The Artistic Style of Li Bai's Poetry

The artistic characteristics of Li Bai's poetry 1, strong subjective color 2, rich and peculiar imagination 3, fresh and clear language 4, bold and free style Li Bai's poetry writing techniques Widely used hyperbole, metaphor, anthropomorphism, symbolism and other techniques, and with the help of fantasy or fairy tales constitute the romanticism of the majestic artistic realm. Li Bai's poetry is characterized by the following ideological content: 1) contempt for the rich and powerful, and the venting of resentment and resistance; 2) the expression of ideals and aspirations, and the promotion of self-personality; 3) the glorification of the magnificent mountains and rivers, and the expression of love for nature; 4) concern for the fate of the country, and sympathy for the plight of the people; 4) concern for the fate of the country, and sympathy for the suffering of the people; 5) the use of the word "poetry" in his poems; 6) the use of the word "poetry" in his poems; and 7) the use of the words "poetry" in his poems. The most important thing is that Li Bai's poetry, songs and poems are the highest achievement. Li Bai's stanzas are natural and bright, elegant and elegant, and can express endless thoughts in simple and clear language. Among the poets of the Sheng Tang Dynasty, Wang Wei and Meng Haoran were long in the five poems, and Wang Changling and other seven poems were well written, but Li Bai was the only one who was long in both the five poems and the seven poems and reached the extreme. Li Bai's poems are majestic and elegant, and his artistic achievements are very high. He eulogized the mountains and rivers of his motherland and the beautiful natural scenery, and his style was majestic and unrestrained, handsome and fresh, rich in the spirit of Romanticism, achieving the unity of content and art. He was called by He Zhizhang as "The Exiled Immortal", and most of his poems are mainly about landscapes and expressing his inner feelings. Li Bai's poems are characterized by the artistic charm of "the stroke of a pen startles the wind and rain, and the poem becomes a poem that weeps the ghosts and gods", which is also the most distinctive artistic feature of his poems. Li Bai's poems are rich in self-expression of the subjective lyric *** color is very strong, the expression of feelings with a kind of mountains and seas, a torrent of momentum. He and Du Fu are known as "Li Du", (Li Shangyin and Du Mu are known as "Li Du"). Li Bai's poems often use imagination, exaggeration, metaphor, anthropomorphism, and other techniques to create a magical, colorful, and magnificent mood, which is why Li Bai's romantic poems are so bold and unrestrained, as if they were immortal. Li Bai's poetry has had a profound influence on future generations. Han Yu, Meng Jiao, and Li He of the Middle Tang Dynasty, Su Shi, Lu You, and Xin Qiji of the Song Dynasty, and Gao Qi, Yang Shen, and Gong Zizhen of the Ming and Qing Dynasties were all greatly influenced by Li Bai's poetry.

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Sogou Wikipedia - Li Bai Li Bai's poems are often a combination of imagery, hyperbole, metaphors, and anthropomorphism, resulting in a magical, colorful, and beautifully moving mood, which is the reason why Li Bai's Romantic poems give people a sense of boldness and exuberance, as if they were immortal. This is the reason why Li Bai's Romantic poems are so bold and unrestrained, and so elegant. Li Bai's poetry has had a profound influence on his descendants. Han Yu, Meng Jiao, and Li He in the Middle Tang Dynasty, Su Shi, Lu You, and Xin Qiji in the Song Dynasty, and Gao Qi, Yang Shen, and Gong Zizhen in the Ming and Qing Dynasties were all greatly influenced by Li Bai's poetry. Magnificent and unrestrained, fresh and elegant, rich in imagination, marvelous in mood, marvelous in language, romanticism, and clear in intention. Expanded Information Li Bai (701 - 762), the word Taibai, the name of the Green Lotus Dweller, also known as "Banished Immortal", is a great romantic poet in the Tang Dynasty, known as the "Poetry Immortal", and Du Fu, known as the "Li Du". "In order to distinguish himself from the other two poets, Li Shangyin and Du Mu, who were known as "Little Li and Du", Du Fu and Li Bai were also known as "Big Li and Du". He was a bright and generous man who loved to drink wine and make poems, and enjoyed making friends. Li Bai was y affected by the Huang Lao Lai Zhuang thought, there is "Li Taibai collection", poetry, mostly written when drunk, representative works are "looking at Mount Lu waterfalls", "difficult to travel", "difficult road", "Shu Road", "will enter the wine", "Liang Fu Yin", "Early Baidicheng" and so on many songs. Li Bai's lyrics and fugues, Song people have been biographies (such as Wen Ying "Xiangshan Wild Records" Volume 1), in terms of its pioneering significance and artistic achievement, "Li Bai word" enjoys a very high status.

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Sogou Wikipedia - Li Bai Li Bai's poetry is not only characterized by the spirit of Romanticism, but also by the artistic characteristics of Romanticism, from the shaping of images and materials to the selection of genres and the use of various artistic techniques.　Li Bai succeeded in shaping himself in his poems, expressing himself strongly, and highlighting the unique personality of his lyrical protagonists, thus his poems are characterized by distinctive romanticism. He likes to adopt the majestic image to express himself, and expresses his feelings in his poems without any concealment or restraint, and expresses his joy, anger and sadness. To the powerful, he "held a branch of chrysanthemum and laughed at two thousand stones" (one of the two poems of "Drunkenly Sending to Servant Cui"); when he saw the laboring people's hard work, he "destroyed his heart and wept as if it were raining". When he saw the hard work of the laboring people, his "heart was broken like rain". When the country was overthrown and the people's livelihood was in ruins, he "swore to cross the river and swore to flow the water. He drew his sword and struck the front column, and the sad song was hard to reiterate" ("South Running Book of Reminiscences"), so impassioned; when he was drinking with his friends, "the two of them drank mountain flowers, a cup after a cup. I'm drunk and want to sleep, but I'm going to hold the qin tomorrow" ("Drinking in the Mountain with the Ghosts"), and so naive and straightforward. All in all, his poems vividly show his unrestrained character and his image of being a beginner.　Magnanimity is the main characteristic of Li Bai's poetry. In addition to the factors of thought, character, talent and fate, the artistic expression and genre structure of Li Bai's poetry is also an important reason for the formation of his bold and unrestrained style. Li Bai's imaginative and subjective approach to poetry is an important feature of his romanticism. His imagination is extremely rich, almost all of his poems have imagination, and some of them even use a variety of imagination throughout. Real things, natural landscapes, myths and legends, historical allusions, dreams and fantasies all became the medium of his imagination. With the help of his imagination, he often transcends time and space, intertwining reality with dreams and fairyland, and interweaving nature with human society to reproduce objective reality. The images in his writing are not direct reflections of objective reality, but the externalization of his inner subjective world, the reality of art.　One of the romantic artistic techniques of Li Bai's poetry is to skillfully combine anthropomorphism and metaphor, to empathize with objects and to compare objects with people.　Another romantic art technique of Li Bai's poetry is to seize a certain feature of things and make bold imaginative exaggerations on the basis of the reality of life. His exaggeration is not only peculiar imagination, and always with the combination of specific things, exaggerated so naturally, without revealing; so bold, but also real and believable, play a prominent image, strengthen the role of feelings. Sometimes he also combined bold exaggeration with sharp contrasts to strengthen the artistic effect by increasing the artistic contrast.　Li Bai's most skillful genres are the seven-syllable songs and lines and the absolute lines. The seven-syllable lines are long, voluminous, and free in form, which are suitable for expressing the poet's contradictory and complex thoughts, and expressing his unrestrained talent, while Li Bai's seven-syllable lines adopt the structure of wide-open and wide-open, jumping and wandering. The beginning of the poem is often as abrupt as a sudden surge, and the middle of the poem, the image of the transformation of the swift, often omitting the transition of the illumination, seems to have no trace to follow, the end of the poem is more in the feelings of *** at the end of the abrupt end.　Li Bai's five or seven lines, more on behalf of his poetry, fresh and bright style. For example, "Early departure from Baidicheng" and "Sending Meng Haoran to Guangling", etc., are wonderful in that they are "only in the foreground of the eyes, verbal words, but there is a string outside the sound, outside the flavor, which makes people far away from the God." (The first birthday of the poem) Li Bai's poetry language, some fresh as colloquial, some bold, unrestrained rhythm, close to prose, but all unified in the "water out of the hibiscus, naturally unadorned" in the natural beauty. This is related to his conscious pursuit of natural beauty. Inheriting Chen Zi'ang's literary advocacy, he took it as his mission to restore the tradition of poetry and scholasticism. He once said, "Since Liang and Chen, there has been a great deal of colorfulness and thinness, but Shen Huowen still uses sound and rhythm, and who else can restore the ancient way but me? (Meng Kai's "Poetry of Functionality - Gao Yi") He advocated "purity and truth" and satirized the ugly women who "lost their innocence in sculpture" by knitting their knitted brows and following the footsteps of others. The natural beauty of his poetic language is the result of his serious study of the characteristics of folk songs, which are as clear as words and vivid.　The artistic characteristics of Li Bai's poetry: boldness and exuberance, freshness and elegance, rich imagination, marvelous mood, marvelous language, romanticism, clear intention. Li Bai's poetry writing techniques: extensive use of hyperbole, metaphor, anthropomorphism, symbolism and other techniques, but also with the help of fantasy or fairy legends constitute the romanticism of the majestic artistic realm.

Expanded Information:

Li Bai's poems are majestic and ethereal, and his artistic achievements are extremely high. He eulogized the mountains and rivers of the motherland and the beautiful natural scenery, his style is majestic and exuberant, handsome and fresh, rich in the spirit of romanticism, and achieved the perfect unity of content and art. He was called by He Zhizhang as "The Exiled Immortal", and most of his poems are mainly about landscapes and expressing his inner feelings. Li Bai's poems are characterized by the artistic charm of "the stroke of the pen startles the wind and rain, and the poem becomes a cry to the ghosts and gods", which is also the most distinctive artistic feature of his poems. Li Bai's poems are rich in self-expression of subjective lyric *** color is very strong, the expression of feelings with a kind of mountains and seas, a torrent of momentum. He and Du Fu are known as "Li Du", (Li Shangyin and Du Mu are known as "Li Du"). One of the romantic artistic techniques of Li Bai's poetry is the skillful combination of anthropomorphism and simile, empathizing with objects and comparing objects to human beings. Another Romantic artistic technique of Li Bai's poetry is to seize a certain characteristic of things, and on the basis of the reality of life, to boldly imagine the exaggeration. His exaggeration is not only peculiar imagination, and always with the combination of specific things, exaggerated so naturally, without revealing; so bold, but also real and believable, play a prominent image, strengthen the role of feelings. Sometimes he also combined bold exaggeration with sharp contrasts to enhance the artistic effect by increasing the artistic contrast. The language of Li Bai's poems, some are as fresh as colloquialisms, some are bold and unrestrained, and close to prose, but they are all united in the natural beauty of "clear water out of hibiscus, naturally undecorated". This is related to his conscious pursuit of natural beauty. Inheriting Chen Zi'ang's literary advocacy, he took it as his mission to restore the tradition of poetry and scholasticism. He once said, "Since Liang and Chen, there has been a great deal of colorfulness and thinness, but Shen Huowen still uses sound and rhythm, and who else can restore the ancient way but me? (Meng Kai's "Poetry of Functionality - Gao Yi") He advocated "purity and truth" and satirized the ugly women who "lost their innocence in sculpture" by knitting their knitted brows and following the footsteps of others. The natural beauty of his poetic language is also the result of his serious study of the understandable and popular characteristics of folk songs, which are as clear as words and as popular as they are vivid. Search Dog Encyclopedia - Li Bai Summarily summarized the following articles for your reference: Artistic Features of Li Bai's Poetry 1, strong subjective color 2, rich and peculiar imagination 3, fresh and bright language 4, bold and elegant style Writing Techniques of Li Bai's Poetry Widely used hyperbole, metaphors, anthropomorphism, symbolism and other techniques, and with the help of fantasy or fairy legends to constitute a Romanticism of the majestic artistic realm.　Ideological content of Li Bai's poetry 1, contempt for power and wealth, venting resentment and resistance 2, expressing ideals and aspirations, and promoting self-personality 3, glorifying the magnificent mountains and rivers, and showing love for nature 4, concerned about the fate of the country, sympathetic to the plight of the people Narrative descriptions have the following information for your reference Artistic Features of Li Bai's Poetry Li Bai is China's greatest Romantic poet, following Qu Yuan.　Li Bai is the greatest romantic poet in China after Qu Yuan. "The pen that falls from the pen shakes the five mountains, and the poem that becomes a laughing pride Ling Cangzhou" is Li Bai's self-description of his poems.　"The strokes of the pen startle the wind and rain, and the poems become sobbing ghosts and gods" is Du Fu's high evaluation of Li Bai's poetic style and artistic charm.　Romanticism development process: myth - Qu Yuan (Zhuangzi) - Li Bai - Li He (dream) - Su Shi (fantasy exaggeration) - Su Shi (fantasy exaggeration) - Su Shi (fantasy exaggeration) - Su Shi (fantasy exaggeration). Su Shi (fantasy exaggeration) -- Lu You (dreamland) -- Xin Qiji -- Gao Qi -- Gong Zizhen --Guo Moruo.　Strong romanticism is the most prominent style of Li Bai's poetry. Romanticism has the following three characteristics: 1. It does not emphasize the realistic depiction of reality, but focuses on the pursuit of an ideal world. 2.　2, focusing on the description of the wonders of nature and fantasy characters, with a strong fictional and fantasy colors.　3. Favoring the expression of strong subjective emotions.　These characteristics are fully reflected in Li Bai's poetry.　（Li Bai's poetry has a distinctive personality, strong feelings, strong subjective colors and extraordinary artistic image.　Each of his poems can make people feel the poet's image in which the word "I" appears frequently, leaving the subjective color of self-expression everywhere. Certain poems express the poet's bold and unrestrained character.　"Laughing up at the sky and going out the door, my generation is not the people of Artemisia."　"The roc rises with the wind in one day, rocking up ninety thousand miles."　"I am a Chu madman, the wind song laughs at Kong Qiu."　(B) rich and peculiar imagination Extensive use of hyperbole, metaphor, anthropomorphism, symbolism and other techniques, and with the help of fantasy or fairy tales constitute the Romanticism of the majestic art world.　Hyperbole, metaphor: "White hair three thousand zhang, the edge of the sorrow like a long" "Flying stream straight down three thousand feet, suspected that the Milky Way fell into the nine heavens" "Yanshan snowflakes are as big as a mat, a piece of blowing down the Xuan Yuan Terrace" Fantasy: "Don't you see the water of the Yellow River coming from all over the world?" "I don't dare to raise my voice for fear of frightening the people in the sky."　"Raise your glass to the moon, and you'll see three people in the shadow."　"I want to go up to the blue sky to get the bright moon" "I send my heart to the bright moon, and follow you until the west of Yelang" (3) The language of freshness and cheerfulness The dominant style of Li Bai's poems is bold and unrestrained, but at the same time there is a side of freshness and cheerfulness.　"Clear water comes out of hibiscus, naturally unadorned."　For example: "towards the white emperor city", "look at Mount Lu waterfalls" and so on.　Another example is: "Don't you see the high hall mirror grieving for white hair, towards as green silk twilight into snow."　He wrote a large number of lefu poems, accounting for almost a quarter of all poems, and was the poet who wrote the most lefu poems in the Tang Dynasty. His most skillful seven-syllable songs and lines originated from the Lefu; and the absolute lines used for the Tang Dynasty Lefu were also used freely by Li Bai. All these show that Li Bai's poems are close to ballads.　"Lang rode on a bamboo horse, and went around the bed to make green plums.　Living together in Changganli, the two youngest have no suspicion of each other." (Lefu ancient title "long dry line") (4) bold and elegant style V. Li Bai's position in the history of literature 1, Li Bai's poetry is the inheritance of Qu Yuan after China's positive romanticism of the new peak, playing the role of the past and the beginning of the future.　Li Bai's theory and practice of poetic creation cleared up the formalistic poetic style of the Six Dynasties.　3, Li Bai through learning the music and folk songs and the artistic skills of the best poets since Jian'an. The content and form of classical poetry were developed creatively, which had a great influence on the literature of later generations. Han Yu said, "Li and Du's writings are here, and the flame is ten thousand feet long."　Li Bai's poems have the artistic charm of "the pen falls to frighten the wind and rain, and the poem becomes a cry of ghosts and gods", which is also the most distinctive artistic characteristic of his poems. Li Bai mobilized all the techniques of romanticism, so that the content and form of the poem reached a perfect unity. Li Bai's poems are rich in self-expression of the subjective lyric *** color is very strong, the expression of feelings with a kind of mountainous, a torrent of momentum extreme exaggeration, apt metaphor and amazing fantasy, people feel is a high degree of reality in the poems are often imagined, hyperbole, metaphors, similes, anthropomorphisms and other techniques used in a comprehensive manner, resulting in the God of the strange, magnificent and moving mood Imagine, hyperbole, metaphors, similes, etc., which is used in a comprehensive manner, resulting in the God of the strange and strange, magnificent and moving mood Imagine, hyperbole, metaphors, anthropomorphisms, etc. The poem is a combination of imagination, hyperbole, simile, and personification, which creates a strange, beautiful, and touching mood.