History of Chinese Literature Landscape Poetry Causes?

The process of interpretation of Chinese landscape poetry.

Shanshui poetry began with Cao Cao, and before that, poems describing natural scenery could not be considered shanshui poetry. For example, the descriptions of landscapes in the Book of Songs were only meant to be a starting point, and had no independent aesthetic significance. The poems of the two Han dynasties were only used as a tool for political indoctrination, without specific scene descriptions. In Cao Cao's "Walking in the Bitter Cold," there are lines about mountains and landscapes, such as "How lofty the hardships are," "How sallow the trees are," and "How snow falls," etc. Until his "Viewing the Canghai," he wrote "The Sea" in which he described the landscape. It was not until his "Viewing the Sea" that he sang about natural scenery as an independent aesthetic object, which was the first complete landscape poem. With the exception of the line "Fortunately, I sing to honor my memory," the rest of the poem is a description of the perspective of "looking at the sea," and the writing of the sea is a demonstration of Cao Cao's self-centeredness.

Chinese landscape poetry began with Cao Cao, and was passed down through the Six Sons of Jian'an and Er Cao, forming the first link in landscape poetry. The expression of accompanying imagery became the first stage of landscape imagery in China. In the Jian'an period, the main theme of the poetry was to express generous and sad feelings, and the combination of landscape scenery and emotion, the aesthetic tendency of scene blending, except for "Viewing Canghai", which was not pure landscape poetry, and depended on the themes of traveling and feasting, women, farewell, and traveling to the immortals.

Wei-Jin era, the political darkness, so that the wind of seclusion blaze, the scholars to landscape nature as a paradise, often the ideal of life and the beauty of the landscape combined, poetry in the landscape component more. In the Jin and Song dynasties, metaphysics integrated the Confucianism's "name and religion" and the Laozhuang's "nature" into one, and guided the scholars to look for the meaning and interest of life in the landscape and nature. Therefore, it became a common trend at that time to embody metaphysics through landscapes. In Xuanyan poetry, there was a component of landscape, which was either used to express emotions or to send metaphysics to the landscape. It was the first time that a poem was written on a mountain and water.

Taikang not only inherited Jian'an and Zhengshi, but also initiated the literature of the Southern Dynasties, and was also the beginning of the beautiful chapters of the Southern Dynasties. The landscapes of the Taikang period were inspired by these gorgeous thoughts.

After the southern crossing of the Eastern Jin Dynasty, the rapid development of the economy of Jiangnan, the material life of the scholars is more favorable, living a leisurely life of enjoying the famous mountains and rivers, stroking the qin and chanting, and attaching importance to the aesthetic style of landscape, feasts, idyllic gardens, fairy tours, calligraphy, painting are the carrier of this style. The landscape and scenery of the natural world then became the main aesthetic objects in the works. However, they were light on landscape and heavy on metaphysical thinking, and entered into metaphysical exploration by visualizing landscape. The everlasting vitality of nature often caused them to think about the universe, everything, and life.

To Tao Yuanming, the rise of idyllic poetry, Tao Yuanming love of idyllic landscape, the pursuit of the spirit of natural transcendence. The landscape at this time was idyllic and poetic.

By the time of Xie Lingyun, the real independent landscape poetry in China appeared. As an excellent landscape poet, he completed the transformation from metaphysical poetry to landscape poetry. Although this transformation was not complete, it brought some vitality to the literary world of the early Liu Song Dynasty. His landscape poems, as Zhong Rong said, "still look like", "always book, there is no lack of thought inside, there is nothing left outside", and he captured a wealth of landscape themes through his entertaining excursions. The masterpiece "Climbing the Pond" describes the spring scenery after recovering from a long illness, contrasting his own miserable mood with the spring scenery. One of the famous lines, "Spring grass grows in the pond, and songbirds change in the willow garden," has been celebrated throughout the ages. Other famous lines of landscapes, such as "forests and ravines converge all night long, and the clouds and clouds collect the sunset and fall", "the wild and open sandbanks are pure, and the sky is high and the autumn moon is bright", "the bright moon shines on the snow, and the north wind is strong and decaying", etc., are all revealing the beauty of nature from different perspectives and reflecting the beauty of nature and its beauty. They all reveal the beauty of nature from different perspectives, give people the enjoyment of beauty, and in this way break through the fence of metaphysical poetry, establishing the dominant position of landscape poetry in the literary world. Since Xie Lingyun, landscape poetry has become the first theme of Chinese poetry, and it has had a profound influence on the formation of classical poetry, directly affecting the formation of classical poetry's imagery.

After Xie Lingyun, the creation of landscape poetry entered the golden age of poetry development, the Tang Dynasty, through the inheritance of Xie Zhiwei. The landscape poems of Zhang Yue and Zhang Jiuling were an indispensable link between the landscape poems of Xie Lingyun and those of Wang Meng in the Tang Dynasty. They created a large number of landscape poems with rich content and clear and healthy style, inherited and developed the art of expression of Er Xie's landscape poems, formed their own unique style, and made a positive contribution to the formation of the ideal landscape poetry of the Sheng Tang Dynasty, which was characterized by the combination of style and elegance of words. The landscape poets, led by Wang Meng, represented the aesthetic pursuit of landscape poetry in the Sheng Tang era. It is the poems that pursue poetic flavor, pay attention to the integration of things and me, and create a beautiful mood. For example, Wang Wei's Autumn Brightness in Mountain Dwelling and Meng Haoran's Autumn Ascent to Ten Thousand Hills to Send Zhang Wu, etc., were written in plain ink and plainly and naturally, creating a tranquil and secluded mood. Wang and Meng took landscape poetry a big step forward. During the late Tang Dynasty, Du Fu no longer depicted beautiful and tranquil idyllic landscapes, but chose the more expressive and majestic mountains and rivers to show his own heartfelt journey through the vicissitudes of life. His landscape poems are characterized by their majestic power, such as "How is Dai Zong Fu, Qilu Green", "Southeast Chapters of Wu and Chu, Qiankun Floating Day and Night", "Five Drums and Horns Sounding Sorrowful, Three Gorges and the Shadow of the Stars and Rivers Shaking", these poems are magnificent. ", these verses are magnificent, majestic and tragic.

The landscape poetry of the Tang Dynasty opened up a light and broad realm and made a great contribution to the development thereafter.

Three major types of traditional landscape poetry

In the spirit of traditional culture, the relationship between man and nature is harmonious. The grass, trees, birds and animals in nature, mountains, rivers and seas are all in harmony with human feelings of joy, anger, sadness and happiness. They are poets show feelings of ties and symbols. Rhetorical technique of "comparison" has always been one of the most important features of Chinese literature. The traditional landscape poetry was born from this cultural spirit.

Chinese poets' discovery of the beauty of nature and landscape is often determined by a certain ideology. Due to the differences in the authors' worldviews, religious beliefs and views of nature, as well as the differences in their perspectives of observing, appreciating and aesthetizing landscapes and nature, traditional Chinese landscape poems present three major types.

The first type: the appreciation of the beauty of natural landscapes by people in accordance with the spirit of morality.

This kind of landscape and nature poetry often borrows natural objects to support one's own noble character, red-blooded feelings and lofty ideals. It is the moral spirit of the person to the appreciation of natural objects or the unity of man and nature. In the eyes of these poets, the reason why the natural landscape is appreciated by people is not only because of the beauty of the natural landscape itself, but mainly because the spirit contained in the natural landscape is in line with a certain kind of morality or spirit of people. A large number of landscape and nature poems by Du Fu, Cen Sen, Lu You, Xin Qiji, Chen Liang, and so on, as well as Mao Zedong's Nian Nujiao - Kunlun, Qinyuanchun - Snow, Qing Pingle - Liupan Mountain, and so on, are masterpieces of this paradigm. The authors of this kind of poems, who are often y affected by the spirit of Confucianism and the spirit of entering into the world, treat nature from a moral point of view, or treat natural landscapes as symbols of Zhi jiexing fang (志洁行芳), or as externalization of the humanistic spirit, or treat natural landscapes as symbols of humanistic spirit, or treat natural landscapes as symbols of humanistic spirit. They treat nature from a moral point of view, or use natural scenery as a symbol of the spirit of humanism and the externalization of the spirit of humanism, or attribute the appreciation of natural landscapes to the expression of lofty sentiments and grandeur.

The second type: the integration of man and nature with the aesthetic spirit.

In the Chinese intellectual tradition, the most devoted to nature are Zhuangzi and Taoism. As the highest concept in Taoist doctrine, the meaning of "Tao" can be extrapolated upward into a metaphysical cosmology, and downward into a theory of human nature, which can be experienced in real life. With the rise of metaphysics in the Wei and Jin dynasties, this omnipresent "Tao" was centralized in natural landscapes. Zhuangzi not only inspired people to discover the beauty of nature, but also made the natural landscape itself the embodiment of "Tao". Poets influenced by Laozhuang's doctrine and Taoism, when creating landscape poems, they often look at the insights from a purely aesthetic point of view, and integrate the natural landscape with the main body of the personality as one. Li Bai is an outstanding representative of this type of landscape poetry.

Chinese landscape poetry has a process of birth, formation and development. In the "Classic of Poetry" and "Chu Rhetoric", natural scenery has gradually become a means of expression, but it has not yet become a direct object of aesthetic illumination. At the time of Jin and Song, poets took landscape as an independent aesthetic object, and landscape poetry was formally born, with Xie Lingyun as the founding father of landscape poetry. Xie Ling Yun was the originator of landscape poetry, and Xie Zhiwei followed in his footsteps, occupying an important position in the development of landscape poetry.

Li Bai's emergence opened up the unprecedentedly majestic and expansive landscape poetry in China, rising to a peak of exquisiteness. In Li Bai's eyes, landscape and nature are no longer just objective aesthetic objects. When we read his poems, we feel that he has completely obtained the physical and mental stretch in the landscape, and is unrestrained in the landscape; the landscape understands him, and he also understands the landscape. In Li Bai's consciousness, there is a tendency of the thought of obliterating one thing, he saw the self in nature, saw the infinite space of the self's stretch and freedom, and saw the value and significance of the existence of the self. From the natural landscape, he pursued and obtained a kind of great freedom without any constraints. Even his strong pursuit of achievement and the undisguised expression of his worldly aspirations and desires are inseparable from his natural personality paradigm. When he is unable to realize his desire and cries out in a suppressed voice, "The road is like the blue sky, but I can't get out of it", he can only obtain spiritual liberation in the majestic mountains and rivers and the sea.

The third type: the religious spirit of the people of the natural landscape of the view.

Like the Taoists, the Buddhists also had the intention of loving nature, and the influence of Buddhism on landscape poetry had a great impact. Zhao抃 "次韵范师道龙图三首 "之一曰："可惜湖山天下好，十分风景属僧家"。 Ancient poems said: "The world's famous mountain monks accounted for more". These poems have revealed a basic fact: Buddhism and landscape nature has a very close relationship.

Chinese landscape poetry matured in the fifth century A.D. during the Liu-Song era, represented by Xie Ling Yun. Xie's poems were influenced by Buddhism and often regarded mountains, rivers and lands as the embodiment of Buddha's shadow. Unlike Taoism, which looks at nature from an aesthetic point of view and integrates the subject of personality with landscape nature, Buddhism does not adopt an attitude of unity with nature, but rather of quiet observation; and unlike Confucianism, which treats nature from a moral point of view, Buddhism does not play up the ethical aspect of "virtue" embodied in nature, but only uses it as a metaphor for the immensity of the Buddha's teachings. In contrast to Confucianism's ethical approach to nature, Buddhism does not play up the ethical aspects of "virtue" embodied in nature, but only uses it as a metaphor for the vastness of Buddhism. The Buddhist experience of nature in the landscape is a religious joy.

. Most of the landscape poems of the poetic monks, Zen monks, and poets y influenced by Buddhist thought throughout the ages can be categorized into this type.

Xie Lingyun and Landscape Poetry

The replacement of metaphysical poetry since the Eastern Jin Dynasty by landscape poetry in the Song and Qi eras was the first important change in the development of poetry in the Southern Dynasties.

During the Jin and Song dynasties, agriculture in the south of the Yangtze River developed greatly, the material living conditions of the scholar-landlords became more favorable than in the past, and more garden villas were built, so that the scholar-literati lived a leisurely life of talking about the mystery and visiting the mountains and waters in the favorable material conditions and the beautiful landscape environment of the south of the Yangtze River. In their talks, often appear some of the play Lao Zhuang natural philosophy to praise the landscape of Jiangnan famous words. Due to the influence of this trend, some mountain and water verses began to appear in the popular metaphysical poems at that time, as a proof or embellishment of the metaphysical theory. Of course, the metaphysical poems of "plain canon like moral theory", even if embellished with a few stilted landscape verses, could not change the boring and tiresome face of the poem. It was not until the late Eastern Jin Dynasty that a few poems such as Xie Mix's "Touring the Western Pond" concentrated on the portrayal of landscapes and scenery, which began to bring a bit of fresh air to the poetic world of the scholars, which was shrouded by the atmosphere of metaphysical discourse. At the beginning of the Liu Song dynasty, Xie Lingyun, the nephew of Xie Chong, continued to explore the poetic realm in this direction, creating a large number of landscape poems with new artistic creations, which finally established the dominant position of landscape poetry in the poetic world of the scholars. As a result, landscape poetry was transformed from a vassal into a great power, while metaphysical poetry was relegated from a great power to a vassal. Although this was basically an innovation in subject matter and art, it was a step forward in the history of poetic development.

Xie Lingyun (385-433) was born in Yangxia, Chen County (near present-day Taikang, Henan Province), and lived in Huiji (present-day Shaoxing, Zhejiang Province). He was passionate about political power, and in the Liu Song era, he felt that his privileged position was threatened and his political desires could not be fulfilled, so he was resentful. Later, he simply resigned from his post and returned to Huiji, where he built villas, chiseled mountains and dredged lakes, and often led several hundred servants and disciples around to explore the wonders and attractions, and to dispel his political dissatisfaction. Most of Xie Ling Yun's landscape poems were written after he became the governor of Yongjia. In these poems, he depicted the natural scenery of Yongjia, Huiji, and Pengli Lake etc. Xie Lingyun could not forget the political power in his life, but he did not have noble ideals in politics and life. When he was disillusioned with the politics, he was just seeking for sensual fulfillment outside of the sound and color of the dogs and horses to cover up his passion for the power. Therefore, although his landscape poems were able to depict some external scenery, it was difficult to see his inner thoughts and feelings. When the poem involves thoughts, he always borrows some words and phrases of metaphysics and Buddhism to decorate the door. He had a rich knowledge of the metaphysical and Buddhist texts, so it was very effortless for him to decorate his poems. Liu Foxing "Wen Xin Diao Long? Love and elegance of the chapter" said the "deep ambition Xuanwang, and general singing gao yang; heart entangled in the affairs of the machine, and the false description of the people outside", although the main criticism of the two Jin Dynasty those who pretended to be noble literati, but for Xie Ling Yun is also applicable. The so-called "landscape is not enough to entertain his feelings, the name is not enough to solve his worries", is very accurately pointed out the fundamental weakness of his landscape poetry. This is the reason why most of his landscape poems fail to blend the scene and complete his style. However, as he depicted in verse the landscapes and colors that he witnessed, and the sunset and sunset fall, he did bring a fresh breath to the poetry world at that time, and artistically, he also opened up a new situation in which sound and color were revered in Southern Dynasty poetry. In general, Xie Lingyun was the first poet who reversed the style of Xuan-yin and created the school of landscape poems. In general, Xie Lingyun was the first poet to reverse the style of metaphysical poetry and to create a school of landscape poetry. After him, many landscape poets, such as Xie Wu and He Xun in the Southern Dynasties, and Meng Haoran and Wang Wei in the Tang Dynasty, appeared one after another, and they enriched the garden of poetry with their beautiful landscape poems.

The Problem of Landscape Poetry

The discussion of the problem of landscape poetry centered on three aspects, namely, the problem of the class nature of landscape poetry, the problem of the emergence and development of landscape poetry, and the problem of the evaluation of landscape poetry.

Judging the class nature of such works as landscape poetry is a complicated issue, which involves the theories of literary history and literary criticism, and it can be summarized in three cases: first, it is of obvious class nature and tendency; second, although the class characteristics or class tendency is not so obvious, but after careful analysis, it can still be clearly judged from the works themselves, and third, some of the landscape poems have been written in the same way. Landscape poems throughout the song or praise the beauty of landscape scenery, not express and reveal the author's insights and feelings about society and life, or although it is revealed some of the poet's subjective feelings, but more obscure, it is difficult to determine which class it belongs to the ideological feelings, such as Wang Wei's Mulan Chai, Luanjiaze, Xie Lingyun's Ascent to the summit of Mt. is.

For the first two cases in the affirmation, judgment and interpretation of their class, the views of everyone basically converge.

One of the opinions is that this kind of landscape poems simply describe a part of the beauty of nature, or the author only writes a momentary feeling of a certain scene, and gives the readers only this part of the beauty of the nature reflected, so it is very difficult to see the class nature of this kind of beauty, and it is very difficult to explain it by the concept of class. The concept of class can not be interpreted arbitrarily, the original does not necessarily belong to the class category of things, such as people for the natural landscape of some of the favorites, are unified to the concept of class to differentiate or generalized attributed to the feudal clergymen class arbitrarily to negate or belittle the specific works to be analyzed, such as Xie Lingyun's "Mount Lushan cesium top look at the highest peak," a song, written by a sparsely populated mountains and valleys, and the day and night can not see the sun and the moon, but also to the reader's feelings. Day and night can not see the sun and the moon, winter and summer are covered with frost and snow, if we completely in accordance with today's aesthetic interest to comment on the poem, such a scene seems to be too lifeless, it is best to have a little bit of sunshine or a little bit of human activity, at least there should be an eagle is good. But such a scene exists in nature, and it does not appear that the poet wrote the poem because he particularly loved it or loathed it, but since he saw it and it is rare, he depicted it in words. We can have reason not to necessarily appreciate such a poem, but it should not therefore prove that what it expresses must be the sentiments of the scholarly class, and it is even difficult to see that it must belong to a certain class

Another opinion, that this kind of landscape poetry has a class nature. Many commentators have analyzed this view from the subject and object of creation as well as from the aesthetic point of view. For example, the role of the creative subject is emphasized in Li Zhengping's article "The Classiness of Landscape Poetry Scenery Painting"[4]. It is pointed out that the intuitive object depicted by landscape poets and landscape painters, although it is unconscious nature, his depiction is not a stereotypical, blind, photographic copying, but through a series of thinking activities, the artist's sense of aesthetics towards nature is only the foundation and starting point of his creative process, and when he enters into the process of creation, the relationship between the sense of aesthetics and thinking, and the sense of consciousness and feelings, becomes wider, deeper, and more complexity. Therefore, every landscape painting and every landscape poem is the product of the artist's viewing, insight, and then thinking and understanding of the object, and is the result of the artistic treatment of selection, generalization, and typification-the artist's thinking and consciousness dominate his own creation. The class nature of the work is often expressed through the "humanization of nature"-allegory, symbolism, and metaphor-as well as through such distinctive means as "intensity of mood" and "pictorial effect". and "pictorial effects". So judging its class should be linked to the nature of the author's aesthetic consciousness and the motive and intention of creation, and to the artistic feelings and certain concepts stirred up in the reader's appreciation process.

Sun Ziwei in "Is there any landscape poem without class? [5], focuses on the importance of the relationship between the creative and aesthetic subjects. It is argued that there is no landscape poetry that purely and objectively depicts natural scenery, and that landscape poetry is not a copy of purely natural scenery; it is a subjective reflection of natural scenery, a combination of scenery and emotion, and a dialectical unification of natural beauty and the poet's aesthetic and aesthetic ideals. Even if some works do not directly reveal the author's feelings towards society and life, but express his love for nature, in a class society, this love is class-based and cannot be super-class. Therefore, it is impossible to have a special kind of landscape poetry without class.

Xu Huaizhong's article "Discussing the Class Problem of Landscape Poetry and Painting" [6] argues for the class problem of such works from the complexity and specificity of landscape poetry and painting as a unique art form. The article points out that the class nature of landscape poems and paintings is more obscure than that of literary works (such as novels, dramas, essays, etc.) that take the struggle for production and class struggle in social life as their direct object of depiction. As a work of art, landscape poetry only objectively and directly expresses natural scenery, and the author's thoughts and feelings are permeated in the image of natural scenery. This determines the complexity of the class of landscape poems and paintings. Because of their short form and limited capacity, because of the objectivity of the object of description (subject matter) and the form (often only a few lines or dozens of lines), it determines the specificity of their class. Although they contain the author's thoughts and feelings, they are not strongly and directly expressed, but are covered by the image of the scene and limited in the depth of expression. What can be seen in the works is often only the state of feelings, and it is impossible to perceive something deeper. Therefore, the class tendency of this kind of works mainly lies in the beauty expressed in the artistic image of the work, which is also the main basis for judging its class tendency. Finally, Xu Wen also pointed out that for landscape poems and paintings, we should not put forward unrealistic demands, nor should we find "politics", impose "allegory" and other kinds of bias, or use the method of "extension" to put into the poems. "The method to find" class "in the poem, which can only be the class of landscape poetry, painting, misinterpretation.

Discussing the class nature of landscape poetry naturally involves the question of the creation and development of landscape poetry, and when this question is clarified, it will naturally be helpful to the understanding of the class nature of landscape poetry. In the discussion, many people discussed the basis and conditions of its production from the point of view of literary history, but their opinions were also different.

Zhu Guangqian Wen emphasized the role of negative social factors in the emergence and development of landscape poetry. He believes that the emergence of landscape poetry in the Jin and Song dynasties was related to the then Han ruling regime's preference for the left side of the Yangtze River, socio-economic upheavals, drastic shifts in social foundations, and the prevalence of Buddhist and Lao ideas. These circumstances on the one hand, affecting the poets belonging to the scholar-class uncertainty, yearning for seclusion, domination of the mountains and lakes, the establishment of estates, health and play in the mountains and water, coupled with the ruling class within the mutual rivalry, many people hold the "out of the world 's ideas, so the landscape has become an important way to indulge them. In addition, due to the socio-political influence at that time, the culture began to turn to decadence, light content, but the form of skills, and the writing of the landscape is convenient for those poets who live a poor life to pursue the sound of the word, carving chapter and verse, so landscape poems will be a large number of produced. Cao Daoheng in the "also talk about the formation and development of landscape poetry" [7] article, that the development of the manor economy and the prevalence of LaoZhuang thought is an important basis for its creation. He pointed out that ancient landscape poetry flourished in the Wei, Jin, and Six Dynasties, mainly because the intellectuals of the scholarly class aspired to seclusion, and the economic life of the manor house made them travel to the mountains and play in the water, which was a prevalent trend. In addition, the prevalence of LaoZhuang thought is also closely related to the philosophical thinking of the time. Because LaoZhuang's thought emphasized quietness and nature, those who liked LaoZhuang also liked landscape, and borrowed the image of landscape scenery to express their philosophy. Lin Geng's article, "How the Landscape Poetry arose" [8]. It is argued that the generation of landscape poetry was not built on the basis of such a faraway reality as landscape for the sake of landscape, nor did it grow on the basis of such a life as seclusion. It was a natural product of a more mature stage of feudal economic development. The economic development of the Southern Dynasties and the development of waterway transportation provided favorable conditions for people to recognize the beauty of nature. It was first reflected in the folk songs of the south of the Yangtze River, from which the writers learned, and they themselves lived a life of traveling and travel, experiencing countless famous mountains and waters, and thus landscape poems arose. The Song-Yuan-Jia period was a period of mature economic development in the Southern Dynasties, so landscape poems were produced in large numbers during this period.

Yuan Xingjiu, in his article "The Problem of the Production of Landscape Poetry" [9], carefully examined the social and cultural background of the production of landscape poetry, and thus disagreed with the view that the production of landscape poetry could be explained by the prosperity of the economy or the development of the aesthetic power of human beings. He believed that "the productive forces cannot act directly on the superstructure" and that "literary phenomena in particular cannot be explained directly by the state of productive forces, because the development of social material production is not balanced with the development of artistic production". He pointed out that the production of landscape poetry in the early Song Dynasty had long been determined by the political and class conditions since the Wei and Jin dynasties. It arose in the midst of unusually sharp internal contradictions within the ruling class and on the basis of the prevalence of the ethos of seclusion, while the disillusioned aristocracy and the lower-middle class of landowners served as the class background for its production. In addition, the maturity of the poetry of the royal court and the description of natural scenery in the folk songs, poems of the Immortals, and poems of inviting seclusion made literary preparations for its emergence. In addition, the "beautiful landscapes of Jiangnan" and the "personal role of Xie Lingyun and other poets" as the object of description all contributed to the emergence of landscape poetry.

Those who disagree with the above views believe that although there were socio-political reasons for the emergence of landscape poetry, it should not be narrowly and one-sidedly interpreted as a result of "social upheaval" or "the manor system", nor should it be emphasized simply as the influence of the ideas of seclusion or the Zhuanglao on The influence of the feudal scholars and literati, this issue involves the understanding and analysis of the Jin and Song and their subsequent socio-economic and cultural, but also involves a series of issues such as the evaluation of these times of landscape poetry and its author's thought and art, and is therefore more complex.

The problem of evaluating landscape poetry has been covered in many articles. The evaluation of the artistic aspects of China's ancient landscape poems is relatively unanimous, and all of them fully recognize the highly mature artistic skills shown in the description of nature in these works. However, the understanding of their ideological content aspect varies with the different views on their class nature, generation and development in the discussion. For example, Zhu Guangqian believed that it was a product of the idle class, reflecting the attitude and thoughts of the feudal literati to escape from the reality of life. The interest in landscape poetry is very similar to that of people of the declining class in the past who went shopping with a painted birdcage, and there is no ideological merit in it. However, according to Luo Fang, landscape poetry as a kind of art, the natural beauty it summarizes and concentrates on is often very capable of inducing and enhancing our aesthetic power. Even those works that simply depict landscapes and scenery can still play a good influence in enriching our spiritual life and developing our vision of nature. Taking Wang Wei's poems as an example, one should not think that by appreciating some of the landscapes depicted by Wang Wei, one has the decadent feelings of the declining class, nor should one think that all the poems depicting landscapes promote the idea of recluse and seclusion. Appreciation of the beauty of natural landscape can not be exclusive to a certain class, can not be divided into classes to simply disparage or deny the depiction of natural landscape works.