“Thousands of miles of orioles are singing, the green is reflected in red, and the wine flags in Shuicunshanguo are winding.” At the beginning of the poem, it is like a fast-moving movie camera, passing over the southern land: in the vast thousands of miles south of the Yangtze River, orioles are singing happily, and the bushes are full of flowers. Clusters of green trees reflect clusters of red flowers; villages near the water, city walls nestled against the mountains, and wine flags fluttering in the wind are all in sight. The charming Jiangnan, dyed with the poet's wonderful pen, becomes even more heart-stirring. The reason for the swaying, in addition to the magnificence of the scenery, is probably also because this magnificence is different from a certain garden scenic spot, which is only limited to a corner, but because this magnificence is spread over a large piece of land. Therefore, if there is no word "Qianli" at the beginning, these two sentences will be inferior. This is due to the need for a typical summary of literature and art. The same principle applies to the last two sentences. "There are four hundred and eighty temples in the Southern Dynasty, and there are many towers in the mist and rain." From the first two sentences, the orioles are chirping, the red and green contrast with each other, and the wine flags are fluttering. It should be a scene on a sunny day, but these two sentences clearly mention the mist and rain, just because it is thousands of miles away. Within the scope, the weather is different everywhere. However, what needs to be seen is that the poet used typical techniques to grasp the characteristics of Jiangnan scenery. Jiangnan is characterized by mountains and rivers, dark willows and bright flowers, intricate tones, rich layers and a three-dimensional feel. While shrinking the size of the poem, the poet focused on expressing the colorful and beautiful scenery of the south of the Yangtze River in spring. In the first two sentences of the poem, there are red and green colors, mountains and rivers, villages and city walls, movement and stillness, sounds and colors. But these alone seem not to be rich enough, and they only depict the bright side of the spring scenery in the south of the Yangtze River. So the poet added a wonderful stroke: "There are four hundred and eighty temples in the Southern Dynasties, and there are so many towers in the mist and rain." The splendid Buddhist temple with numerous buildings originally gave people a profound feeling, but now the poet deliberately made it hidden in the mist. In the misty mist and rain, this adds a hazy and confusing color. Such pictures and tones, in contrast to the bright and gorgeous scenery of "thousands of miles away orioles croaking against the green, and the wind of wine and flags in the mountains and rivers of water", make this "Jiangnan Spring" picture even more colorful. The word "Southern Dynasties" adds a long-lasting historical color to this picture. "Four hundred and eighty" is a way of saying that people in the Tang Dynasty emphasize the large number. The poet first emphasizes that there is more than one Buddhist temple with magnificent architecture, and then goes on to sigh like "how many towers are in the mist and rain", which is particularly fascinating.

Du Mu is particularly good at painting gorgeous and moving pictures in just four sentences and twenty-eight characters, presenting a deep and beautiful artistic conception, expressing strands of implicit and profound emotions, and giving people a sense of wonder. The enjoyment of beauty and the enlightenment of thought.

"Jiangnan Spring Quatrains" reflects that the aesthetics in Chinese poetry and painting transcend time and space, are indifferent and free and easy, and contain the "sudden enlightenment" thoughts of Confucianism, Buddhism, Taoism and Zen Buddhism, and what they express are mostly nostalgia for the past, seclusion, and freehand brushwork. Poetry