(Song) Fan Chengda?

Tilling during the day, numb at night,

The children in the village are responsible for their own affairs.

Children and grandchildren have not been liberated to engage in farming and textile,

And learn to grow melons in the shade of mulberry trees.

Birds are singing?

Where's Don?

When people are idle, sweet-scented osmanthus falls,

The night is quiet and the mountains are empty.

The moon is full of surprises,

It rings in the spring stream.

Over the old man's village?

[Tang] Meng Haoran?

Prepare chicken and rice for me, old friend. You entertain me on your farm.

We looked at the green trees around your village and the pale blue of the distant mountains.

We open your window and overlook the garden and fields, holding cups and talking about mulberry and hemp.

Wait until the mountain is on holiday, and I'll come back at chrysanthemum time.

Chai Lu

Wang Wei

There seems to be no one on the empty mountain.

However, I think I heard a voice.

Sunlight enters the Woods,

Reflected from the green moss to me.

Qingpingle country house

Xin Qiji?

Mao Yan is low and small, with green grass beside the stream.

The eldest son hoes beans and the second son weaves chicken coops. He likes children scoundrels best, lying at the head of the stream peeling lotus flowers.

Wang Wei

Mountain house in autumn

The empty mountain after the rain stands in the autumn evening.

Moonlight in the pine forest, crystal stone in the stream.

The bamboo whispers that the laundry girl returns, and the lotus leaves lie in front of the fishing boat.

My friend's prince, what does it matter if spring is over and you are still here? .

Tour of Shanxi village

Lu you

Don't laugh at the mud wine in the farmhouse, and raise enough chickens and dolphins in good years.

There's a village where there's no road.

The flute and drum are close to the Spring Club, and the clothes are simple and old.

From now on, if you ride leisurely on the moon, you will knock on the door all night with your cane.

Landscape, pastoral and poetic mountain

Water pastoral poetry, one of the ancient Chinese poems. Xie Lingyun and Tao Yuanming, who originated in the Southern and Northern Dynasties, were represented by Wang Wei and Meng Haoran in the Tang Dynasty. This kind of poetry is good at describing natural scenery, pastoral scenery and comfortable seclusion. Poetry and painting are meaningful and beautiful, the style is quiet and elegant, the language is beautiful and refined, and the line drawing technique is used.

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.

Representative poet

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Tao Qian

As an idyllic poet, Xie Tao was obviously influenced by metaphysics, but because of their different identities and life paths, metaphysics left different marks in their poems. The mystery and interest in reason in Tao's poems are not only reflected in the fact that there are many insightful opinions full of life experience in his poems, but more importantly, the mystery permeates the pastoral picture of "having its truth" in his poems. Xie Shi's poems are mainly expressed by metaphysical thoughts such as "an empty jade is hard to name, the hook is easy to bend" and "it is better to be born in a wonderful period", but the metaphysical purpose is not fully integrated into his poems.

Although Tao poetry takes nature as the aesthetic object and advocates nature, it pursues the interest of the soul, not the external object itself. His poems are freehand brushwork, not imitation. Tao Yuanming was originally an intelligent bird flying in the countryside. Affectionate freedom is his nature. Because of his frankness, he can't be a good official in a dirty world. Once out of the cage, he will return to nature and be happy. Returning to the garden (5) and migrating (2) vividly outline a great poet who is detached, leisurely and adaptable. Through the morning mist and dusk, he came in wearing clothes, sandals and hoes. Simple houses, ordinary villages, but the author came one by one with a very appreciative tone, willing to be indifferent, conservative and true. The poet's frank mind and outstanding integrity are like a roll of lotus, and the moon is white and clear. His pastoral poems are the externalization of his personality spirit. Therefore, he gives priority to freehand brushwork, and only pursues the integration of a peaceful and leisurely state of mind and a simple physical environment, showing a natural state. Writing poetry, for him, is just a natural expression of "open and true" embrace. Su Dongpo said, "Tao Yuanming's intention is not poetry, but poetry conveys his meaning." Yuan Hao asked, "Does this man write poems, directly on his chest?"

Xie lingyun

If Tao Yuanming was the first person to express his love for rural landscapes, then Xie Lingyun, who was contemporary with Tao and later, was the first person to write the words "Mo Shan Pan Shui" and "Diao Lu". Xie Lingyun's landscape poems are skillful in rhetoric, such as a craftsman who is good at scheduling language. He often conveys the landscape modality word for word, and has extraordinary talent in refining poetry and understanding language, which even Li Bai admires. For example, "there is darkness in the forest and clouds gather at dusk." (The graceful building on the stone wall returns to the lake) "Turbulence tends to be absolute, and the island is in the middle of the river." ("Climbing the Mountain to an Isolated Island") "White clouds hold secluded stones, which are green and beautiful." (Ye Ning after Conception) "Spring grass grows in a long pond, and the willow garden becomes a songbird". ("Climbing the Pool Upstairs") "The Spring Festival Evening is green and the rock is high." ("Entering the Penghu Estuary") "The wild land is clean and the sky is high and autumn is bright." (First Visit to the County) describes the changes of mountain posture, water state, twilight and sunny day very exquisitely, and the exquisite and unique description reproduces an artistic realm of natural beauty. From this point of view, Xie Lingyun is absolutely brilliant. He observes things in detail and has a good command of language. After editing the scenery of mountains and rivers by his skillful hands, he immediately made a colorful picture, which is unique in Wei Jinhan's poems, making later generations say that "Xie's poems are like new hibiscus, natural and lovely".

meng haoran

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 rich, 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 prepared chicken and rice for me and entertained 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

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. Such as: "Han River overflows", "Three branches in the south reach Chu territory, and nine streams reach Jingmen". 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 Mount Zhongnan, whose huge height is close to the city of heaven and connects Qian Shan to the corner of the sea. 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. As I needed a place to spend the night, I called a 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".

Lipper

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". Therefore, 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": "The branches are broken and the apes are on the mountain, and tears add to the mountain. 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.

Yang Wanli

Yang Wanli moved from "learning from the ancients" to "learning from nature", established his own unique artistic style, became the main hub of poetry transformation at that time, and created a fresh and pungent style of writing, which made Lu (you) a model or conservative or steady. (Qian Zhongshu's Preface to Selected Poems of Song Dynasty) Critics call his poetic technique "capture alive". Specifically, he observed with his own eyes, felt with his own heart, and vividly and skillfully described his personal impression when Vientiane came. For example, "Mo Yan had no difficulty going down the mountain. He earned the wrong favor from pedestrians. I am entering the Wanshan Circle, and one mountain blocks one mountain. " ("Go to Song Yuanchen's Paint Shop") It's a very common thing. It's vivid and novel, full of interest, and it also reveals a certain philosophy. Yang Wanli has a special sensitivity to natural scenery, unique vision and mind, careful observation, profound understanding and interesting description. He often captures extraordinary interests in the ordinary, such as: "New seedlings are inserted into the well, but farmers don't understand books." (Twilight in the field) He is also good at capturing instant feelings and highlighting them with sketched or anthropomorphic hand images, such as: "The good mountain is wrinkled but no one sees it, and the sun is setting." ("Boat Crossing Xie Tan") The flowing cloud means that "one peak was suddenly stolen by the cloud", and the strong wind is written as "I won't rest after killing the reed flower". The pronoun Jiang Xiang joked with him: "Everywhere, mountains and rivers are afraid of snubbing the monarch."

Fan Chengda entered the list of outstanding poets in the Song Dynasty with 60 famous poems about ancient landscapes and idylls in China. This group of poems is multi-faceted and three-dimensional, which is a combination of genre painting and romantic painting. It has a strong sense of reality and exudes a strong earthy atmosphere. Qian Zhongshu pointed out in Notes on Selected Poems of the Song Dynasty: "Fan Chengda's sixty pastoral poems are divorced from reality and have an earthy smell of sweat. According to his cordial impression, rural labor and life throughout the year vividly depict a relatively complete face, which makes pastoral poetry come to life and expand the same situation. Fan Chengda can be compared with Tao Qian and even come from behind. "

Late Southern Song Dynasty. Some poets, such as "Yongjia Four Spirits" and "Jianghu Poets", have written some landscape poems describing small natural scenes, but most of them are leisurely and interesting. During the Ming and Qing Dynasties, pastoral poetry declined, still being simulated and lacking originality. Although there are two schools, Yuan Mei and Zheng Wei, there are few outstanding poets, and pastoral poetry is gradually going to the end of classical poetry because of the germination of capitalism.