Wei, Jin and Six Dynasties, an era of civil strife, political disorder, the decline of Confucian classics, the prevalence of metaphysics, the openness of ideas and the awakening of human nature, the change of dynasties and the seizure like a lantern, as well as the horror and sadness that people's lives are at stake and cannot last long, have made many poets with awakening consciousness, including those with the status of official ministers, suffer from "white fire, more wealth is harmful, clothes can last for life," For the sake of their overall health, they had to leave the turbulent politics and hide in the trees of mountain springs, hoping that the wind of enterprises fleeing was rampant for a while. During the Wei and Jin Dynasties, the number of landscape poems gradually increased. In the poems of Ji Kang, Zhang Hua, Zuo Si and Guo Pu, it appears that "the white clouds stop at Yinshan Mountain and the Dan Garden opens in Yanglin". The stone spring washed Qiong Yao, and the fish scales also floated and sank. (Zuo Si's Hidden Poetry). Landscape poetry has experienced the twists and turns of five-character poetry. During the Jin and Song Dynasties, two great poets, Tao Yuanming and Xie Lingyun, finally established their position in the poetry country. As an idyllic poet, Xie Tao was obviously influenced by metaphysics, but because of their different identities and life paths, metaphysics left different marks in their poems. The mystery and interest in reason in Tao's poems are not only reflected in the fact that there are many insightful opinions full of life experience in his poems, but more importantly, the mystery permeates the pastoral picture of "having its truth" in his poems. Xie Shi's poems are mainly expressed by metaphysical thoughts such as "an empty jade is hard to name, the hook is easy to bend" and "it is better to be born in a wonderful period", but the metaphysical purpose is not fully integrated into his poems.
Although Tao poetry takes nature as the aesthetic object and advocates nature, it pursues the interest of the soul, not the external object itself. His poems are freehand brushwork, not imitation. Tao Yuanming was originally an intelligent bird flying in the countryside. Affectionate freedom is his nature. Because of his frankness, he can't be a good official in a dirty world. Once out of the cage, he will return to nature and be happy. Returning to the garden (5) and migrating (2) vividly outline a great poet who is detached, leisurely and adaptable. Through the morning mist and dusk, he came in wearing clothes, sandals and hoes. Simple houses, ordinary villages, but the author came one by one with a very appreciative tone, willing to be indifferent, conservative and true. The poet's frank mind and outstanding integrity are like a roll of lotus, and the moon is white and clear. His pastoral poems are the externalization of his personality spirit. Therefore, he gives priority to freehand brushwork, and only pursues the integration of a peaceful and leisurely state of mind and a simple physical environment, showing a natural state. Writing poetry, for him, is just a natural expression of "open and true" embrace. Su Dongpo said, "Tao Yuanming's intention is not poetry, but poetry conveys his meaning." Yuan Hao asked, "Does this man write poems, directly on his chest?" Wang Wei writes political poems and frontier poems, but what can reflect his unique achievements is his unique pastoral poems. He witnessed the ups and downs of officialdom, the world was cold, and experienced the ups and downs of his official career. After that, his persistence and enthusiasm of "I wish I could shoot the heavenly generals with a bow and smell the chivalrous bones when I die" quickly cooled down. After middle age, I held that "I am not arrogant in the paint garden, and I am responsible for it." But send a micro official and some trees. "My attitude towards life implies being an official. I chose a life path that is both official and hidden. His pastoral poems are not only a portrayal of his personal soul, but also a projection of the ideological trend in the poetic country era.
Wang Wei's landscape poems have both magnificent natural scenery and beautiful landscape paintings. Such as: "Han River overflows", "Three branches in the south reach Chu territory, and nine streams reach Jingmen". The river crosses heaven and earth, where the colors of the mountains are yes and no. Human habitation seems to float on the ripples in the distant sky. These beautiful days in Xiangyang have fascinated my old mountain! "Another example is Mount Zhongnan, whose huge height is close to the city of heaven and connects Qian Shan to the corner of the sea. The white clouds merged behind, and the blue mist melted into the mountains and disappeared. The central mountain peaks separate the southwest, and the valleys are also different. As I needed a place to spend the night, I called a woodcutter on the river. "The previous poem was about the scenery of Jianghan. With the creation and brushwork of ink and wash landscapes, the magnificent scenery of Jianghan was outlined, with water and sky floating together and mountains without scenery. The latter poem is about the scenery of Zhong Nanshan, with hazy images and rich meanings. All over the mountains are green mountains and green waters, and thousands of rocks and valleys are shrouded in "white clouds" and "green haze"
But in Wang Wei's poems, there are more elegant and smart pictures, with a bit of Zen. He is a man of great understanding. His superhuman talent not only has great achievements in poetry, calligraphy and painting, but also has great wisdom in meditation and enlightenment. The painter's vision, the musician's hearing, the poet's feelings and the Buddhist mentality endowed him with extraordinary artistic strength. Almost every scene is filled with a unique soul and feeling, and he melts himself into the scene, forming a realm of Zhuang Zen where things are me and I am things. Wang Wei's landscape poems describe the heart with the environment, without trace, with images outside the image, scenery outside the scene, unexpected arrival, and distant artistic conception. Such as, Zhu, Bird Watching Creek, Caotiaowu, etc. Empty mountains, bamboo forests, streams, bright moons, flowers and birds ... what a quiet, beautiful, pure and flawless world, and what an independent and closed world. This quiet and ethereal uninhabited land is the realm of Zhuang Zen, which is a poetic thing I have forgotten!
"Wang Chuan Ji" and his landscape works in his later years all sparkled with a kind of meditation, showing a picture of vague things and harmonious thoughts. Here, the poet sucks nature into himself and melts his life into the landscape, forming a "no man's land" where things are me and I am things; "The sunshine on the moss, the bright moon in the forest, the mountain birds under the moon, and the" fragrant flowers "that bloom and fall are both external images and the poet's quiet inner fantasy. Wang Wei's landscape poems with harmonious thinking and environment not only contain a kind of static beauty, but also show the artistic characteristics of "beautiful and delicate" and "profound and elegant". After Wang and Meng, Li Bai created a new realm of landscape poetry. The distinctive feature of Li Bai's landscape poems is the individualization of natural landscape. Landscape poetry is the objectification of the poet's aesthetic ideal and the externalization of the poet's mind. Landscape poetry must express the poet's self. In poets such as Wang Wei and Meng Haoran, natural landscape painting is mainly a place where they place their spirits and melt their depression, so "self" is often integrated into natural scenery. In Li Bai's life, the natural landscape is not only the place where he reposes his spirit and relieves his depression, but also the world where he pursues personal freedom and liberation. The strong subjective consciousness makes the poet's "self" not disappear in the natural landscape painting, but let nature actively express the poet's self. His most distinctive poems are "The Yellow River falls into the East China Sea, and Wan Li writes about my heart", "The Western Hills are magnificent, and the Yellow River comes like a silk sky", "Flying to thousands of feet", "Lushan Mountain stands beside the stars in the south, and the clouds are like silk screens", "Climbing into a spectacular world, and the vast rivers will never return", which shows the poet's self-indulgence. Here, the Yellow River, which fell from nowhere, is very close to the stars. The natural landscape in Li Bai's poems is characterized by flowing and unrestrained, showing a dynamic beauty, which is in contrast with Wang Wei.
If Wang Wei lost himself in the static landscape, then Li Bai often appeared as a poet with the help of the dynamic natural landscape.
Looking at nature from the Taoist and Taoist worldviews, everything in nature is not only dynamic, but it is this dynamic that shows that everything has "life". Therefore, the poet can come into contact with those dynamic and living natural things in the experience of "heaven and earth abandon their lives with me, and everything is one with me": "The branches are broken and the apes are on the mountain, and tears add to the mountain. Baiyun saw me leave, and it was good for me to fly over. " (Title "Feelings for the Elephant") "From from a pot of wine among the flowers, drink alone. No one is with me. Until I raised my cup, I asked the bright moon to bring me my shadow and let the three of us. " ("Drinking the Bright Moon Alone") White clouds, bright moons, mountains, flowers and breezes, ... have all become sentient beings, blending with poets and interacting with each other.
The artistic thinking of the unity of things and me has produced empathy. When the poet sat alone in Jingting Mountain, he left behind "birds flying high and wandering alone." Never tire of seeing it, only Jingting Mountain.
Li Bai's landscape poems are also full of the spirit of carefree travel and the fantasy of being born outside the dust. Some landscape poems have a strong fairy color, such as "Climbing Taibai Mountain" and "Taibai Mountain is in the west and the sunset is poor." Taibai spoke to me and opened the sky for me. I would like to ride the cold wind and go straight out of the clouds. You can get close to the moon by raising your hand, and there seems to be no mountain obstacle to fly forward. Say goodbye to Wugong Mountain, when will it be returned? "Here, the poet is not so much writing mountains and rivers, as wandering around mountains and rivers. In fact, Li Bai combined Xie Tao's landscape with Guo Pu's poems about immortals, forming a unique style. Yang Wanli moved from "learning from the ancients" to "learning from nature", established his own unique artistic style, became the main hub of poetry transformation at that time, and created a fresh and pungent style of writing, which made Lu (you) a model or conservative or steady. (Qian Zhongshu's Preface to Selected Poems of Song Dynasty) Critics call his poetic technique "capture alive". Specifically, he observed with his own eyes, felt with his own heart, and vividly and skillfully described his personal impression when Vientiane came. For example, "Mo Yan had no difficulty going down the mountain. He earned the wrong favor from pedestrians. I am entering the Wanshan Circle, and one mountain blocks another. "("Go to Song Yuanchen's Paint Shop ") is a very common thing, which is vivid and novel, full of interest, and reveals some philosophy. Yang Wanli has a special sensitivity to natural scenery, unique vision and mind, careful observation, profound understanding and interesting description. He often captures extraordinary interests in the ordinary, such as: "New seedlings are inserted into the well, but farmers don't understand books." (Dusk in the Field) He is also good at capturing instant feelings and highlighting them with sketched or anthropomorphic hand images, such as: "The mountains are wrinkled and no one sees them, and the sun sets. "("The boat crossed the Xie Tan ") The flowing cloud means that a peak was suddenly stolen by the cloud, and the strong wind is written as" Kill the reed flower and refuse to rest ". The pronoun Jiang Xiang joked with him: "Everywhere, mountains and rivers are afraid of snubbing the monarch."
Fan Chengda entered the list of outstanding poets in the Song Dynasty with 60 famous poems about ancient landscapes and idylls in China. This group of poems is multi-faceted and three-dimensional, which is a combination of genre painting and romantic painting. It has a strong sense of reality and exudes a strong earthy atmosphere. Qian Zhongshu pointed out in Notes on Selected Poems of the Song Dynasty: "Fan Chengda's sixty pastoral poems are divorced from reality and have an earthy smell of sweat. According to his cordial impression, rural labor and life throughout the year vividly depict a relatively complete face, which makes pastoral poetry come to life and expand the same situation. Fan Chengda can be compared with Tao Qian and even come from behind. "
Late Southern Song Dynasty. Some poets, such as "Yongjia Four Spirits" and "Jianghu Poets", have written some landscape poems describing small natural scenes, but most of them are leisurely and interesting. During the Ming and Qing Dynasties, pastoral poetry declined, still being simulated and lacking originality. Although there are two schools, Yuan Mei and Zheng Wei, there are few outstanding poets, and pastoral poetry is gradually going to the end of classical poetry because of the germination of capitalism.