The first feature is vivid and colorful, and there are pictures in poetry. This is not to say that there are no paintings in Meng's poems, but that Meng's poems focus on freehand brushwork. Although the wind and rain of flowers and birds are also mentioned, they are not described in detail, and their environment is indirectly realized by readers from poems. Wang Wei's poems can be completely different. Not only the composition is large, but also the coloring is concrete and vivid, and the description is meticulous, so that readers can draw first and then understand. Write peach blossoms and leaf warblers to capture the characteristic scenery of spring. Here, peaches, willows and warblers all refer to flowers and birds, which is more specific than Meng's general reference to flowers and birds, and it is easier to evoke intuitive impressions. It is also obvious that the artistic effect of writing Rain at Night through Stay in the Rain and Facing the Smoke is the same. On the basis of linking the scenery, there is color, and the use of the words "red" and "green" makes the scenery bright and pleasing to the eye. Readers will see a bright future. "Peach flies away, burning its glory", plus "Liu is Yi Yi", the scenery is pleasant. After coloring, there is a layer of rendering: deep red and light red petals are slightly raindrops overnight, and the colors are softer and more lovely. After the rain, the air is clear and fresh, and the flowers in Ran Ran are overflowing, which makes people enchanted; The green wicker cage is more charming in the hookah. Poetic landscape, after layers of rendering and detailed description, has become a detailed and colorful picture scroll; In contrast, Meng's poems are like uncolored freehand brushwork. One is colored and the other is colorless. Meng's poem begins with "I woke up in this beautiful spring morning" and saw people before entering China. On the other hand, Wang Shi didn't meet anyone before entering this country. Because of the "constant rain", there is a "falling flower". Flowers should be cleaned up when they fall, but "children haven't cleaned up yet." Don't sweep, don't sweep, because people haven't got up in the morning. There is a quiet interest in this scene of flowers falling on the ground without anyone asking. This is exactly what Wang Wei likes better. The word "not swept" was obtained intentionally or unintentionally, with no effort and no trace. Finally, I wrote Yingying. Yingying didn't dream, and Shanke fell asleep. This is a charming photo. I woke up easily in this spring morning. But there are subtle differences with Meng's poems. Meng's poem begins with "I wake up in the spring", but people are already awake, so there is a pleasure of "birds singing around" and a suspense of "I don't know how many flowers have been folded", and its artistic conception can be summarized by the word "spring trouble". This poem was written at the end of spring sleep, when people slept soundly and safely and knew nothing about the outside world. Although flowers are falling and birds are singing, it only sets off the tranquility and mood of the "mountain guest" residence, so its artistic conception is mainly based on the word "quiet" Wang Weizhi's "music" is also here. It is not wrong for people to say that his poems are Zen. The idea of advocating silence has a negative side. But Wang Wei's poetry is commendable because it is different from silence. He can write life in silence through the interaction of motion and static, giving people a fresh, clear and beautiful feeling. Tang poetry is characterized by vague artistic conception, but there are still two specific manifestations. One kind of bias makes people feel indirectly, such as Meng's poem "Spring Dawn". The other is biased towards the environment, which makes people realize the author's meaning from the environment, so poetry is. And from the environment, there are pictures in the poem. Is that most remarkable advantage of this poem.
The second feature is to work hard on the battle and rhyme loudly. Meng's "Spring Dawn" is an archaic five-character quatrain, which is free in meter and melody. Because Meng's poems are scattered, the meaning and pulse are consistent, and they are wonderful. This poem is another work, because it belongs to six-character quatrains, and its meter is extremely strict. From the perspective of parallel couples, not only the real words such as "Peach Blossom", "Liu Qing", "Su Yu" and "Chao Yan" are steady and steady in the confrontation, but even the function words are very cautious in the confrontation. For example, "Fu" and "Geng" are opposites, and they have progressive poetic functions in sentences; "Wei" and "Jude" have a poetic turn in the sentence. The verbs "contain" and "take" have positive meanings, which make the objective scenery subjective and vivid. And against Seiko, watching a scene, but echoing each other, muddy as one. Peach, willow green, staying in the rain and welcoming smoke are interrelated, while the phrase "falling flowers" comes from peach and the phrase "singing birds" comes from willow, and "children at home have not been swept" and "mountain guests are still sleeping" also echo each other. What is shown here is the artistic ingenuity of manual cutting management and the perfection of painter's composition. The antithesis and beautiful melody make this poem catchy. Ancient Chinese poetry is dominated by five or seven words, and six-character quatrains are underdeveloped in all previous dynasties, especially masterpieces, and several poems by Wang Wei are rare.