The reason for this is that the creation and artistic spirit of the school of landscape poetry reflect the characteristics of China's poetry to a great extent.
Wang Shizhen (Yu Yang), a famous poetic theorist in Qing Dynasty, commented on "teaching only with verve" in Volume 266 of Qing Draft, and praised verve as the core category of his poetic theory system.
Whether this concept is explicitly used or not, Yu Yang takes "natural charm" as the value measure of poetry evaluation everywhere.
Judging the history of poetry by the theory of "verve", the creative style of landscape poetry school in Tang Dynasty, represented by Wang Wei and Meng Haoran, is most in line with Yu Yang's aesthetic ideal.
In Yu Yang's poetics, Wang Wei, Meng Haoran, Chang Jian and others are highly respected.
At the same time, we can easily find that Wang Shizhen's "verve theory" has a very profound connection with Zen.
From Yu Yang's Poetics, we can see that Yu Yang's Zen poetics is not at the general metaphorical level, but internalizes the characteristics of Zen into the aesthetic connotation of "verve theory".
At this point, Wang Yuyang went a step further than Yan Canglang's "Zen as a metaphor for poetry".
When talking about the creation of various schools of landscape poetry, Wang Shizhen often describes the beauty of poetry with the unique situation of "entering Zen".
For example, he said: "Tang people often go into Zen and forget their words with pride." They are silent in the name of the net, so as to grind the bone marrow.
Looking at Wang (Wei) and Pei (Di)' s "Collection of Wangchuan" and Zuyong's "Boundless Snow in the South", although there are blunt roots, we can have an epiphany.
It is emphasized here that the five-character quatrains of Wang Wei and others are all "wonderful" related to Zen.
He also said: "Yan Canglang used Zen as a metaphor for poetry, and said it in Shenqi. The five words were especially combined, and every word entered Zen.
He is like a' fruit falling in the rain'.
Grass insects sing under the lamp, there is moonlight in the pine forest, there is crystal stone in the stream, and the white curtain is in the water, looking at the glory of the autumn moon through the crystal glass? S, Chang Jian or Ruan Tou Songyue is his friend, Haoran's "The woodcutter is black, the grass is cold", and Liu Tuoxu's "Petals come with the wind, far away with the fragrance of running water" are no different from the smiles of Buddha and Ye Jia.
"("Silkworm Tail Continuation ") is similar to the former, and both advocate transcending the muddy realm of language limitations.
Regarding the differences between schools of landscape poetry, I also said: "I can say Tang poetry, Wang Wei's Buddhist language, Meng Haoran's Bodhisattva language, Liu Tuoxu's and Wei's ancestral language, and Liu Zongyuan's reputation is independent.
"(Juyilu) is a metaphor for Buddhism, while other poets, such as Du Fu Sheng, Ling Zhen, Zhang Jiuling Dian Dance Celebrity, Jian Xian, Han Yu Hao Mai, Gui Li, Lutong Witchcraft, Li Shangyin and Han Heer, do not involve Buddhism.
In fact, it reveals the internal origin of Wang Meng's poets, Buddhism and Zen.
Wang Shizhen talked about Wang Meng's poets by "entering Zen", and regarded them as a model of "verve" in creation, which was not a subjective imagination, but was summed up from the life experience and creation of these poets.
In other words, the landscape poetry school in Tang Dynasty, represented by Wang Meng, has an objective connection with Buddhism and Zen in ideology and artistic style.
Revealing its internal reasons is really beneficial for us to understand the artistic tradition of this group of poets.