What is Wang Wei praised by later generations?

Wang Wei, known as "Shi Fo", was a famous poet in the Tang Dynasty. His poems are Zen and Taoism, and he is proficient in poetry, calligraphy, painting and music. His poems are very famous in Kaiyuan and Tianbao, especially the five words, which praise the landscape and countryside. Together with Meng Haoran, they are called "Wang Meng".

Wang was born in Hedong (now Yuncheng, Shanxi) and his ancestral home is Qixian, Shanxi. Wang Wei was born in the royal family of Hedong, and Emperor Xuanzong of Tang Dynasty was a scholar in Kaiyuan for nine years.

Wang Wei's literary achievements are mainly reflected in his poetry creation. Wang Wei's poems depict natural scenery such as mountains and rivers, rural areas, praise seclusion, vivid and vivid, and have both form and spirit. With a fresh and simple style, Wang Wei created the artistic conception of "painting in poetry, poetry in painting" and "Zen in poetry", and set up a banner in the field of poetry.

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Wang Wei's poems, which often appear in the form of five laws and five sentences, are short in length, exquisite in language and soothing in syllables, especially suitable for expressing the tranquility of mountains and rivers and the poet's leisurely mood. People often comment on the works of Wang Wei, a poet and painter, with "painting in poetry and poetry in painting", which really summarizes its artistic characteristics.

There are many pastoral poems written by Wang Wei, and most of them have the characteristics of this combination of poetry and painting. The so-called "painting in poetry" refers to a high degree of visualization, that is, using language to describe a seemingly tangible picture of life.

The picturesque beauty of Wang Wei's pastoral poems is mainly manifested in two aspects. On the one hand, it is hierarchical beauty. Wang Wei's pastoral poems skillfully use artistic composition techniques, which are reflected in many poems.

For example, in "Zhongnanshan", the poet first described the great ship of Zhongnanshan in an exaggerated way, and this outline can only be seen from a distance, not myopia, otherwise it will make Zhongnanshan lose its mysterious beauty.

Then the poet was in the middle of Zhongnanshan, describing the scene as if walking in the clouds; Then, in the middle of Zhongnanshan, the poet looked at the changed distant scenery and saw the looming scene in the sun. Finally, the poet turned sharply and found a place to stay, and found the woodcutter on the other side of the mountain.