Since Wei and Jin Dynasties, he advocated talking clearly. The Eastern Jin Dynasty deviated to the left of the Yangtze River, and the talk became more and more fierce. This trend invaded the field of literary creation, which led to the prevalence of metaphysical poetry. These poems are dull and tasteless. "Ping Jing, like On Virtue, is far from expressing feelings and is unsightly. However, metaphysical poetry and landscape poetry are not diametrically opposed. In people's minds at that time, the landscape had a side of "promoting the Tao with form" (Zong Bing's Preface to Painting Landscape), and the landscape contained mysterious interest. Therefore, most metaphysicists like mountains and rivers, and use them to express metaphysics. For example, the poem Lanting by Sun Chuo, the main writer of metaphysical poetry, describes the scenery quite vividly. By the end of the Eastern Jin Dynasty, Moshan's works of flooding gradually increased, and his poetic style began to change. Song Lingyun's Biography attributed the advocacy of landscape poetry to: "Wen Zhong began to become the wind of the sun, and his uncle became the spirit of Taiyuan. "But judging from the existing works of these two meta-authors, the metaphysical elements are still quite strong and the description skills are not mature enough. The writer who really wrote a lot of landscape poems and made great achievements in art is Xie Lingyun.
Unable to succeed politically, Xie Lingyun attached his feelings to the mountains and rivers. In addition, he has a profound literary accomplishment, and he often writes poems when he comes to the scene. Because writing objects are rare in previous literary works, there are not many skills to learn from. In order to successfully reflect the beauty of the south of the Yangtze River in his poems, writers must cast their own new words and carve them carefully. The reason why Xie Lingyun's landscape poems surpass his predecessors is that they reflect the new creation in this respect. Bao Zhao said, "Xie is as lovely as the first hibiscus." Tang Huixiu said, "Xie Shi is like a hibiscus flower." The same metaphor used by two poets of Xie Lingyun's contemporary (in poetry) illustrates the characteristics of Xie Lingyun's poetry, that is, freshness and freshness.
This feature is reflected in the accurate capture of landscape images. "Green Show in the Spring Festival Evening" (Entering the Lake Mouth of Peng Li) and "Green Deep" (Going to the West at Night) are both green, but they are two completely different pictures. The former is late spring and the latter is late autumn. "When the weather is clear at night, the clouds return to the west. The dense forest contains □ Qing, and the far peak hides half a gauge (You Nan Ting). When writing a short scene of sunset, only use the word □ Qing to take readers into the specific environment of the mountain forest after the rain. In order to accurately capture the image, the poet really "manages in hardships and lives in simplicity" (Shen Deqian's Ancient Poetry Source), and mobilized many artistic skills. For example, his famous phrase "Clouds embrace secluded rocks, green and charming" ("The Beginning of Crossing Shuning") not only gives life to nature through personification, but also shows the rich colors of nature through the contrast between light and dark. "Birds know the night, trees know the wind" ("Sleeping on Shimen Rock"), setting off the silence with sound, seeing the silence from the movement, and writing the night in the mountains with heart.
Xie Lingyun doesn't forget his feelings while writing the scenery. Climbing the pond and going upstairs has been appreciated by readers of all ages, not only because of the sudden and accidental famous sentence "Spring grass grows in the pond", but also because of the blending of scenes throughout, and different scenery is only the background of the poet's emotional changes. "Du Bai An Ting" "There are dense stones beside the stream, and the distant mountains reflect sparse trees. Words such as "it is difficult for an empty jade to become famous, but it is easy for a fisherman to make a song" have turned the philosophy of Laozi and Zhuangzi into landscapes, and landscapes are related to reason, which in turn has created a sense of honor and poverty. Entering Huazi □ is the third valley in Ma Yuan and the first peak of Tianlu. If you enter the cloud, it will naturally cause nostalgia for the past, and then turn into a sad sigh, revealing your feelings with the scene, and there is no trace to be found.
Good sentences can be seen from time to time in Xie Lingyun's poems, but there are not many complete ones. He climbed mountains and faced water to "read" ("Poetry"). Naturally, it is difficult to have so many exquisite famous sentences, so he often uses Han Fu to fill in some allusions. And those who are committed to the pursuit of novelty are also prone to difficulties and strangeness. At the same time, Xie Lingyun himself has not got rid of the negative influence of metaphysical poetry. He is also a master of metaphysics and Buddhism. Of course, some poems can contain reason in emotion and emotion in scenery, but there are also many works at the end. Reason is often divorced from the scene, similar to preaching, boring.
Xie Lingyun's poems reflect a narrow life. Although there are some dissatisfaction with current politics, most of them are personal grievances. However, we can also learn about the mental outlook of the literati at that time. More importantly, Xie Lingyun promoted the transformation from metaphysical poetry to landscape poetry with his literary creation activities. His artistic practice of deliberately seeking novelty provided useful experience for future generations. In the Tang Dynasty, Li, Du, Wang, Meng, Wei and Liu all drew nutrition from Xie's poems. Zhong Rong said in The Poetry that he was "quite disgusted with wealth" and said: "If a person is rich and talented, he can study, and there is no shortage of ideas inside and no relics outside, his wealth is appropriate! However, famous names and sentences are everywhere, and Li Dian's new voice will catch up. If the pine trees and shrubs are pulled up, the white jade reflects the dust and sand, which is not enough to belittle its nobility. " Although such opinions are inevitably flattering, they are generally to the point. One page of Three Xie Poems in Song Engraving
Xie Lingyun's prose and achievements are incomparable to poetry. There are more than ten pieces of Fu recorded in the ancient three generations, Qin and Han Dynasties, Three Kingdoms and Six Dynasties, among which the most famous is "Fu of Mountain Residence", with Xie Lingyun's own annotations, and the full text is contained in the Legend of Lingyun in the Song Dynasty. From the literary point of view, the value is not very high, but the detailed description of the shining villa can be used as important materials for studying the manor system in the Eastern Jin Dynasty today. There are some descriptions of scenery in Lingbiao Fu and Shanju Fu, while the description of goddess in Jiang Fei Fu is quite ingenious.
Xie Lingyun crossed the tunnel in his early years, turned to worship Buddha and returned with the famous monk Hui Yuan. Yuan Jia resigned from his post and returned to Shining. He also made friends with monks and studied Buddhism. His famous philosophical thesis "Debate of Sects" expounded epiphany and tried to reconcile Confucianism, Buddhism and Taoism. He has annotated the King Kong Prajna Sutra (selected works of Wang Jian and Shan Li's Notes on the Inscription of Toutuo Temple); Together with monks Yan Hui and Guan Hui, he also polished the great Nirvana classics translated by Dharmaksema. The polished scripture is much smoother and more beautiful than the original translation. It is called Nanben in the world and Kitamoto in the original translation.
Xie Lingyun is versatile. In addition to poetry creation, he is also familiar with works in history and calligraphy. The Book of Jin between Yuan and Jia Dynasties was written by letters, the Biography of Song Lingyun said that "the book was rough and unfinished", and the Collection of Notes recorded 36 volumes of the Book of Jin by Xie Lingyun, which is considered as a part that has been written. According to the records in Selected Works and Taiping Yulan, in addition to the Book of Jin, Sui Shu Jing Ji Zhi contains 14 kinds of Xie Lingyun's works. However, some people are afraid that it is only simple and complicated, and some are the previous poems and fu collections compiled by Xie Lingyun. Nineteen volumes of Xie Lingyun Collection (Liang 20 volumes, one volume) have been lost since the Northern Song Dynasty. In the Ming Dynasty, others sorted out Xie Lingyun's works from Selected Works, Yuefu Poems and similar books, and submitted them to □ for publication, engraved as Xie Ji. One hundred and three parts of Zhang Pu's Records of the Han, Wei and Six Dynasties contain two volumes of Xie Lekang. Yan Kejun's "Ancient Three Generations, Three Kingdoms and Six Dynasties" and Kai's "Poems of the Pre-Qin and Han Dynasties, Wei, Jin, Southern and Northern Dynasties" are all included. There are poems of thanks in the Yellow Festival. 1958, People's Literature Publishing House was established and printed according to Tsinghua University's lecture notes.