Origin:
Poets such as Tao Yuanming formed the pastoral school in the Eastern Jin Dynasty, poets such as Xie Lingyun and Xie Tiao formed the landscape school in the Southern Dynasties, and poets such as Wang Wei and Meng Haoran formed the pastoral school in the prosperous Tang Dynasty. The poet takes landscape and countryside as aesthetic objects, and throws delicate brushstrokes into quiet mountains and leisurely fields to create an idyllic life to express his dissatisfaction with reality and his yearning for a quiet and peaceful life. [ 1]? [2]?
Development history:
initial stage
As the two peaks of Chinese poetry before Qin and Han Dynasties, The Book of Songs and Songs of the South contain a large number of descriptions of natural scenery, such as Guanju, Peach Blossom (The Book of Songs), Mint and Songs of the South, which are either comparative media or comparative things and have no aesthetic value in themselves. Such as: "I have been there, Yangliuyiyi; I want to come today, it's raining, it's raining, it's raining in the autumn wind, and it's raining in the leaves of Dongting Lake. These beautiful sentences only appear as the background of personnel activities and play the role of art media, not an independent aesthetic object. In the long years that The Book of Songs and Songs of the South have passed, no poem is dedicated to describing the natural landscape. For hundreds of years in the Han Dynasty, there have been many descriptions of natural scenery in Yuefu five-character poems, especially in Ci Fu. It was only during the Jian 'an period at the end of Han Dynasty that Cao Cao wrote a poem "Watching the Sea", which was the last performance of Song Dynasty and presented the only complete landscape movement for the poetry circle before Han Dynasty. Before Wei and Jin Dynasties, the contents of Chinese poems were all related to human existence, desire, politics and war, and the natural scenery was unknown.
The emerging era
In Wei, Jin and Six Dynasties, natural landscape was really regarded as an independent aesthetic object, and poets wrote poems with natural landscape as the theme, which had profound historical and cultural reasons.
Wei, Jin and Six Dynasties, an era of civil strife, political disorder, the decline of Confucian classics, the prevalence of metaphysics, the openness of ideas and the awakening of human nature, the change of dynasties and the seizure like a lantern, as well as the horror and sadness that people's lives are at stake and cannot last long, have made many poets with awakening consciousness, including those with the status of official ministers, suffer from "white fire, more wealth is harmful, clothes can last for life," For the sake of their overall health, they had to leave the turbulent politics and hide in the trees of mountain springs, hoping that the wind of enterprises fleeing was rampant for a while. During the Wei and Jin Dynasties, the number of landscape poems gradually increased. In the poems of Ji Kang, Zhang Hua, Zuo Si and Guo Pu, it appears that "the white clouds stop at Yinshan Mountain and the Dan Garden opens in Yanglin". The stone spring washed Qiong Yao, and the fish scales also floated and sank. (Zuo Si's Hidden Poetry). Landscape poetry has experienced the twists and turns of five-character poetry. During the Jin and Song Dynasties, two great poets, Tao Yuanming and Xie Lingyun, finally established their position in the poetry country.
boom period
After the formation of landscape poetry, although it constantly seeks the development of external space and the perfection of internal system, it has a new style and posture in different times, but the life interest and artistic spirit of Taoism and Buddhism have always run through the development of landscape poetry. With the prosperity of Tang poetry, landscape poetry has become spectacular. Wang Wei and Meng Haoran inherited the tradition of landscape poetry of Tao Yuanming and Xie Lingyun, and formed a school of landscape pastoral poetry that complements the frontier poetry school. There is not a poet in the Tang Dynasty who has not written poems describing natural scenery. There are many poets who are famous for their landscape poems in Tang Dynasty, but Meng Haoran, Wang Wei and Li Bai are the main representatives of the maturity of landscape poems. The pastoral poems after the Song Dynasty are refreshing in terms of poetic language, lyricism, concreteness, scenery description and narration, but the realm of landscape poems is far less than that of the Tang Dynasty.
Representative poet:
Tao Qian
As an idyllic poet, Xie Tao was obviously influenced by metaphysics, but because of their different identities and life paths, metaphysics left different marks in their poems. The mystery and interest in reason in Tao's poems are not only reflected in the fact that there are many insightful opinions full of life experience in his poems, but more importantly, the mystery permeates the pastoral picture of "having its truth" in his poems. Xie Shi's poems are mainly expressed by metaphysical thoughts such as "an empty jade is hard to name, the hook is easy to bend" and "it is better to be born in a wonderful period", but the metaphysical purpose is not fully integrated into his poems.
Although Tao poetry takes nature as the aesthetic object and advocates nature, it pursues the interest of the soul, not the external object itself. His poems are freehand brushwork, not imitation. Tao Yuanming was originally an intelligent bird flying in the countryside. Affectionate freedom is his nature. Because of his frankness, he can't be a good official in a dirty world. Once out of the cage, he will return to nature and be happy. Returning to the garden (5) and migrating (2) vividly outline a great poet who is detached, leisurely and adaptable. Through the morning mist and dusk, he came in wearing clothes, sandals and hoes. Simple houses, ordinary villages, but the author came one by one with a very appreciative tone, willing to be indifferent, conservative and true. The poet's frank mind and outstanding integrity are like a roll of lotus, and the moon is white and clear. His pastoral poems are the externalization of his personality spirit. Therefore, he gives priority to freehand brushwork, and only pursues the integration of a peaceful and leisurely state of mind and a simple physical environment, showing a natural state. Writing poetry, for him, is just a natural expression of "open and true" embrace. Su Dongpo said, "Tao Yuanming's intention is not poetry, but poetry conveys his meaning." Yuan Hao asked, "Does this man write poems, directly on his chest?"
Xie lingyun
If Tao Yuanming was the first person to express his love for rural landscapes, then Xie Lingyun, who was contemporary with Tao and later, was the first person to write the words "Mo Shan Pan Shui" and "Diao Lu". Xie Lingyun's landscape poems are skillful in using words, such as a craftsman who is good at scheduling language, often conveying the modality of landscape in one word. He has an extraordinary talent in refining poetry and understanding language, which even Li Bai admires. For example, "there is darkness in the forest and clouds gather at dusk." (The graceful building on the stone wall returns to the lake) "Turbulence tends to be absolute, and the island is in the middle of the river." ("Climbing the Mountain to an Isolated Island") "White clouds hold secluded stones, which are green and beautiful." (Ye Ning after Conception) "Spring grass grows in a long pond, and the willow garden becomes a songbird". ("Climbing the Pool Upstairs") "The Spring Festival Evening is green and the rock is high." ("Entering the Penghu Estuary") "The wild land is clean and the sky is high and autumn is bright." (First Visit to the County) describes the changes of mountain posture, water state, twilight and sunny day very exquisitely, and the exquisite and unique description reproduces an artistic realm of natural beauty. From this point of view, Xie Lingyun is absolutely brilliant. He observes things in detail and grasps the language very well. After editing the scenery of mountains and rivers by his skillful hands, he immediately made a colorful picture, which is unique in Wei Jinhan's poems, making later generations say that "Xie's poems are like new hibiscus, natural and lovely".
meng haoran
Meng Haoran, a native of Lumenshan, Xiangyang, was one of the few poets who took cloth as their home in feudal times. Li Bai has a poem for Meng Haoran: "Master, I cheer you from my heart, and your reputation has risen to the sky." In the rosy youth, you gave up the importance of hats and chariots and chose pine trees and clouds; Now whitehead. Drunk moon, sage of dreams, bewitched by flowers, you turned a deaf ear to the emperor. Mountain, how I long to reach you, it is a pure fragrance. " Meng Haoran is a real hermit. The ancient scholar "If you are rich, you will help the world, and if you are poor, you will be immune to it." He chose the second way, gave up his desire, indulged in natural landscapes indifferently and quietly, and pursued the highest realm of poetry-natural beauty. His poems are close to Tao's, but they have their own style. "Clouds dream and fog come, and Yueyang City is trapped" and "stormy as snow, you can't sit still" are rare. Representative poems are those that present a quiet, cold and steep artistic conception and are deeply imprinted with hermit feelings. He wrote about the hermit's feelings: "On the North Peak among the white clouds, you found a quiet seclusion. Now, when I climb this mountain to see you, my heart flies with the geese. ……"。 His poem describes the joy of the Tian family: "Old friend, you prepared chicken and rice for me and entertained me on your farm. The edge of the green forest, and the pale blue in the remote mountainous areas. Open the window facing the valley vegetable garden and pass the glass to talk about crops. Wait until the mountain is on holiday, and I will come back in chrysanthemum time. " ("Passing through the Old Village") Quiet and cold artistic conception, natural and indifferent interest, but it can't hide the inner loneliness and loneliness. Holding the examination paper in meditation, we seem to see a poet with a high heart walking alone on the mountain road, and the mountain wind is blowing his elegant gown.
Wang Wei
Wang Wei writes political poems and frontier poems, but what can reflect his unique achievements is his unique pastoral poems. He witnessed the ups and downs of officialdom, the world was cold, and experienced the ups and downs of his official career. After that, his persistence and enthusiasm of "I wish I could shoot the heavenly generals with a bow and smell the chivalrous bones when I die" quickly cooled down. After middle age, I held that "I am not arrogant in the paint garden, and I am responsible for it." But send a micro official and some trees. "My attitude towards life implies being an official. I chose a life path that is both official and hidden. His pastoral poems are not only a portrayal of his personal soul, but also a projection of the ideological trend in the poetic country era.
Wang Wei's landscape poems have both magnificent natural scenery and beautiful landscape paintings. Such as: "Han River overflows", "Three branches in the south reach Chu territory, and nine streams reach Jingmen". The river crosses heaven and earth, where the colors of the mountains are yes and no. Human habitation seems to float on the ripples in the distant sky. These beautiful days in Xiangyang have fascinated my old mountain! "Another example is Mount Zhongnan, whose huge height is close to the city of heaven and connects Qian Shan to the corner of the sea. The white clouds merged behind, and the blue mist melted into the mountains and disappeared. The central mountain peaks separate the southwest, and the valleys are also different. As I needed a place to spend the night, I called a woodcutter on the river. "The previous poem was about the scenery of Jianghan. With the creation and brushwork of ink and wash landscapes, the magnificent scenery of Jianghan was outlined, with water and sky floating together and mountains without scenery. The latter poem is about the scenery of Zhong Nanshan, with hazy images and rich meanings. All over the mountains are green mountains and green waters, and thousands of rocks and valleys are shrouded in "white clouds" and "green haze"
But in Wang Wei's poems, there are more elegant and smart pictures, with a bit of Zen. He is a man of great understanding. His superhuman talent not only has great achievements in poetry, calligraphy and painting, but also has great wisdom in meditation and enlightenment. The painter's vision, the musician's hearing, the poet's feelings and the Buddhist mentality endowed him with extraordinary artistic strength. Almost every scene is filled with a unique soul and feeling, and he melts himself into the scene, forming a realm of Zhuang Zen where things are me and I am things. Wang Wei's landscape poems describe the heart with the environment, without trace, with images outside the image, scenery outside the scene, unexpected arrival, and distant artistic conception. Such as, Zhu, Bird Watching Creek, Caotiaowu, etc. Empty mountains, bamboo forests, streams, bright moons, flowers and birds ... what a quiet, beautiful, pure and flawless world, and what an independent and closed world. This quiet and ethereal uninhabited land is the realm of Zhuang Zen, which is a poetic thing I have forgotten!
"Wang Chuan Ji" and his landscape works in his later years all sparkled with a kind of meditation, showing a picture of vague things and harmonious thoughts. Here, the poet sucks nature into himself and melts his life into the landscape, forming a "no man's land" where things are me and I am things; "The sunshine on the moss, the bright moon in the forest, the mountain birds under the moon, and the" fragrant flowers "that bloom and fall are both external images and the poet's quiet inner fantasy. Wang Wei's landscape poems with harmonious thinking and environment not only contain a kind of static beauty, but also show the artistic characteristics of "beautiful and delicate" and "profound and elegant".
Lipper
After Wang and Meng, Li Bai created a new realm of landscape poetry. The distinctive feature of Li Bai's landscape poems is the individualization of natural landscape. Landscape poetry is the objectification of the poet's aesthetic ideal and the externalization of the poet's mind. Landscape poetry must express the poet's self. In poets such as Wang Wei and Meng Haoran, natural landscape painting is mainly a place where they place their spirits and melt their depression, so "self" is often integrated into natural scenery. In Li Bai's life, the natural landscape is not only the place where he reposes his spirit and relieves his depression, but also the world where he pursues personal freedom and liberation. The strong subjective consciousness makes the poet's "self" not disappear in the natural landscape painting, but let nature actively express the poet's self. His most distinctive poems are "The Yellow River falls into the East China Sea, and Wan Li writes about my heart", "The Western Hills are magnificent, and the Yellow River comes like a silk sky", "Flying to thousands of feet", "Lushan Mountain stands beside the stars in the south, and the clouds are like silk screens", "Climbing into a spectacular world, and the vast rivers will never return", which shows the poet's self-indulgence. Here, the Yellow River, which fell from nowhere, is very close to the stars. The natural landscape in Li Bai's poems is characterized by flowing and unrestrained, showing a dynamic beauty, which is in contrast with Wang Wei.
If Wang Wei lost himself in the static landscape, then Li Bai often appeared as a poet with the help of the dynamic natural landscape.
Looking at nature from the Taoist and Taoist worldviews, everything in nature is not only dynamic, but it is this dynamic that shows that everything has "life". Thus, the poet can come into contact with those dynamic and living natural things in the experience of "Heaven and earth abandon their lives with me, and everything is one with me": "An ape is on a broken branch, and tears are like mountains. Baiyun saw me leave, and it was good for me to fly over. " (Title "Feelings for the Elephant") "From from a pot of wine among the flowers, drink alone. No one is with me. Until I raised my cup, I asked the bright moon to bring me my shadow and let the three of us. " ("Drinking the Bright Moon Alone") White clouds, bright moons, mountains, flowers and breezes, ... have all become sentient beings, blending with poets and interacting with each other.
The artistic thinking of the unity of things and me has produced empathy. When the poet sat alone in Jingting Mountain, he left behind "birds flying high and wandering alone." Never tire of seeing it, only Jingting Mountain.
Li Bai's landscape poems are also full of the spirit of carefree travel and the fantasy of being born outside the dust. Some landscape poems have a strong fairy color, such as "Climbing Taibai Mountain" and "Taibai Mountain is in the west and the sunset is poor." Taibai spoke to me and opened the sky for me. I would like to ride the cold wind and go straight out of the clouds. You can get close to the moon by raising your hand, and there seems to be no mountain obstacle to fly forward. Say goodbye to Wugong Mountain, when will it be returned? "Here, the poet is not so much writing mountains and rivers, as wandering around mountains and rivers. In fact, Li Bai combined Xie Tao's landscape with Guo Pu's poems about immortals, forming a unique style.
Yang Wanli
Yang Wanli moved from "learning from the ancients" to "learning from nature", established his own unique artistic style, became the main hub of poetry transformation at that time, and created a fresh and pungent style of writing, which made Lu (you) a model or conservative or steady. (Qian Zhongshu's Preface to Selected Poems of Song Dynasty) Critics call his poetic technique "capture alive". Specifically, he observed with his own eyes, felt with his own heart, and vividly and skillfully described his personal impression when Vientiane came. For example, "Mo Yan had no difficulty going down the mountain. He earned the wrong favor from pedestrians. I am entering the Wanshan Circle, and one mountain blocks one mountain. " ("Go to Song Yuanchen's Paint Shop") It's a very common thing. It's vivid and novel, full of interest, and it also reveals a certain philosophy. Yang Wanli has a special sensitivity to natural scenery, unique vision and mind, careful observation, profound understanding and interesting description. He often captures extraordinary interests in the ordinary, such as: "New seedlings are inserted into the well, but farmers don't understand books." (Twilight in the field) He is also good at capturing instant feelings and highlighting them with sketched or anthropomorphic hand images, such as: "The good mountain is wrinkled but no one sees it, and the sun is setting." ("Boat Crossing Xie Tan") The flowing cloud means that "one peak was suddenly stolen by the cloud", and the strong wind is written as "I won't rest after killing the reed flower". The pronoun Jiang Xiang joked with him: "Everywhere, mountains and rivers are afraid of snubbing the monarch."
Fan Chengda entered the list of outstanding poets in the Song Dynasty with 60 famous poems about ancient landscapes and idylls in China. This group of poems is multi-faceted and three-dimensional, which is a combination of genre painting and romantic painting. It has a strong sense of reality and exudes a strong earthy atmosphere. Qian Zhongshu pointed out in Notes on Selected Poems of the Song Dynasty: "Fan Chengda's sixty pastoral poems are divorced from reality and have an earthy smell of sweat. According to his cordial impression, rural labor and life throughout the year vividly depict a relatively complete face, which makes pastoral poetry come to life and expand the same situation. Fan Chengda can be compared with Tao Qian and even come from behind. "
Late Southern Song Dynasty. Some poets, such as "Yongjia Four Spirits" and "Jianghu Poets", have written some landscape poems describing small natural scenes, but most of them are leisurely and interesting. During the Ming and Qing Dynasties, pastoral poetry declined, still being simulated and lacking originality. Although there are two schools, Yuan Mei and Zheng Wei, there are few outstanding poets, and pastoral poetry is gradually going to the end of classical poetry because of the germination of capitalism.
Works:
Meng Haoran's Passing the Village for the Aged
This old friend prepared a delicious meal and invited me to his hospitable farm.
Green Woods surround the village and green hills are located outside the city.
Open the window facing the valley vegetable garden and pass the glass to talk about crops.
Please come here to see chrysanthemums when the ninth festival comes.
Du fu's quatrains
Jiangshan bathed in spring, how beautiful, flowers send flowers.
Swallows are busy nesting in wet mud and sleeping in pairs on the warm beach.
Du fu's quatrains
"Two orioles sing green willows, and egrets cover the sky."
My window framed the snow-covered western hills. My door often says "goodbye" to ships sailing eastward.
Gui Yuantian Ju's Five Poems by Tao Yuanming
one
Without vulgar rhyme, I naturally love Qiushan. Thirty years passed carelessly.
Birds love the ancient forest, and the fish in the pond miss the ancient garden.
There are more than ten acres of square houses and eight or nine thatched houses. The eaves of Liu Yin are covered with elms, in front of which is Luotang, Li Tao.
This is a warm village, and there is smoke in the yiyi market. Dogs bark in deep alleys, chickens crow and mulberry trees jump.
The house is free of dust and sundries, and the empty room is free. After staying in the cage for a long time, they returned to nature.
Secondly,
There are few people in the wild and few wheels in the backcountry.
When I was in the market, there were people everywhere, wearing grass and going back and forth. Meeting you, no nonsense, Sang Ma has a long way to go.
The days in Sang Ma are long, but those in our country are wide. I'm always afraid that the frost will come and disperse with the grass.
third
At the foot of Nanshan, beans are planted, and the grass is full of beans.
The road is narrow and the vegetation is long, and the evening dew is stained with clothes.
Fourth.
I have been to Shanze for a long time, enjoying the wild forest. I will try to take my son and nephew to the wild market.
Wandering among the mountains, I live in the past. There are remnants of well stoves and rotten mulberry and bamboo.
Ask the salaried person, this person might as well tell me that he did not recover after his death.
It's true that I abandoned the market all my life. Life seems illusory, and eventually it will be empty.
Fifth.
I feel sorry for myself, rugged and winding. The mountain stream is shallow and meets my feet.
My newly cooked wine has brought two chickens closer to the office.
Happiness comes and bitterness goes, and the dusk is short, which has returned to Tianxu.
Answer deputy magistrate Zhang
Wang Wei
With the passage of time, please give me peace and get rid of all kinds of things.
I think that there is no brilliant strategy to serve the country, only to retire to the mountains and forests.
Wide wind, the wind in the shade, the moon shining on the right to play the piano.
To know the truth about the poor, please listen to the fishing songs in the deep water.
An autumn night in the mountains
Wang Wei
The empty mountains are bathed in a new rain, and feel the early autumn at night.
The bright moon shed clear light from the cracks and cleared the fountain on the rocks.
The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe.
Spring spring might as well give it a rest, and the autumn sun can stay on the hills for a long time.
Shi Bi surprised her to return to the lake as a masterpiece.
Xie lingyun
The weather changes in the evening and early morning, and the scenery between scenes is like clear light.
The lightness of the mountains and rivers makes people feel relaxed and happy, making them wander in the mountains and rivers and linger.
It's still early from the valley, and it's too late when the boat gets on board.
The Woods and valleys gather in the evening scenery, and the sunset clouds float in the night sky.
Water chestnuts and lotus flowers echo in the blue river, and reed mats grow with wheat.
Walking on the road in the south with dust, enjoying the doors and windows in the east happily.
If you have fewer things to worry about, you will naturally feel that you have no worries, and you will feel very happy if you are in a carefree mood.
These words are for people who want to keep fit. I hope they can keep fit in this way.
Wang Wei's pastoral poems
Chai Lu: There seems to be no one on the empty mountain, but I think I heard a voice. The shadow of the sunset shone into the depths of the forest, and the scenery on the moss was pleasant.
Wu Xinyi: hibiscus flowers with red calyx in the mountains. The mouth of a stream is silent, without a trace. They open and fall.
Qiu Sheng: After the rain, an empty mountain stands on an autumn night. The bright moon shed clear light from the cracks and cleared the fountain on the rocks. The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe. Spring spring might as well give it a rest, and the autumn sun can stay on the hills for a long time.
"Bird Watching Creek" is full of people's idle osmanthus flowers, and the night is quiet and empty. When the moon comes out, the birds are startled, and the sound enters the spring stream.
A farmhouse by the Wei River: In the setting sun of the countryside, cattle and sheep go home along the path. A rugged old man in a thatched door leaned against a cane and thought about his son, the shepherd boy. There are whistling pheasants? Full ears of wheat, sleeping silkworms and peeled mulberry leaves. Jojo and Fu Tian greet each other cordially. No wonder I long for a simple life, and the disappointed songs are fading.
Tianjiahang Wang Jian
Farmers in the countryside are jubilant, happy, satisfied and empty, and even the tone of their words is different from usual.
In summer, the wheat grains are rolling and the summer grain is bumper.
There is also a good harvest of cocoons in summer, and the noise of cars under the eaves is endless, and the cocoons of wild silkworms are not collected, so they can only die.
There was a scene of bumper harvest, but the villagers could not enjoy the fruits of their labor, but had to pay most of the grain and silk taxes.
In the harvest year, they don't expect to spread grain and weave silk by themselves, but only hope to save the cattle in the city and hand them over to the government.
Tian Jia has no food and clothing, and he will be happy if he doesn't see the county gate!
Wild old songs were recorded.
The old farmer lives in the mountains and cultivates three or four acres of mountain fields.
Miao and Shu taxes can't be eaten, and the official warehouse is turned into soil.
At the end of the year, hoe the plow and close the empty room, shouting to climb the mountain and collect acorns.
The Xijiang River is full of pearls and pearls, and the dogs in the boat grow meat.
Nieshangtianjia
Sell new silk in February,
The new valley in May.
Heal the pain in front of your eyes,
Cut out my heart.
I hope the king's heart,
Turn into a candle.
Not according to the feast of renewing the frontier,
Take a partial view of the escape house.
Guan Tian Jia Wei Wu Ying
A light rain brought new flowers, and a thunder began to wake up.
Tian Jia was idle for a few days, and farming began.
Dingzhuang is in the wild and the nursery is in charge.
When I return to the scene, I often drink the water from Xixi.
Hunger is not self-suffering, but joy.
There is nothing in the warehouse for the night, and the corvee hasn't arrived yet.
Being ashamed of not practicing, I ate it.
Du Xunhe, a widow in the mountains.
Because of the soldiers, the husband clung to Mao Peng and his linen clothes were burned.
Mulberry and zhe waste taxes, and the countryside is still seeking seedlings.
When picking wild vegetables and roots for cooking, spin raw wood and burn leaves.
If you are in a deep mountain, you should also avoid the levy.
A farmhouse by the Wei River.
In the countryside where the sun is setting, cattle and sheep go home along the path.
A rugged old man in a thatched door leaned against a cane and thought about his son, the shepherd boy.
Looking for wheat seedlings to embroider, the silkworm fell asleep and the mulberry leaves were peeled.
Jojo and Fu Tian greet each other cordially.
No wonder I long for a simple life and sigh the old song, oh, back to the past! .
Wang Wei in Spring
Spring pigeons are singing in the room, and apricot trees are narrating.
Hold the axe to cut down the poplar, and the lotus hoe the spring pulse.
Yan knows his lair, so he looks at the new calendar.
If you are in a hurry, you will not be royal, and if you are far away, you will travel far.
Lao Guo Ren Zhuang Meng Haoran
This old friend prepared a delicious meal and invited me to his hospitable farm.
Green Woods surround the village and green hills are located outside the city.
Open the window facing the valley vegetable garden and pass the glass to talk about crops.
Please come here to see chrysanthemums when the ninth festival comes.
Yan Du Xing Fu
At the end of the year, there are many northerly winds, and it is snowing in Xiaoxiang Dongting. The fisherman's net was frozen in the cold,
Don't shoot the geese singing the sangbow. Last year, there was a shortage of rice in the army. This year, rice is cheap and hurts farmers.
High-tech officials hate wine and meat, and this generation is empty. Chu people valued fish more than birds,
You shouldn't have killed Nan Hong Fei for nothing. It is said that men and women are everywhere, and cutting kindness and forbearance is also a matter of renting a house.
In the past, money was used to catch private castings, but now lead, tin and bronze are used. Carving mud is the easiest way to get it.
Likes and dislikes do not match looks. When will the sadness of this song end?
Burning songs and listening to the clouds
Get up to see Nanshan, which burns Shan Ye. The reddish dusk went out and the short flame was reconnected.
The difference rocks of Lingqing wall in Ran Ran. Low with the return air, as far as the eaves are red.
Neighbors can talk, but want to die. Say Chu is more vulgar, burn her for Zaotian.
Bean seedlings and insects promote it, and flowers on the fence make a house. Abandon the stack and return to the column, and the square chicken pecks the millet.
The spring rain is fine in the New Year, and immortals are everywhere. People with money are divining and knocking on the tile forest.
Bud divined on the mountain and returned to jujube. Blow the fire to the cogongrass, and the waist sickle reflects the vine.
Wind drives mistletoe smoke, and mistletoe trees connect Pingshan. Stars fell from the sky and flying embers fell on the steps.
Groaning and sneering on her back, mother crow cursed the rich age. Who knows, lush, official tax.
Four Seasons Tianyuan Za Fan Chengda
one
Plum golden apricot fat, wheat white, cauliflower thin.
No one has ever crossed the fence, only dragonflies and butterflies are flying.
Secondly,
During the day, weeding in the fields and rubbing hemp thread at home at night, the men and women in the village took on all the housework.
Although the children don't plow and weave, they also learn a kind of melon in the shade of mulberry trees.
Evaluation:
Landscape poetry is not only about landscapes, but also about "landscapes". Some are about people's livelihood, others are written casually ... we can't think that as long as there is a description of mountains and rivers in the poem, it is a landscape poem. At least the main part of the whole poem must describe the mountains and rivers in order to be regarded as a landscape poem. At the same time, we should also pay attention to the author's attitude towards the scenery described: whether to treat the scenery itself as an aesthetic object or whether there are other sustenance under the guise of the scenery. We should also pay attention to the differences in the content of sustenance.