Chinese celebrities\critics of ancient Chinese landscape idyllic poetry?

Literati Mentality Record - the aesthetic subject of landscape and idyllic poetry

China's long history, a long period of unification for the landscape and idyllic poetry provides the aesthetic time, beautiful scenery for the ancient poets to provide the aesthetic space, to create the most beautiful landscape and idyllic poetry. Western scenery also has its own beautiful features, why its landscape and idyllic poetry is far less prosperous than China, and its content is far less than the ancient Chinese landscape and idyllic poetry so profound and complex flavor? In addition to the previously mentioned limitations of the aesthetic time affects the aesthetic space, the more important is the reason of the aesthetic subject, that is, the ancient literati mentality of the reason.

Patriotic feelings - the high-pitched tone of landscape and idyllic poetry

With the famous mountains and rivers as the sinews and veins, and with the idyllic fields as the muscles of the Divine Kingdom is the source of the Chinese nation to obtain the means of subsistence to survive. Landscape and fields nurture people, people must love the landscape and fields, resulting in a deep love of mountains and rivers, the feelings of the countryside. This love of mountains and rivers and local feelings with the times, the development of society and the more intense, to the formation of the nation-state will become an important part of the noble feelings of patriotism, and contribute to the ultimate formation of patriotism. In turn, the ancient landscape garden poets were inspired by the spirit of patriotism, traveled around the landscape, enjoying the countryside, eulogizing the Chinese landscape, creating beautiful landscape hymns, so that the landscape garden poems gained a high ideological significance for the development of patriotic literature in China has made a significant contribution to the patriotic tradition of inheritance and development of the role can not be ignored.

Distant ancient times, the Chinese nation has many legends of sacrificing mountains and rivers, traveling and seclusion. Yellow Emperor traveled the world, Zen five mountains; nest father, Xu Yu because of the self-standard high purity from the world and recluse in the mountains; Yu Shun east patrol hunting, climbed the South Mountain, view of the river islets, south tour of the Cangwu and died, buried in the Jiuyi Mountain; "Poetry Classic - Ode to the Zhou - Yin" glorify the king of the Wuk Shang, the world is united, a vast territory, the mountains surrounded by the mountains, a hundred rivers and rivers of the magnificent scenery; Wei Wuhou traveled in the West River, exclaimed, "the beauty of the mountains of the river solid! This is the treasure of Wei". Confucius traveled to the Velvet Forest and sat on the apricot altar, and then traveled to Shao Yuan's field and Rong Mountain, where he put forward the famous idea that "those who know are happy with the water, and those who are benevolent are happy with the mountains"; Qu Yuan depicted the state of Chu in "Invocation of the Spirit," in which he described the country as "a place where rivers and valleys run through each other. In his "Invocation of the Soul", Qu Yuan depicts the country of Chu as "a place of rushing rivers and valleys, where the winds of light change and the orchids of life grow" and "a place of many pavilions, where the mountains are high", calling for the return of the king's soul with the beauty of the mountains and rivers of the country and the beauty of the scenery. After the six dynasty landscape garden poetry, singing and describing landscape garden to express the love of the mountains and rivers, the love of the works are numerous, through the mountains and water to express the patriotic feelings of the works also come in droves. Gao Shi has the ode of "Rites and music are glorious and mountains and rivers are beautiful" ("Reward for Suoyang Li Taishou"); Chu Guangxi made five poems of "Poems of Traveling to Mount Maoshan", which wrote about the beauty of Mount Maoshan's scenery and the fun of wildness, and in the poems, "This is the intention of observing the country, and it does not mean that I wish to travel far away". In the poem, "The sky and the earth are full of light, and the rivers and mountains are bright with spring color", which is meant to glorify the Tang Empire in its heyday; Du Fu has the sigh of "The country is broken, and the grass and trees are deep in the city in the spring" (Spring Hope); Lu You expresses the words "Thirty thousand miles of the River flows into the sea from the east, and five thousand refu The river flows eastward for 30,000 li into the sea, and 5,000 refuels rise up to the sky. The tears of the remnants are in the dust of Hu, and the king's division is looking southward for another year" ("Feeling of Coolness at the Gate of a Hedgerow at Dawn on an Autumn Night"); Wen Tianxiang has the hatred of "not going up to Emei for twenty years, and coming back to fall into the tears of the mountains and rivers" ("The Casting of Stones"); Gao Qigao sings, "The rivers and mountains are not mutually exclusive, and the victorious forms compete to boast of the strength of the world" and "the world is strong". The world is strong", "from now on, the four seas will always be home, no need to limit the Yangtze River to the north and south" ("Ascend the Jinling Yuhuatai to look at the big river"); the Yuan dynasty Zhou Boqi "high mountain out of the clouds, the day born of the virtual cold ...... stream valley deep The mountains are out of the clouds, the day is cold, the valleys are deep, and the stairs and dengs are winding up to a hundred pans....... The Han and Tang dynasties were tied up, but now they are the same as the Central Plains. The map is a big one, and it is very difficult to create it; I have six divisions, and the golden soup is forever solid" (Wild Fox Ridge), which is a song for the grand military power, grand national power, vast territory, and eternal solidity of the mountains and rivers. Qing Cha Shenxing toured Xing'anling with Kang Xi, wrote four songs, "Ascending the Jedi Region", one of the clouds: "The map is far away from the big Xing'an, phoenix dance back to the Dragon gas Yu Coil. Half a ridge of early clouds to support the desert, trees and leaves according to the cold. The landscape does not count the southeastern show, and the universe is wide when you look down. Ten thousand miles of Qiankun thousand miles of eyes, happy to get from the strange danger of the wonders." Poetry sincere emotion, vivid description, glorified the Kangxi national unity and strength of the situation. Wei Yuan sings, "The majestic mountain is still a glimpse of the border, the ancient stream is difficult to calm the sound of the plug" ("Juyongguan"). ...... These poems or write the beauty of the landscape to glorify the unity and strength of the country, or write the pain of the mountains and rivers, expressing the ambition to donate their lives to the country; or borrow the landscape scenery, to send the sadness of the rise and fall of the country and the nation. Said it is landscape poetry can, said it is patriotic lyric poetry may be more appropriate. The mountains and rivers are beautiful, and the fields are beautiful, visit them, appreciate them, sing their praises, and be proud of their beauty and comfort; when the foreign enemy invades the mountains and rivers to change the color of the roar of "return my mountains and rivers", and be willing to donate their bodies and sacrifice their lives for them. By worrying about the country and worry about the people, broad and deep feelings have always inspired the ancient scholars, inspired by the real love of the Chinese landscape garden poets.

Wei-Jin and North-South Dynasties - the foundation period of landscape and idyllic poetry

Strictly speaking, landscape and idyllic poetry is divided into two different types of poetry: landscape poetry and idyllic poetry based on the standard of the subject matter, but the writing of landscape involves the idyllic garden, and the writing of the idyllic garden also involves the landscape, and the poets who write about the two are mostly, and the poets who write about the two are very rare and the two have the same origin and pursue the same aesthetics. The origin of the two is the same, and the aesthetic pursuit is similar, so the ancients often combined landscape poetry with idyllic poetry to discuss. The author also discusses them together, and the division is divided into a few points.

The rise of landscape and idyllic poetry can be traced back to the creation of ancient agricultural ballads. As far back as three thousand years BC, the Chinese people have established a developed hoeing agriculture, living in the landscape garden, so in ancient times there are "so grass and trees", "to fight the five grains" and so on to reflect the agricultural poetry. In the Book of Songs, there are agricultural poems such as "Bin Feng - July", "Qi Feng - Futian" and "Xiao Ya - Daitian". However, the poems reflect the scenes of large-scale slave labor, and it is difficult to see the personality of the poet. The scenes of fields and gardens are rare in the poems, and the scenes of mountains and waters are even rarer. Occasionally appear in the poem in the scene of the sentence such as "Peach" of the "Peach every day, burning its China", "River" of the "who said the river is wide, a reed Hang", "River River River" of the "River River and River, Fang Laxxi ", "reed" of "reed reed", "reed reed, white dew for frost", "logging" of "logging dingding, bird calling. "From the valley of the shadow, move to the tree", "Shin River", "Shin Pei Liu Shui, Chao Zong Yu Hai", "Cai Wei", "In the past, I went back and forth, the willows are still clinging to each other; now I am coming to think of it, the rain and snow are falling", and "Jie Nan Shan", "Jie Nan Shan", "Jie Nan Shan, the south mountain, the south mountain, the south mountain, the south mountain, the south mountain, the south mountain, the south mountain. Poetry about idyllic landscapes, grasses, trees, flowers and birds, some write very well, but in the end is not the main subject matter, only for comparison, or for the rendering of the atmosphere, in the status of the accompaniment. The "Mountain Ghosts" "Thunder fills the air with rain and darkness, the wind soughs and the wood sags, thinking of the son is in vain", but it is also for the purpose of rendering the atmosphere and sending out the emotion, not the main theme. Poetry in the Han Dynasty was not developed, Han Lefu, such as the "Battle of Chengnan" of the "water deep excitement, cattail meditative", "Changgexing" of the "green garden sunflower, dew waiting for the sunrise. Yangchun Bu Deze, all things are bright", and anonymous poems such as "Grass by the Green River, Sunflower in the Garden" in "Grass by the Green River, Sunflower in the Garden", are also similar to the techniques, styles and functions of "The Book of Songs" and "The Rhetoric of Chu" in writing landscapes and idyllic scenes. The same is true of the techniques, styles and functions of the poems in the "Classic of Poetry" and "Chu Shi".

From the "Classic of Poetry" to Jian'an nearly a thousand years, China's landscape is still the same, idyllic scenery is more beautiful day by day, but there are very few idyllic poems, not to mention the landscape poetry. The reason for this is firstly, the productive forces of the time were not very developed compared with the later generations, and poetry developed in the direction of realism along the lines of "the hungry sing about their food, the laborers sing about their work", so there was no time to pay attention to the beauty of landscape and idylls, and it was even more difficult for them to reach the beauty of the landscape and idylls. Secondly, poetry at that time was not yet mature, especially in ancient poetry, the meaning of poetry has not yet been produced, literature (mainly refers to poetry) has not yet entered the era of self-consciousness, the real literati poetry has not yet been formally produced, so the description of landscapes and gardens to externalize the personality and the spirit of the mind of the pursuit of the beauty of the high level of the mood of the poetry will not be possible to produce. And the pre-Qin to Han Dynasty poems are mostly folk songs, poets are mostly ordinary people, they live and literary level of constraints, have no time to appreciate and can not describe the performance of the beauty of landscape and garden. Again, the dominant ideology of the era was the pre-Confucianism, which emphasized on personnel and reality, and the center of Confucian poetics was "speech of the will", which aimed at "sending out feelings and stopping the rites and righteousness", and it was not possible to produce the landscape and idyllic poems that emphasized on the inner meaning of the scenery under the influence of such poems. Finally, the economic and cultural center in the Central Plains at that time, compared with the South, the beauty of landscape and garden is more inferior, affected by the aesthetic object, it is also impossible to produce a more mature landscape and garden poetry. The poem of the landscape and the idyllic garden can only be produced and matured if the four elements are present.

The first complete landscape poem in ancient times was Cao Cao's "Viewing the Sea", a poem about the northern landscape and the sea, which reads, "The water is tranquil, and the mountains and islands are towering over each other. Trees are overgrown and grasses are abundant. Autumn winds are sullen, and the flood waves rise. The sun and the moon, if out of which: the stars and the Han brilliant, if out of which" and other descriptions of ambition and sentimental, and the vision is broad, the mood is majestic, the style is robust and bold. To the Eastern Jin Dynasty period, with the further southward shift of the economic and cultural center and the further development of the southeast, the development of the manor economy, the gatekeeper clan to visit the landscape and idyllic to escape the world into the wind, the metaphysics, Buddhism and Taoism thought of the prosperity and Confucianism and Buddhism and Taoism thought of the initial fusion of the literary self-consciousness of the era came to the emergence of the mood that the emergence of the scholar-poet community, the landscape and idyllic poetry as an independent genre of poetry and a complete form of art! formally appeared in the ancient poetry world. Almost all poets of the Eastern Jin and Southern Dynasties wrote landscape and idyllic poems, among which Tao Yuanming's idyllic poems and Xie Lingyun's landscape poems are the most famous, which both originated and laid their foundation. The following is a specific discussion of the combination of the two poets.

The two Jin and North and South Dynasties period of unprecedented social darkness, the bloody reality of the Confucian "cultivation of the body, the family, the country and the world" faith gradually collapsed, and the metaphysics, Buddhism and Taoism thought with the rise of the scholars, or transcend the reality of the world, to God, or delayed in the beauty of wine, or to the nature to enjoy the fun of the southern landscape, so the two Jin and South Dynasty there will be The Seven Sages of the Bamboo Grove and the Palace Poets, and the Metaphysical Poets and the Landscape Poets. However, the scholars could not completely forget the "cultivation of peace" and could not completely detach themselves from reality, so there were contradictions and pains in the poems. In contrast, going to God to escape into the empty door is too boring and intolerable, delayed in beauty and wine and inferior, while going to nature and enjoy the joy of nature is not boring and intolerable and more elegant, so landscape and garden poetry has become fashionable, is the most energetic and far-reaching genre of the poetry world. Tao Yuanming and Xie Lingyun, due to their different social status and life experiences, were influenced by the same era and trend of thinking, but their poetic paths and achievements were very different.

Wang Wei, Meng Haoran, and Chen Zi'ang were the representatives of the Sheng Tang school of landscape and idyllic poetry

Wang Wei was the representative of the Sheng Tang school of landscape and idyllic poetry. He inherited and developed the landscape poetry pioneered by Xie Lingyun and made it unique, which made the achievement of landscape and idyllic poetry reach the peak and had an important position in the history of Chinese poetry. Wang Wei also wrote other masterpieces. Some reflect military and border life, some express chivalry, and some expose the ills of the times. Some small poems on farewell to friends and relatives and on daily life, such as Sending Yuan Er to Envoy An Xi, Acacia, Memories of the Brothers in Shandong on the Ninth Day of the Ninth Month, and Sending Shen Zifu Back to Jiangdong, have been recited in ancient and modern times. These small poems are all five or seven poems, with sincere feelings and language, no need for ornamentation, with the beauty of simplicity and depth, comparable to the top lines of Li Bai and Wang Changling, representing the highest achievement of the top lines of the Sheng Tang Dynasty. His poems in response to the system, his poems in harmony, and his poems promoting the principles of Buddhism occasionally have famous lines, but most of them are not desirable. Wang Wei had the highest attainments in the five rhymes and five or seven poems, and also excelled in other styles, which were very prominent in Tang poetry. His seven rhythms are either majestic and gorgeous, or pure and elegant, and were the model for the seven sons of the Ming Dynasty. The seven ancient forms are neat and tidy, with a flowing momentum. His prose is quiet and meaningful, extremely poetic and picturesque, for example, The Book of the Mountain and Pei Xiu Cai Di. Wang Wei enjoyed great fame both in his lifetime and after his death, and was known as the "World's Literary Scholar" and the "Poetry Buddha". He had a great influence on the future generations.

It is because he often looked at everything with the eyes of a Zen master that his poems have a kind of quiet beauty, clarity and silence that other poets can hardly reach. Especially in his description of the nature of a moment of confusion and movement, is so pure and quiet, Zen rhyme, such as: "people idle osmanthus flowers fall, the night quiet spring mountain empty. The moonrise startles the birds, and they sing in the spring streams." ("Bird Songs") "In the soughing fall rain, shallow pomegranates. The jumping waves splash each other, and the egrets are surprised to come down again." ("Luan Jiaze") and the famous line "the bright moon shining between the pines, clear springs flowing over the stones" ("Mountain Dwelling Autumn All Night") and so on, often cleansing the reader's mind, giving a person endless reverie of tranquility and serenity.

2. Meng Haoran

A poet of the Tang Dynasty. He was a native of Xiangyang, Xiangzhou (present-day Xiangfan, Hubei), and was known as Meng Xiangyang. In the first half of his life, he mainly stayed at home to serve his relatives and read, and he used poetry as a means of self-sufficiency. At the age of 40, he traveled to the capital and returned to Xiangyang after failing to get a scholarship. When he was in Chang'an, he was very close to Zhang Jiuling and Wang Wei. He was famous for his poems. Afterward, he traveled to Wu-Yue and exhausted the mountains and landscapes in order to get rid of the disappointment of his career. Because of the indulgence in feasting and drinking, he suffered from food and drink and died. Meng Haoran's poems are mostly short poems in five lines, the subject matter is not broad, mostly written about landscape and idyllic, seclusion, traveling and so on. Although not without cynicism, but more belong to the poet's self-expression. His poetry is not as broad as Wang Wei's, but it has unique attainments in art, and it is the precursor of the Shengtang's idyllic landscape poetry school, following Tao Yuanming, Xie Lingyun, and Xie Overlook. Meng's poems are free of ornamentation, light and simple, with a kind and true feeling, rich in the flavor of life, and rich in the fun of superb self-compassion. Meng's poems, such as Autumn Ascent to Wanshan and Send to Zhang Wu, Passing the Old Man's Village, and Spring Dawn, are light and flavorful, all in one, with elegant rhymes and a clear and open mood. Meng's poems are based on an open and tranquil tone, but in the tranquil tone there is a strong and elegant atmosphere, such as "looking at the Dongting Lake to the Prime Minister Zhang", "the gas vaporizes Yunmengze, the wave shakes the Yueyang City", a line, energetic and healthy, looking down on everything. But this kind of poem is not common in Meng poetry. In general, the content of Meng's poems is thin, not inevitably embarrassed by the length. The current Meng Haoran Collection contains 263 poems, but there are others.

"The old man invited me to his farmhouse with his chickens and millet. I was invited to the field house. The green trees were close to the village, and the green hills were slanting beyond the Guo. The old man invited me to his home, where I could enjoy a glass of wine and talk about the mulberry tree. When it comes to the day of the sun, I will come back to the chrysanthemum." The green trees, the green hills, the village houses, the green hills, the green hills. Green trees, green hills, village houses, field and garden, mulberry and hemp are harmoniously blended together, which is a beautiful and tranquil idyllic landscape painting, here there is a fresh earthy flavor; here there is a strong sense of life. Here is "so light that one cannot see the poem" (Wen Yiduo, "Meng Haoran"), but there is no lack of quiet artistic beauty and even more simple beauty of life that is y integrated into the flesh and blood of the whole poem. Meng Haoran seems to have found a sense of conversion here. The poet finally forgets all the setbacks in his political pursuits, his fame and fortune, and even the lonely and depressing emotions of his seclusion are completely thrown away. Thoughts finally stretch, and even the poet's initiatives are flexible, nature shows its conquering power here.

Spring sleep does not realize the dawn, everywhere heard the crowing birds. The night comes with the sound of wind and rain, and the flowers fall." These four lines of the poem is Meng Haoran's artistic and spiritual realm have reached the realization of the work. "The sound of wind and rain at night, how much do you know about the fall of flowers?" Wang Guowei commented that Li Yu's words were "just like the meaning of Sakyamuni Christ's burden of human sins", and Meng Haoran's two lines also contain a great depth of feeling. "His feelings and the feelings of all things have a ****ing", there is a deep sympathy for the universe and life. This poem expresses the highest metaphysical mind and the greatest style. It is the most natural poetry, the music of heaven. Meng Haoran is happy, he put his life from the realm of utility to the realm of heaven and earth, from me to no I, although this period of time he suffered a lot of sweet and bitter, but finally bitter and sweet

Plain: plain: Plain is different from the mediocre and tasteless, is the deep feelings and rich ideas in simple language, rich flavor, so often said plain and thoughtful. As Wang Anshi said: the most bizarre and seemingly ordinary, into as easy but hard.

Tao Yuanming is the first one to be bland, and there are not many people who can write poems to be bland. Li Yu's words are definitely not bland, but on the contrary, they have a strong power to inspire.

Chen Zi'ang: (661-702), the word Bo Yu, Zizhou Shehong (now Sichuan) . He was a member of a powerful family and was known for his chivalry. Later, he entered Chang'an and traveled to the Imperial College. At the beginning of the civilization, he was awarded a bachelor's degree and was appointed as the head of Lin Tai. He returned from an expedition to the Western Regions to Zhangye. Later, he was transferred to the right pickpocket. He also accompanied the army in the eastern expedition against Khitan, and participated in military affairs. After returning to the capital, still for the right gleaner. Counseling much disagreement, because of the dismissal of the official to return to his hometown. He was falsely accused by the county magistrate, imprisoned, and persecuted to death. His poems were aimed at restoring the bones of the Han and Wei Dynasties, changing the floating poetic style of the early Tang Dynasty, or satirizing and admonishing the government, or feeling the world, and making the sound of gold and stone on the ground. He was the pioneer of poetry innovation in the Tang Dynasty.