote what I saw during my trip on the river. Not only the sky is high and the clouds are light, Wan Li is cloudless, the river is wide and the water is wide, and the brightness is everywhere, but I also ingeniously moved the "camera" to the scene of women washing and dressing by the river, making the green water of Qingjiang more innovative and interesting. In the last four sentences, the apes and otters are mentioned first to add freshness, and then the conclusion that "the boat trip is boring and the situation is clear and Wan Li" proves that the boat trip is really enjoyable. The poet skillfully combines the landscape with the pastoral taste, with novel ideas and moving scenery, which makes the content of the poem rich and colorful. Therefore, it is no exaggeration to say that Meng Haoran had the initiative in the expansion of landscape poems in the prosperous Tang Dynasty.
Secondly, it has elegant, fresh, natural and simple artistic beauty. This is a true portrayal of his simple and natural life, which is quite different from the popular poems about objects in the early Tang Dynasty. He is good at describing the natural scenery he sees every day with fresh style, taking the real scenery and telling the truth, so that Yuan Ye, the farm and the fishing firewood, which were originally elegant and elegant, can naturally enter poetry and show their true colors. For example:
Clear water is long, and water falls on the sand island. Back to the pool, the stone is deep and the green shore is near.
Jiao Ren is invisible, and fishing songs are self-escape. When I remember to say goodbye to you, I went boating like yesterday.
When the sun sets at night, sitting in the middle is not the only one. Looking at the south of Lumen Mountain, I hate losing when I come back. -"Seeing Mr. Baiyun on an Island in the Heart of the River"
The first six sentences of this poem describe what you saw when you landed on the island: Qingjiang River, sand island, bamboos and boulders hidden in deep pools, and the elegant songs of Jiao Ren and fishermen. At first glance, it looks like the original natural scenery. However, if we read the last six sentences over and over again, we will understand that whether writing about distant rivers or deserted sand islands, hidden Jiao Ren or fisherman's songs, they all have profound meanings, revealing the poet's sense of loss when he landed on an isolated island in the sunset. The poet created a beautiful poetic scene by blending scenes, and also expressed his feelings of missing his friends emotionally.
In "Autumn Mountain Wu", the beauty of fresh and elegant artistic conception is particularly prominent:
Facing the white Yun Qi Fu Feifei on the mountain ridge, I can enjoy myself as a hermit. I tried to climb the mountain and look ahead, and this mood disappeared with the departure of the swan song.
Sadness is often the mood of dusk, and the mood is often the atmosphere of autumn. I looked down at the riverbank and took a flat-headed rest with the folks who came home.
There are trees on the horizon like a row of grass and rivers like a moon. I hope you will pick me up, bring a basket of wine and get drunk on the Double Ninth Festival.
The description of the scenery and the expression of the poet's feelings in this poem are intertwined and mutually causal. If there were no vivid natural scenes such as "geese flying over the heart" and "if the weather in autumn is not so fresh and clear", the poet's enthusiasm for fresh and elegant scenery would not be shown. Flying Wild Goose and Clear Autumn Hair not only explain the time and festivals, but also describe the deep affection of autumn scenery and his friends. Their love stories are elegant and unique. When describing the rural scenery of Dutou in the evening, the descriptions of "the trees on the horizon" and "the moon by the river" are naturally inserted, which makes people realize that the scenery contains endless affection. It is very attractive to send a sincere invitation to climb a mountain to a friend from a quiet and poetic village. Weng Fanggang, a poet in A Qing, said, "Reading Meng Gong's poems is like listening to a spring on a stone in the middle of the moon, regardless of arm or style.". (Shi Hua, Zhoushi) This poem is a masterpiece representing the charm of Meng Gong, elegant, fresh and elegant. Pi Rixiu, a poet in the late Tang Dynasty, made a comparison in Yunzhou Ji, and thought that "Mr. Wang's works are full of praise when they meet the scenery, and they are not strange, which makes people dirty and restrained, and (urgent) and (urgent) have the interest of flowing. If Volkswagen loses, it is also a coincidence. Mr. Beiqi has a saying that' the lotus leaves are falling, and the willow leaves are sparse in the middle of the month', while Mr. Beiqi is a light river person with sparse raindrops. Yuefu Meijun has a "sunny day in Sha Liang, the wind is moving and the spring is turbid", while Mr. Yue has a "cloud dream and fog around Yueyang City". Xie Shu's poem is "Dew wet cold pond grass, the moon is clear", and Xie's poem is "Wind sends lotus fragrance, bamboo leaves drip". This is better than the ancients. " This comparative analysis is very convincing. Of course, the style of Meng's poetry is not only a kind of dilution and peace. Based on his frustration in official career and psychological conflict of being unwilling to be left behind, he couldn't help but feel great emotional waves in his poems, which formed another feature of his landscape poems.
Third, there is heroism in dilution. There is a strong and free-flowing atmosphere in Meng's poem Zu Jian 'an Zong Yuanming. "This is Tang Yingui money quoted from Shipu, which makes sense. In fact, it is precisely because of these characteristics of Meng's poems that people feel attractive. Please look at the following poem:
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. When I sit here and watch a fisherman throw a hook, I envy his catch in vain. -"Message from Dongting Lake to Premier Zhang"
Monkeys whimper on the dark mountain, and the river rushes in the dark. The wind on both sides of the strait rustled the branches and leaves, and the moonlight reflected on the river, a boat on a river.
Jiande's scenery is good, but it's not my hometown. I still miss my old friends in Yangzhou. Recalling those two lines of tears that I couldn't restrain, I looked at the west side of the west bank and sent sadness to Yangzhou. -"From a berth in Tonglu to a friend in Yangzhou"
I stopped playing when I heard Lei Zhen in One Hundred Miles. Even riding out, the river is waiting for the high tide.
According to the sun and autumn clouds, the floating sky is wide and extensive. The stormy waves come like snow. If you sit still, you will feel cold. -"Going to the Barrier Pavilion with Yan Qiantang to Watch the Tide"
The river is divided into nine factions and is a water town. Zhou Zili used his profits to go to Xunyang.
Because of this, I traveled all over the world and visited Sanxiang. The Taoist temple is strong and beautiful, but the pain is heavy.
Wei que's heart is always there, and the letter of Jinmen is never forgotten. Pity from afar, the war plate has been returned to the item. -"Xunyang boating in the bright sea"
These poems have long been famous all over the world. Whether writing a steaming cloud dream or writing a tidal Qiantang as snow, their * * * features are magnificent. The description of "Nine Schools on the Great River" is full of overall beauty and profound feeling. With the heroic spirit of splashing ink, the poet painted a picturesque landscape and endowed it with unparalleled vitality. This, of course, has to go through the ingenuity of the poet's business ideas, rather than squandering them at will. Without planning, it can work, and it can't lack the inspiration of the spirit of the times. For example, "Clouds dream up and fog around Yueyang City" is the inspiration of the flavor of the prosperous Tang Dynasty. This poem is called "singing high" together with Wang Wei's "Man's residence is like a floating edge, rippling in the far sky" (hereinafter referred to as "Overlooking the Han River") and Du Fu's "There is Wu in the east and Chu in the south, and you can see the endless floating of heaven and earth" (hereinafter referred to as "Climbing Yueyang Tower"), which can be used as a symbol of the prosperous Tang Dynasty.
(B) Wang Wei's landscape poems
"People are idle and sweet-scented osmanthus falls, and the night is quiet and empty." When the moon rises, birds will be frightened. When the moon rises, it will make a sound in the spring stream. "This is a poem known to all women and children. The author uses his extremely concise words to give people a quiet and beautiful landscape picture.
Wang Wei, a Mozi, was a famous poet in the Tang Dynasty. His poems are fresh and natural, unique and widely circulated. At the same time, he is also an accomplished landscape painter, which I think few people are familiar with. In fact, in many ancient and modern works of art, his accomplishments in landscape painting have been written.
On the basis of Xie Lingyun's meticulous pursuit of similarity, Wang Wei's landscape poems began to pursue "spirit likeness", the ethereal artistic conception in landscape description and the interest in Buddhism and Zen. Moonlight in the pine forest and crystal stone in the stream, I will keep walking until the river blocks my way, then sit down and look at the rising clouds.
Wang Wei's landscape poems also pursue painting.
Chinese painting pays attention to poetry and painting. He applied painting techniques to the creation of landscape poems, and after artistic refining and purification, he formed a series of fresh, bright and quiet ink paintings, which produced the artistic effect of "painting in poetry". His representative works are Zhongnanshan, Living in the Mountain is One Thing, An Autumn Night in the Mountain, In the Mountain, Looking at the Han River and so on. All of them show vivid painting beauty and poetic beauty in the attachment, communication and even integration between man and nature, which pushes the artistic achievement of this subject to an unprecedented height. Wang Wei combines painting with poetry. His poems are simple and unpretentious, his painting charm is implicit and rich, his artistic conception is clear and broad, and he sketches his own world in nature. His pen is casual, his pen and ink are calm and his lines are vigorous. In his space, his image and pen and ink complement each other, expressing his love and sentiment for life. Landscape painting pays most attention to the expression of artistic conception. He combined poetry and painting with words as the media, things as the meaning, and created a broader and far-reaching artistic space for the world. Wang Wei's landscape poems, such as "The desert is lonely and the long river sets the yen", "Thousands of miles pass through the sky, and several peaks emerge from the clouds", and "After the rain, the mountains stand empty and the autumn stands late", describe beautiful scenery for us and make people feel the charm of the landscape from different angles. In landscape painting, Wang Wei can be regarded as an epoch-making landscape painter. His green landscape is like Li Sixun, and his ink landscape is close to Wu Daozi. At the same time, he created a broken ink landscape, removed the glitz of the previous landscape painting, and only used ink to dilute it, which made the landscape painting, which was originally dominated by hook lines, take a step forward to the development of ink painting. In Ming Dynasty, Dong Qichang once said that Wang Wei's landscape painting "changed painting method into ink painting", which shows his contribution to the development of landscape painting.
Wang Wei started the ink and wash landscape painting in the Tang Dynasty, which had a great influence on later literati painting.
Throughout his life, he poured all his feelings into the landscape, expressed his feelings and created his own thoughts. Poetry comes from the chest, painting comes from the heart, scenes blend, poetry and painting complement each other, and music is meaningful, reaching the highest realm of the unity of poetry and painting.
(C) Li Bai's landscape poems
The overall feature of Li Bai's landscape poems is bold and unconstrained. From the description object, Li Bai likes to choose the tall, majestic and flowing natural landscape as the description object, and the landscape itself gives people a kind of masculine beauty; From the artistic point of view, Li Bai always depicts landscapes with unrestrained passion and positive romanticism, such as bold exaggeration, rich and peculiar imagination and the use of myths and legends, which has produced a fantastic and magnificent style. Difficult Road to Shu embodies the artistic features of Li Bai's landscape poems.
The ode to mountains and rivers in Li Bai's poems is interwoven with impassioned grand mind and bold and romantic whimsy. Du Fu's accurate evaluation of Li Bai's poems is that "the poet makes the gods cry". Li Bai is not only good at learning and inheriting excellent traditions, but also good at bold innovation. According to the development and needs of the times, he innovated styles, techniques and languages. His romantic poetry is enough to astonish the wind and rain and make the gods cry, and it is worthy of being an artistic treasure in the history of poetry.
Li Bai's landscape poems are good at spreading the wings of magical imagination and shaping an open and uninhibited self-image, which is unique in landscape poems. He never sticks to the detailed description of landform. I don't care about the leisure when I look at the mountains and rivers, and I'm not limited by the mountains and rivers. Instead, relying on his own aesthetic ideals and passionate feelings, he created an extraordinary image with great personality and expressiveness, which was rare in previous poems. He writes scenes at will, expresses his feelings at will, gallops through Wan Li and makes love freely. Only in this way can we better express the imperial spirit of the integration of mountains and rivers and thoroughly express the resentment in the hearts of a generation of talented intellectuals. Li Bai broke through the traditional technique of expression and created an image in his landscape poems that dared to contend with the extension of fate but refused to yield. In his hard work, the vast mountains and rushing rivers and seas have become his intimate friends, his dependence, and the source of his strength and courage. Li Bai intends to make the landscape magical and personalized, otherwise it will not be enough to show the momentum of the magnificent mountains and rivers of the motherland, and it will not be enough to describe the indomitable personality and the upright and open mind. Please see "Climbing Taibai Peak":
Mount Taibai Peak in the west and climb the peak at sunset. Venus greeted me and opened the customs for me. I want to fly among the clouds in the breeze.
Raise your hand to welcome the moon, and move forward without mountains. If you don't go to martial arts, when will you return it?
The poet's description of Taibai Peak pays no attention to appearance or sightseeing, but chooses the night when the sunset shines, starting from the last paragraph of climbing the peak. The word "poverty" describes the exhausting but indomitable situation of climbing a mountain. The poet endowed Taibaifeng with spirituality and strength. Only Taibaifeng understood the poet, and only Taibaifeng understood his predicament and pursuit, which opened the door to freedom for him. The poet imagined himself riding the wind, rushing out of the clouds, traveling in space and being free. The majestic Taibai Peak became close friends with this indomitable poet. After absurd thinking and daydreaming, it adds color to nature, making it the embodiment of justice and strength, freely expressing one's ideal passion and gaining spiritual sustenance. Li Bai highlighted his noble feelings and self-image of climbing high and looking far with this kind of freehand brushwork. At the same time, readers can learn about the lofty scenery of Taibai Peak.
Li Bai's brilliant whimsy has filled the vast universe with vitality. He is keen to express the beauty of magnificent mountains and rivers, such as Climbing Mount Tianmu in a Dream, Songs of Xiyue Yuntai to Dan Qiu Zi, Songs of Gao Ming to Cen Zhengjun, etc., all of which are representative works of Li Bai's innovative artistic conception and techniques. Wang Wei, who is as famous as Li Bai, is also familiar with mountains and rivers, but he focuses on the painting, charm and quiet artistic conception of mountains and rivers, which reveals his lonely and comfortable state of mind. It can be said that Li Bai's poems win with momentum, while Wang Wei's poems win with skill. They have made their own achievements with different pursuits, and enriched and enhanced the freehand brushwork features and artistic charm of landscape poems from different angles.
Li Bai likes the genre of Yuefu songs, because Yuefu songs are characterized by being eclectic, straightforward, free in sentence patterns and full of rhythm, which is more suitable for his personal creation. Li Bai got rid of the stereotype of Yuefu and freely expressed the lofty mountains, the running river, the passion in his chest and the arrogance in his heart. With this boldness of vision and boldness of vision, he wrote ancient Yuefu poems, such as Difficult Road to Shu and Songs of the River. , for this ancient form of poetry into the color and vitality of the new era. For example, his Journey to the North is an expansion and innovation of Cao Cao and The Journey to the West from form to content. Not only has the title changed, but the content has also changed from writing about the hardships of trekking to thinking about the disasters caused by the bonfire of the Anshi Rebellion in Taihang Mountain and Northern Territory. This is the first time to integrate landscape with current events. Later, Du Fu entered Shu from Qin and wrote many such landscape poems on his way.
Song's farewell to Cen is a new theme of self-reliance and self-improvement. The poet was living in Liangyuan, but his thoughts were far away. He imagined that his friends would experience the danger of ice and snow freezing, frozen cliffs and rivers, the deep valleys of Gaoming Mountain, and the moon and its elegance. Through a series of metaphors, he expressed his loyalty that he would never associate with power traitors.
Wang Shizhen, a scholar in A Qing, said: "In the 300 years of the Tang Dynasty, you were good at playing quatrains, which was the Yuefu in the 300 years of the Tang Dynasty." Li Bai is a master of the new school of Yuefu. He wrote a large number of quatrains of Yuefu landscape poems, such as Deer Pavilion at Night and Looking at Tianmen Mountain. In the hands of Li Bai, these short poems with only four sentences have become a picture with extraordinary artistic conception and a beautiful lyric poem. In a word, Li Bai's Yuefu songs, whether long or short, old or new, are the crystallization of the poet's creative work. They have their own characteristics, and entered the Baihua Garden in the Tang Dynasty, glowing with attractive artistic brilliance.
The language of Li Bai's landscape poems is completely personalized. The unique feature of Li Bai's landscape poems is that "Xing Han put pen to paper and shook the five mountains, and poetry became a smile and proudly led to Cangzhou" (Song on the River) is talented, and naturally poetry is not carved. Of course, his language style is also diverse, sometimes gorgeous and exaggerated, and sometimes beautiful and natural. "Xiyue eventful He Zhuang zai! The Yellow River is like a silk sky. The Wan Li of the Yellow River touches the mountain, and the vortex hub turns to Qin Mine. Glory is colorful, and saints are in the Millennium. Genie roared and broke two mountains, and Hongbo shot an arrow at the East China Sea. These three peaks stand as if to be destroyed, while the Cuiyadan Valley is high. The gold in Bai Di is full of vitality, and the stone is a lotus cloud.
Here, the poet enthusiastically praised the power of the Yellow River and Xiyue in magnificent and exaggerated language. There are many poems about rivers and Yue in ancient times, but few of them can compare with Li Bai in language momentum. This largely depends on Li Bai's lofty and heroic mind, because in Li Bai's mind, the five mountains are sacred symbols of the Chinese land, and the Yellow River and the Yangtze River are symbols of the heroic progress of the Chinese nation. Otherwise, it is not enough to show its myriad weather and make people respect it. When Li Bai wrote different styles of landscapes, he used different styles of languages. He has many famous landscape quatrains, and his language is fresh and smooth, such as: "Dongting looks at the Chu River in the west and there is no cloud in the south." Poems like "When the sun sets, Changsha is far away in autumn, and I don't know where to hang the Xiang Army" ("Five poems by assistant minister, to Dongting Lake by Jiashe") can truthfully draw the true colors of beautiful mountains and rivers because of the poet's beautiful and natural language. Li Bai cherishes the natural beauty of language and opposes the elegant style of excessive carving. He attached importance to the grandeur and simplicity of Yuefu in Han and Wei Dynasties, absorbed the freshness and elegance of Yuefu in Six Dynasties, melted into its natural personality, and formed his own unique language art.