The following specific analysis:
Prosperous Tang Dynasty: With the arrival of prosperous Tang Dynasty, landscape poetry became spectacular. Wang Wei and Meng Haoran inherited the tradition of Tao and Xie's landscape poetry, and formed a school of landscape pastoral poetry that complements the frontier fortress poetry school. There is not a single poet in the Tang Dynasty who has not written poems describing natural scenery. Such as Wang Ji's Wild Hope, Wang Bo's Mountain and Chen Ziang's Du Jingmen; Zhang's "Moonlit Night on the Spring River"; Zhang Jiuling's "Looking at Lushan Waterfall at Hukou"; Wang Zhihuan's "In the Heron Lodge"; Du Fu's Wang Yue, Jiang Cun and Ascending the Mountain; Wei's Xixi Chuzhou: Gu Kuang's Mountain Farmhouse; A night-mooring near maple bridge of Zhang Ji; Dai Shulun's Su Xiting; Fishing Bay in Chu Guangxi; Chang Jian's "Zen Forest after Broken Mountain Temple": Han Yu's "By Hengshan Temple" I wrote this poem on the tower; Meng Jiao's Wandering Stone Dragon Vortex; Bai Juyi's Spring Tour in Qiantang, Ode to Mujiang, Peach Blossom in Dalin Temple and Spring Hope in Hangzhou; Liu Yuxi's Wushan Goddess Temple; Liu Zongyuan's The Fisherman and Jiang Xue; Li He's Wushan Gao; Dumei's mountain road; Li Shangyin's Leyuan Scenic Area; Wen's "Good Morning Tour" ... There are many poets who are famous for their landscape poems in the Tang Dynasty, but Meng Haoran, Wang Wei and Li Bai are the main ones who can represent the maturity of landscape poems.
Meng Haoran, a native of Lumenshan, Xiangyang, was one of the few poets who took cloth as their home in feudal times. Li Bai has a poem for Meng Haoran: "Master, I cheer you from my heart, and your reputation has risen to the sky." In the rosy youth, you gave up the importance of hats and chariots and chose pine trees and clouds; Now whitehead. Drunk moon, sage of dreams, bewitched by flowers, you turned a deaf ear to the emperor. Mountain, how I long to reach you, it is a pure fragrance. " Meng Haoran is a real hermit. The ancient scholar "If you are poor, you will help the world, and if you are poor, you will be immune to it." He chose the second way, gave up his desire, indulged in natural landscapes indifferently and quietly, and pursued the highest realm of poetry-natural beauty. His poems are close to Tao's, but they have their own style. "Clouds dream and fog come, and Yueyang City is trapped" and "stormy as snow, you can't sit still" are rare. Representative poems are those that present a quiet, cold and steep artistic conception and are deeply imprinted with hermit feelings. He wrote about the hermit's feelings: "On the North Peak among the white clouds, you found a quiet seclusion. Now, when I climb this mountain to see you, my heart flies with the geese. ……"。 His poem describes the joy of the Tian family: "Old friend, you prepare chicken and rice for me and entertain me on your farm. The edge of the green forest, and the pale blue in the remote mountainous areas. Open the window facing the valley vegetable garden and pass the glass to talk about crops. Wait until the mountain is on holiday, and I will come back in chrysanthemum time. " ("Passing through the Old Village") Quiet and cold artistic conception, natural and indifferent interest, but it can't hide the inner loneliness and loneliness. Holding the examination paper in meditation, we seem to see a poet with a high heart walking alone on the mountain road, and the mountain wind is blowing his elegant gown.
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 hope I can shoot the heavenly generals with a bow, and I will 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. For example, the Hanshui River overflowed, and the Sanxiang Building was blocked by Chu, and its nine streams touched the door of the scene. 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" Zhong Nanshan ","Taiyi is still in the sky, and even the mountains go to the sea corner. 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. I want to stay at home, I shouted to the 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". Thus, 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": "An ape is on a broken branch, and tears are like mountains. 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.
Mid-Tang Dynasty: During the mid-Tang Dynasty, the fierce contradictions within the ruling group also caused the popularity of seclusion. The prosperity of pastoral poetry in the middle Tang Dynasty has both a solid foundation in the prosperous Tang Dynasty and objective conditions in the middle Tang Dynasty.
One of the important achievements of landscape pastoral poetry in the middle Tang Dynasty is that with the prevalence of Zen in the late Tang Dynasty, the rapid decline of political situation and the further integration of Zen thought and China culturology, many poets introduced Zen philosophy and aesthetics into life and poetry, thus providing them with new aesthetic standards for poetry. Compared with the Wei and Jin Dynasties' pastoral poetry, the pastoral poetry at this time completely overcame the characteristics of having sentences but no chapters in content, and realized the integration of scene, poetry and philosophy. Technically speaking, "refining meaning", "refining words" and
The "refined sentence" is unified in the overall operation and is more detailed than before. In aesthetic taste, it not only inherits and develops the beauty of nature, but also creates and shows the beauty of ethereal and flying. All these are deeply influenced by Zen Buddhism, which makes the most important thing of the pastoral poetry in the middle Tang Dynasty is the ideological enlightenment that neither denies human nature nor excludes nature, thus making the aesthetic orientation of poetics undergo unprecedented changes, showing superb Zen style, Zen bone and Zen interest.
Another important achievement of pastoral poetry in the middle Tang Dynasty is the formation and rise of Qingyuan Poetry School, which is fresh and elegant. Due to the changes of the times, singing in a low voice has replaced singing in a high voice, forming a peaceful and indifferent wind and a quiet and distant artistic conception. Exquisite language
Wei is a typical example. Wei is an honest official, indifferent to fame and fortune, longing for seclusion. His pastoral style is peaceful and open. Pattern, known as the direct biography of Tao; There is an obvious poetic style, such as Xiao Zeze. But what makes him stand out from the crowd is that his poems surpass Tao in ideological level, which is not only carefree, but also shows great sadness and self-blame. For example, Guantianjia focuses on the hardships of farmers, who are exploited and oppressed physically and mentally. The whole poem embodies a strong social practical significance.
Liu Zongyuan and Wei's poetic styles are quite similar, but he writes more skillfully, with richer themes and higher thoughts. For example, the Dragon Boat Cave, which describes the scenery and customs of the south, is far superior to the previous Song, Shenyang and Du. It is very desirable to expand the creative theme of Tang poetry and show the poet's concern for the life of ethnic minorities. This is mainly because he has been frustrated many times, which has caused him a kind of pain of lost ideals, difficult ambitions and bleak future. He is good at discovering elegant artistic conception from ordinary natural scenery and daily life. In the poem "Fisherman", he outlined an elegant and beautiful landscape of Jiangnan water town with shallow pen and ink, vividly describing the daily life of fishermen in Xiangjiang River and the natural scenery around Xiangjiang River. On the surface, it seems relaxed and happy, but in fact it contains the author's more painful feelings. Here, the poet associated with the experience of exile after the failure of innovation, producing an unspeakable feeling. Here, the author expresses his anxiety about his exile situation with the quiet natural landscape and the hardships of frontier fortress, and yearns for the life in the south of the Yangtze River, and criticizes and denies the filthy official life, in order to pin his own mind interest and life concept. In addition, in a combination of sports, picturesque scenery in poetry and poetry in painting enrich each other, affirm themselves more fully, melt with each other, forget themselves more naturally, and make people intoxicated with ethereal and clear natural interests.
Liu Zongyuan and Wei are both outstanding figures of Qingyuan Poetry School in the middle Tang Dynasty. Although they have similarities and differences, they all made outstanding contributions to the pastoral poetry in the middle Tang Dynasty and created a new pattern of Qingyuan poetry school.
Secondly, the pastoral poetry in the middle Tang Dynasty is more popular than the previous poetry style, mainly represented by Bai Yuan. The performance of this poetic style is to make the scenery, ordinary things and spoken words plain. For example, Bai Juyi's "Spring Tour in Qiantang" keenly captures the characteristics of early spring lake light and outlines a picture of the spring scenery of the West Lake. This nameless scene has an artistic realm that must have feelings. Its artistic technique of turning steel into softness and expressing the profound meaning of natural pastoral poetry in a popular style is the contribution of Bai Yuan Poetry School to the development of pastoral poetry in the middle Tang Dynasty, which has made corresponding achievements in pastoral poetry in the middle Tang Dynasty.
Furthermore, the contribution of the pastoral poems in the mid-Tang Dynasty to the Tang poetry is to form a style of refined language, light style and integration of subjective feelings and objective things. This is mainly represented by Liu Changqing's pastoral poetry, which has a strong sentimental feeling of the times, a true and delicate description and exquisite meter, and is very representative in the pastoral poetry of the middle Tang Dynasty. In addition, in the face of social unrest and weak national strength, they use landscapes and pastoral areas to express their sadness, such as Lulun's Sleeping at Wuchang at Night, which is a great scholar.