Ask for articles about poetry and scenery

Human beings come from nature, and their living conditions are closely related to everything in the universe. No matter how we boast about the greatness of human beings, we can't deny that nature is the foundation and source of everything. Therefore, in the social life of living in groups, we always have the impulse to return, and this yearning and spiritual call is always reflected in China's landscape poems. We find this feeling so eternal, because our source is in nature.

It is a Buddhist proverb that "the water is reflected in January and printed in January". The clear night sky, the silent mountains and rivers, and the heart of heaven and earth are both poetic and picturesque, showing vitality. Because of this, Mr. Hu Xiaoming said in his book Moon in Wan Chuan: The spirituality of landscape lies in its eternal poetic heart. Loneliness, silence, meditation, enthusiasm and flying are all in the landscape, stopping gently.

There is no doubt that landscape poetry is an important part of China traditional culture. Landscape poems (especially Tang poetry and Song poetry) record (or recall, because every work can be called the memory of human emotions and experiences) the drifting and settling of the snowy moon, the feelings and encouragement of the deceased, the recovery and joy of birds everywhere ... and this feeling of life lasts for thousands of years and is endless, which cannot be said to be the commonality of the real spirit.

"Sunset Cangshan is far away, and the White House is poor.

Chai Men heard dogs barking and went home on a snowy night. "

In this poem, Liu Changqing, a poet in the Tang Dynasty, described such a winter night scene in only 20 words. The cold is not bleak, but in the chill, it clearly reveals the warmth and tenderness that can't be covered.

Imagine how touched it would be if we silently recited this poem in a warm home on a snowy night, accompanied by the rustling snowflakes outside.

Here, the charm of poetry is reflected, and the description of short words is just a carrier. What really touched us was the emotion behind the words, which connected us with the author's heart and crossed the Millennium.

"The Yangtze River flows eastward, and the waves are heroes.

Whether it is right and wrong or failure, it is empty now and has disappeared with the passage of time.

Castle Peak still exists, the sun still rises and the sunset still sets.

The white-haired hermit by the river has long been used to the changes of time.

I met an old friend and had a drink.

How many things in the past and how many times have been put into the conversation. "

The beginning of the poem "Linjiang Xian" presents us with a huge space-time scene, presenting such a history, the history of the whole mankind, bringing every reader into this continuous historical chain, and whether you realize it or not, whether you like it or not, everyone has nowhere to escape.

There are infinite feelings in the majestic atmosphere: the Yangtze River, the towering green hills and the people of Sri Lanka are all gone; At the same time, the deep sense of historical vicissitudes is also permeated with a ray of comfort from the sunset and the continuation of life when friends come from afar. When the theme song melody of the TV series Romance of the Three Kingdoms sounded, the language description seemed to be temporarily invalid for this feeling and experience.

"In the spring morning, I woke up easily, and birds were singing everywhere.

How many flowers fall after a stormy night. "

Everyone is familiar with Meng Haoran's "Spring Dawn", which gives people a cheerful and bright color: one morning after a night of spring rain, the sleeping poet was awakened by the cheerful birdsong and opened the window, only the fresh fragrance of spring and pink-green eyes came at him. So the poet was infected and the reader was fascinated. ...

Who hasn't experienced this kind of experience: birdsong, spring rain, early morning, new green … which one is not a symbol of life? Even patches of fallen flowers indicate the coming maturity and harvest.

(Writing here, I feel the beauty of China's ancient poetry, the conciseness and expressiveness of the words, and suddenly feel that modern poetry and prose seem to be at least inferior in this respect, although there are many excellent works in the latter two; Furthermore, I think that when Hu Shizhi and others vigorously advocated vernacular Chinese in the New Culture Movement, Mr. Qian Mu's insistence on classical Chinese may not be all wrong. )

Finally, I end this article with Bai Juyi's Book of Changes:

"Jiangnan is good,

The scenery used to be familiar.

At sunrise, the red flowers in the river win the fire.

This river is as green as blue in spring.

Can you not remember Jiangnan? "

I hope these are helpful to you!