Poets such as Tao Yuanming formed the pastoral school in the Eastern Jin Dynasty, poets such as Xie Lingyun and Xie Tiao formed the landscape school in the Southern Dynasties, and poets such as Wang Wei and Meng Haoran formed the pastoral school in the prosperous Tang Dynasty. The poet takes landscape and countryside as aesthetic objects, and throws delicate brushstrokes into quiet mountains and leisurely fields to create an idyllic life to express his dissatisfaction with reality and his yearning for a quiet and peaceful life. [2]
Development history editor
initial stage
As the two peaks of Chinese poetry before Qin and Han Dynasties, The Book of Songs and Songs of the South contain a large number of descriptions of natural scenery, such as Guanju, Peach Blossom (The Book of Songs), Mint and Songs of the South, which are either media or objects of comparison, and have no aesthetic value in themselves. Such as: "I have been there, Yangliuyiyi; I want to come today, it's raining, it's raining, it's raining in the autumn wind, and it's raining in the leaves of Dongting Lake. These beautiful sentences only appear as the background of personnel activities and play the role of art media, not an independent aesthetic object. In the long years that The Book of Songs and Songs of the South have passed, no poem is dedicated to describing the natural landscape. For hundreds of years in the Han Dynasty, there have been many descriptions of natural scenery in Yuefu five-character poems, especially in Ci Fu. It was only during the Jian 'an period at the end of the Han Dynasty that Cao Cao wrote a poem "Watching the Sea", which was the last performance of the Song Dynasty and presented a complete landscape movement for the poetry circle before the Han Dynasty. Before Wei and Jin Dynasties, the contents of Chinese poems were all related to human existence, desire, politics and war, and the natural scenery was unknown.
The emerging era
In Wei, Jin and Six Dynasties, natural landscape was really regarded as an independent aesthetic object, and poets wrote poems with natural landscape as the theme, which had profound historical and cultural reasons.
Wei, Jin and Six Dynasties, an era of civil strife, the disorder of politics, 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, and the people's lives are at stake, so many poets with awakening consciousness, including those with the status of official ministers, have produced "self-frying, more money 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.
boom period
After the formation of landscape poems, although they constantly seek the development of external space and the perfection of internal system, and have new styles and postures in different times, the life interest and artistic spirit of Taoism and Buddhism have always run through the development of landscape poems. With the prosperity of Tang poetry, landscape poetry has become spectacular. Wang Wei and Meng Haoran inherited the tradition of landscape poetry of Tao Yuanming and Xie Lingyun, and formed a school of landscape pastoral poetry that complements the frontier poetry school. There is not a poet in the Tang Dynasty who doesn't write natural landscape poems. There are many poets who are famous for their landscape poems in Tang Dynasty, but Meng Haoran, Wang Wei and Li Bai are the main ones who can represent the maturity of landscape poems. The pastoral poems after the Song Dynasty are refreshing in terms of poetic language, lyricism, concreteness, scenery description and narration, but the realm of landscape poems lags far behind that of the Tang Dynasty.