First, the influence on the main theme of Tang poetry.
For example, a person's life includes youth, prime of life, middle age and old age. Tang poetry can also be divided into four periods: early Tang, prosperous Tang, middle Tang and late Tang. Adolescent Tang poetry, like teenagers, is full of ambition. In the prime of life, a scholar's spirit came to reprimand Fang Qiu. When people reach middle age, they have the spirit of realism in the face of bleak life and dripping blood. In his later years, the country declined and the voice of national subjugation surged.
First, let's look at the early Tang Dynasty. During this period, although southern aesthetics showed aggressive momentum, it was not on an equal footing with northern aesthetics. Mr. Shang Ding wrote in "Towards the Prosperous Tang Dynasty": "In the early Tang Dynasty, Guanzhong continued to be influenced by the literary atmosphere of the Southern Dynasties and paid attention to the choice of melody words. However, due to the dominant position of Guanlong culture, Zhenguan's poetic style showed a trend of moving northward. " Therefore, the northern flavor in the poems of this period is quite strong, mainly "vigorous" and "sad", while the southern flavor is relatively light, supplemented by "diluted" flavor. During this period, poets such as "four outstanding poets in the early Tang Dynasty" and Chen Ziang appeared. Their poems are based on the spirit of "martial arts", which are magnificent and full of lofty sentiments. This can be seen from their poems. For example, Yang Jiong wrote in "Joining the Army": "Centurions are not as good as scholars." Another example is Wang Bo's Preface to Wang Tengting, which is naturally magnificent. Another example is Chen Ziang's You Zhou Tower: "Before me, where was the past era?" Behind me, where are the future generations? . I miss heaven and earth, boundless, boundless, crying alone. " It's a lonely hero crying, brave and sad. At the same time, Shangguan Yi and others, following Chen Liang's legacy, hoped to follow the old road of the Southern Dynasties again, but they did not make great achievements.
In the prosperous Tang Dynasty, the aesthetic status of the South was improved and its influence was growing. Poets in the Tang Dynasty began to learn the style of writing in the Eastern Jin and Southern Dynasties. For example, Wang Weixue Xie Lingyun, Li Baixue Bao Zhao and Xie Tiao, Du Fuxue He Xun and Yin Keng. For example, when Li Bai bid farewell to the minister in Xuanzhou Villa, he wrote "I am Xiao Xie who grew up beside you" and compared himself to Xie Tiao. Frontier poets such as Gao Shi and Cen Can appeared in the north. This period was dominated by northern aesthetics, but the influence of southern aesthetics developed greatly compared with that of the early Tang Dynasty. The themes of poetry are also diverse, including frontier poems that are "martial" and lyric poems that describe the situation, which are magnificent and tender. In short, it has the characteristics of rigidity, boldness, elegance, naturalness and elegance.
In the middle and late Tang Dynasty, especially the Anshi Rebellion, the Central Plains fell into war again. Since then, the Tang Dynasty has never recovered, and politics has been driven by darkness. Therefore, many scholars and poets moved to the south for refuge. They not only brought many cultural concepts from the north, but also absorbed nutrition from the southern ideology and culture, consciously and unconsciously integrated the two aesthetics, promoted the further integration of southern aesthetics and northern aesthetics, and greatly changed the poetic melody of this period. Among them, Li, Wei, Liu Zongyuan and others are poets who apply southern aesthetic thoughts to poetry creation. Most of their poems are slender, meticulous and realistic. During the Dali period, there were two different creative groups in the north and south: one was centered on Chang 'an and Luoyang, such as Qian Qi, Lu Lun and Han Xiong; One is centered on wuyue in the south of the Yangtze River, such as Liu Changqing and Li Jiayou, which shows that the north and the south are already at the same level. At the same time, it also shows that the integration of north and south geo-aesthetics has been quite hot. During this period, the southern flavor of poetry was obviously strengthened, while the northern sense of grandeur was slightly less.
(Found on the Internet)