First, from the perspective of the distance between scenery and emotion.
1, touching the scene, longing for spring, Li Baiyan grass like Beth.
Our mulberries bend branches with green threads here.
Finally, you want to go home,
Now when my heart is about to break.
Spring breeze, because I dare not know you,
Li Bai has many poems describing the psychology of thinking about women, and spring thinking is one of them. The word "spring" in China's classical poems is usually a pun: it refers to both spring and the love between men and women. The word "spring" in the poem "Spring Thoughts" contains these two meanings. This poem is no different from Yan Qin's spring scenery, and it is far apart. It's sad to think of a woman and a distant husband. She rebuked the spring breeze, which was just right. The whole poem profoundly expresses all kinds of complicated feelings, describes Sifu's yearning for her husband, and shows her noble sentiment of loyalty to her love and constancy. It's a touch. Meng Haoran's Spring Dawn is simple in image. The poet just heard birds singing in the early morning of spring, and suddenly thought of whether the wind and rain last night blew off the spring flowers, which naturally revealed the feeling of cherishing spring. It implies the poet's affirmation and praise for seclusion. Under the touch of the scene, emotion constitutes the artistic conception and forms the tension structure with infinite charm.
2. Lyric by scenery (lyrical by scenery)
When a poet feels something about a scene or an objective thing, he entrusts his feelings and thoughts to the scene to express it, and expresses it through the description of the scene and the object. This lyric way is called borrowing scenery or borrowing things to express his feelings. In China's ancient poems, pines, bamboos, plums, orchids, rocks, streams, deserts, ancient roads, border crossings, sunset, jathyapple, cool breeze, drizzle and weeds are often the objects for poets to express their feelings. For example, Bai Juyi's "The Mountain Fire is Unfinished, and the Spring Breeze is High" expresses its irresistible natural law with the tenacious struggle of "the grass on the original".
Some lyric poems about scenery do not take the scenery described as the main body of the poem, but focus on expressing the poet's thoughts and feelings arising from the scenery described, and even describe the poet's thoughts and feelings arising from touching the scenery, shaping the poet's own image, creating artistic conception and expressing the theme. For example, when Xin Qiji had a blowhole in Ganzhou, facing the flowing water of the Ganjiang River, he remembered the old shame of the country and fondled the difficulties of state affairs, and wrote Bodhisattva Man:
How many pedestrians shed tears in the middle of Qingjiang River in Yugutai. Looking at Chang 'an in the northwest, there are countless poor mountains.
Castle peak can't cover up, after all, it flows east. In the evening, the river is gloomy and there are partridges in the mountains.
When I first saw the flowing water of the Ganjiang River under Yugu stage, I couldn't help thinking of the southern nomads who invaded and killed the people in exile. I feel that the flowing water is full of the blood and tears of the exiled people. Combined with the scenery, express your thoughts and feelings: "Looking at Chang 'an in the northwest, lamenting countless mountains", lamenting that great rivers and mountains are still occupied by the enemy; Castle peak can't be covered, after all, it flows eastward. "There are patriots in grief and indignation, and it is difficult to pull down the country; The river is worried at night, and the mountain is deeply aware of the partridge. "It's really hard to worry about state affairs. It can be seen that the poet's inner image is national humiliation and worrying about the country and the people, creating a gloomy and boundless artistic conception and expressing his deep patriotic feelings and resentment towards the corrupt and incompetent rulers of the Southern Song Dynasty.
3. Landscape design based on emotion
Su Dongpo said that Wang Wei was "painting in poetry and poetry in painting". "Painting in Poetry" is a landscape created by emotion; "Poetry in painting" is the feeling in the scene. The former should be good at choosing and depicting scenes suitable for expressing their thoughts and feelings, while the latter should express their thoughts and feelings through vivid pictures. The unity of form and God, this