The position of the school of pastoral poetry in China's aesthetic history is a general statement, but it still focuses on the pastoral poetry of various schools in the prosperous Tang Dynasty. The article holds that compared with other themes, the expressive art of landscape pastoral poetry is the most fully developed and the most rich and complex. It has not only become an unattainable model for later generations, but also solved some of the most important problems in China's aesthetic history, such as emptiness and reality, form and spirit, nature and artificiality, artistic conception and imagery, which directly influenced the literati landscape paintings and gardens developed after the Song and Yuan Dynasties. The special position of the school of pastoral poetry in China's aesthetic history also reflects an important aesthetic standard of China literati, that is, advocating simplicity, simplicity and idleness, and advocating nature and unattainable realm. In a word, the reason why we should fully affirm the school of pastoral poetry is that it provides a very high aesthetic standard, is an unattainable model in the art history of China, and embodies the high achievements of ancient feudal culture in China.
Landscape poetry is not only about landscapes, but also about "landscapes". Some write about people's livelihood, while others write casually. We can't think that as long as there is a description of mountains and rivers in poetry, it is a landscape poem. At least the main part of the whole poem must describe the mountains and rivers in order to be regarded as a landscape poem. At the same time, we should also pay attention to the author's attitude towards the scenery described: whether to treat the scenery itself as an aesthetic object or whether there are other sustenance under the guise of the scenery. We should also pay attention to the differences in the content of sustenance.