What are some of the poems and words that describe the countryside?

Du Fu

The clear river hugs the village and flows, and the long summer river and village are secluded.

The swallows that come and go from the hall, the gulls that are close to each other in the water.

The old wife draws paper for the game of chess, and the young son knocks a needle for the fishing hook.

The only thing I need is medicine for my many ailments, and what more can I ask for than a small body?

Idylls - Hu Bingyan

Six poems - Idylls

(1) The green hills outside Guo, the jasmine by the hedges, the golden bottles for the confidantes, the grassy houses, the gongs and the chimes, all around the beams, all around the beams.

(2) The seasonal months are filled with irises and swallows, the mountains are filled with green trees and red flowers; the wilderness is deep and the roads are filled with streams and bridges.

(3) Leaning on the fence, sitting in the dark sky, collecting all the evening breeze of the mountain pavilion; the light moon is like a hook hanging far away, the beautiful people skillfully flute horizontal.

(4) The smoky winds of the middle of the night are moving in the dark, and the insects are chanting slowly; the flowers are thankful for the quiet sleep with the clothes on, and the rain is silent and moist.

(5) At the end of the night, the stars are all over the sky, and the fireflies are flashing; the boudoir is still the same, and the courtyard is y bolted.

(6) The spring of the year is a blessing, and all things are born early; the clouds are light and the wind is clear and kissing, and the flowers are fresh and fragrant.

(7) Spring is the time to enjoy all the grasses, and the yellow of the goose is the color of the grass; the swallows limp and dance, and the ducks and fishes play in the water, and the tide is the tide.

(8) With the wind, the heartstrings are moved, and the winds are so beautiful that it is easy to get away from them; the rain is so light that it is easy to get away from them, and the winds are so beautiful that it is easy to get away from them.

(ix) The grass and trees know that spring is early, the peach and cherry want to move the first red; miscellaneous Ying show off the demonic show, leeks and daylilies green dew Ying.

The Tang Dynasty is the peak of China's feudal society, more than three hundred years, landscape and idyllic poetry and the Tang Dynasty, together with the national situation, experienced a process of decline from prosperity. In the early Tang Dynasty, the palace style poetry of Qi Liang Hua Shi was still popular for a while, but the breath of the new era also began to show in poetry, the earliest embodiment of this change is precisely Wang Jie's idyllic poem, "Wild Hope". Although this poem has a light feeling of relics, it still objectively reflects the peaceful and tranquil atmosphere of life in the new era. Its simple and fresh style also set a precedent for the idyllic poems of the Sheng Tang Dynasty. Later, Chen Zi'ang's landscape poems also modeled for the Sheng Tang poetry with the strength of the spirit of standing out from the times.

The Sheng Tang was an era of strength and liberation, and the characteristics of poetry in this period were summarized as the "Sheng Tang style", while landscape and border poetry were one of the most important subjects of poetry at this time. If the border poems reflect the great prestige of the Tang Empire in foreign wars, then the landscape and garden poems reflect the peace and tranquility of the domestic prosperity. This can be clearly seen in the poems of Meng Haoran and Wang Wei. Wang Wei's "Weichuan Tianjia", the sunset of the distant mountains, narrow village alleys, late return of cows and sheep, the pheasant song in the field, the wheat seedlings, the old man leaning on the door to wait and see, hoeing and gossiping farmers, let a person feel the warmth and peace of the idyllic life. And the old man leaning on the door waiting to see, more people for the simple affection and y moved.

In Wang Meng's poetry, the idyllic and the landscape began to merge. Tao Yuanming's idyllic poems do not contain many lines describing landscapes, but in Wang Meng's poems, beautiful landscapes keep appearing as the background of the idyllic garden, such as Wang Wei's "A Wild Hope in a New Clear Sky": "The white water is beyond the clear field, and the blue peaks are behind the mountains. There are no idle people in the farming month, and they pour their families into the southern mu." The description of the activities of the farmers is unfolded against the background of landscape; while Meng Haoran's idyllic poems are actually very limited, his poems are more like "Autumn Ascent to Ten Thousand Hills and Sending to Zhang Wu", which inserts some shadows of farmers' activities into the theme of seclusion in the landscape. If Tao Yuanming's idyllic poems are more oriented to the attitude of living in a humble and simple way, then Wang Meng's idyllic poems combined with landscapes are more in the mood of the scholarly and leisurely.

This is because although Wang and Meng depicted the idyll and longed for it, they could not really abandon their careers and return to the idyll. Wang Wei has been half-official and half-hidden, and Meng Haoran has never forgotten to leave the civil service. And even though they lived in the countryside, they did not live the life of farmers. Tao Yuanming wanted to "take care of the filth in the morning and return with the hoe in the moonlight", while Wang Wei said, "The children have not yet swept away the flowers, and the warbler cries that the mountain guests are still sleeping". Tao Yuanming and farmers "more call each other through the door, there is a wine pouring", while Wang Wei is "quiet also what is the matter, the thorny door by the day off". We can say that Wang Meng has been watching the garden from afar, but not really integrated into it. This is the gap between Wang Meng and Tao Yuanming in terms of spiritual essence. But the combination of landscape and idyllic garden enriches the aesthetic meaning of the poem. On the one hand, Wang Meng inherited Tao Yuanming's technique of white description, and on the other hand, he used delicate strokes to portray the scenery. Especially Wang Wei, who looked at the idyllic garden with the eyes of a painter, applied the techniques of painting, such as composition, line and color, to the creation of landscape and idyllic poems, and wrote: "White herons fly over the desert rice fields, and yellow orioles warble in the shaded summer trees", "The bright moon shines among the pines, and the clear springs flow over the stones", "The white water is outside the bright fields, and the blue peaks are behind the mountains". The combination of such detailed scene portrayal and cozy idyllic life makes us experience aesthetic pleasure while feeling the peace and joy of the idyllic garden.

The poets represented by Wang Meng sang of the idyllic garden, which, in addition to the appreciation of the beautiful mountain scenery, also included the lingering and return to the warm and peaceful interpersonal relationship, the simple and happy labor life, and even the traditional morals and values. Such an idyll is the ideal idyll of the poets, their last haven, their last stand against the filthy society. Only the idylls under the flourishing Tang Dynasty were closer to the ideal idylls that allowed the poets to "recite in despair the decline of the style". After the Middle Tang Dynasty, when the Tang Empire was no longer in full bloom, the idyll lost its warmth and peace and became desolate, poets began to describe the poverty of the countryside, such as Wei Yingwu's The Viewing of a Field House, Du Xunhe's The Widow in the Mountain, and Pi Rixiu's Old Woman's Sighs, etc. The poems about the countryside in this period were all based on the theme of the Tang Dynasty. The poems on rural subjects in this period are more like poems of compassion for farmers than idyllic poems.

Mountains and landscapes, in addition to appearing as a background in idyllic poems, also appeared in large numbers in the poems as independent aesthetic objects. Outside of the idyllic poems, both Wang and Meng also have many landscape poems. Meng Haoran's landscape poems are rustic and distant, although there are occasionally such majestic lines as "The air is vaporizing Yunmengze, the waves are shaking Yueyangcheng", but they are more often characterized by a hermit's tranquil and lonely mood, such as his "Staying at Jiande River", "Wanshantan Zuo", and so on, which are always more or less covered with loneliness and sadness. And Meng Haoran's hermit image, Wang Wei is a Zen believer, Zen cultivation of his landscape poetry in pursuit of an ethereal realm, but also to make this realm often reveals the vitality of the vitality of life, secluded and not dead silence. For example, in "Zhongnan Mountain", the empty and silent mountains and dense forests become friendly and peaceful because of travelers, woodcutters, and questions and answers with each other. And "Xinyiwu", that in the "silent no one" in the mountain stream since the catkins fall, is the embodiment of the abandonment of the mundane, but with the universe of nature is closely related to the essence of life. Wang Wei's status as a painter also made his landscape poems and idyllic poems as full of picturesque meaning. For example, in "In the Mountains," "White stones come out of Jingxi, and red leaves are scarce in cold days. There is no rain on the mountain road, and the empty verdure is wet." The clear stream, white stones, red leaves and green pines make the late autumn scenery not only free from the atmosphere of depression and silence, but also have a special feeling, a kind of joy. And such a gorgeous and harmonious color scheme is due to Wang Wei's cultivation as a painter. Another example is "Taiyi near the sky, even the mountains to the corner of the sea", a vertical tower, a horizontal extension, written out of the majestic momentum of the mountains. Tome Wang Wei's "secret of painting" said: "the main peaks are most suitable for towering, the guest mountain must be running tendency", "Zhongnan Mountain" is in the poem to practice this technique of painting. And the phrase "the ravines are different" reflects the artist's sensitivity to light and darkness. Su Shi commented on Wang Wei's poem: "There is painting in poetry", which is indeed the theory.

Besides Wang Meng, Li Bai was also a great master of landscape poetry in the Tang Dynasty. If Wang Meng was good at finding poetic feelings in daily life, Li Bai was more likely to express his personality in strange landscapes. Li Bai is a naive and romantic, wild and uninhibited poet, his personality makes him more in love with the wondrous mountains, rushing rivers, he wrote that "difficult to get to the sky" of the Shu Road, that "show next to the Nandu" of Mount Lu, that "three thousand feet straight down the river. The waterfalls, the Yellow River, the "torrential spray of arrows shooting the East China Sea", are all tainted with Li Bai's desire to break through all the constraints and run to the vast free world. Li Bai's innocence, romanticism and unrestrainedness are not only expressed in the personalization of the objects depicted, but also reflected in the use of artistic methods. His poems are full of surreal imagery, such as "The starry jade maiden is ready to sweep, and Magu scratches the back of her fingers and claws lightly. I, the emperor, hold the heaven and earth in my hand, and Danqiu talks about the sky with the sky", and "I saw the immortal in the colorful clouds in the distance, and held the hibiscus in my hand towards the Jade Palace. I wish to take Lu Ao to swim in Taiqing"; another example is "Silkworms and fish mallards started the country. The 48,000 years, not with the Qin Sei Tong people smoke", myths, history, etc. were blended into the real landscape. Li Bai's poetry is also full of naive imagination and bold exaggeration, such as "looking at each other, only Jingting Mountain", not only people looking at the mountain, Li Bai more imagined that the mountain is looking at the people; and "drive the mountain away from the sea in front of the eyes", this is how conceited naivety; and "A wind three days blowing down the mountain, white waves above the Waguan Pavilion", "flying straight down three thousand feet" and so on, extreme exaggeration, but does not flow in the sinister. Li Bai's language is shallow and commonplace, but also contains a lot of, like "Jin Cheng although cloud music, as early as home", "people say Heng Jiang good, I say Heng Jiang evil", are as clear as words, but never shallow. Moreover, Li Bai's free-spirited personality often made him break through the constraints of the meter, such as "on the six dragons back to the sun of the high standard, under the waves of the reversal of the back of the river", which is the culture of the long sentence is other people can never be reached. Mr. Lin Geng once said, "If in the garden of poetry, there can be works equivalent to fairy tales and myths as in stories, many of Li Bai's poems are exactly such works." Li Bai's landscape poems are emphatically reflecting this feature.

Du Fu's landscape poetry is also a high achievement, his early creation of the "Lookout" is full of youthful vigor, after the outbreak of the Anshi Rebellion works, such as "Ascension", "Ascend to the Yueyang Tower," "Traveling at Night," and so on, are in the grand and magnificent description of the mountains and rivers in the deep sense of the family and country of the world, appearing to be somber, staccato, pathos and sadness. The change in style of Du Fu's landscape poems represents the transformation of landscape poetry from the flourishing Tang Dynasty to the Middle and Late Tang Dynasty. With the decline of the Tang Empire, Wang Meng's elegance, Li Bai's boldness, and Du Fu's grandeur were no longer reproduced, and landscape poetry became depressed. The poems of Wei (Yingwu) and Liu (Zongyuan), who were also known as Wang Meng, were more forlorn and miserable, while Liu Yuxi's bright and eloquent poems were only a part of the Middle and Late Tang.