What scenery is written in "Qinyuanchun Changsha" should be detailed, including close shot, prospect, static, dynamic and color.

The first half of the word focuses on scenery. "Independent cold autumn, Xiangjiang North, Orange Island." From the beginning, the author put himself in the broad background of autumn water and sky. At the same time, it also brings readers into a lofty realm of late autumn. Looking from a distance: "The mountains are all red and the forests are all dyed." The author not only saw the maple forest in Yuelu Mountain in front of him, but also thought of the yellow cottonwood in Xiangshan Mountain, Beijing, and countless mountains in the motherland that turned from green to red, such as tallow, Metasequoia glyptostroboides, maple, oak, pistachio, etc ... The heavy mountains and layers of trees made the god of nature touch the crayons and smudge a purple color, which was even more beautiful than the spring flowers that opened in February. Close-up: "The river is overflowing, and a hundred people are fighting for it." Autumn water is clear, Jiang Bibo is in autumn, and the Xiangjiang River at the foot is more crystal clear in autumn, such as green jade and transparent crystal. On the river, Qian Fan is fighting for hair and crossing, silent and full of vitality. Looking up, "the eagle hits the sky", the cloudless autumn sky in Wan Li, and the eagle is brave and strong, flying freely. Looking from afar, "the fish is fragrant and shallow", because of the transparency and shallow bottom of the river, the fish are swinging their fins and swimming at will. In just four short poems, the author depicts a three-dimensional and vast south of Wan Li with colorful autumn colors, just like Guan Shanyue, a famous contemporary Lingnan painter, with colorful landscapes. It is worthy of being the masterpieces of "driving the mountains and setting your eyes on the sea" (Li Bai's "Dangtu Zhao Yan Shaofu's Painting Landscape Songs") and "Talking about Wan Li" (Du Fu's "Song of Wang Zai's Painting Landscape Pictures"). From the content point of view, the seven sentences, "See the mountains are all red, the layers of forests are all dyed, the rivers are all clear, the hundreds of rivers compete, the eagle hits the sky, the fish eye is shallow, and all kinds of frost compete freely", all of which are written about mountains, Woods, Xiangjiang River, ships, eagle fish and so on. There are both natural objects and animals and plants, with complete categories and full of vitality. From the perspective of landscape writing, the author has a distance from the perspective, from logic, from point to surface, from reality to nothingness, from nature to human beings. It and the northern scenery of "Snow in Wan Li" described in another poem "Spring and Snow in Qinyuan" by the author are unprecedented panoramic landscapes in classical poetry. "Young people are worried about clouds." (Li He's "To Drink") The poet and his companions' worries about taking clouds, from "traveling with a hundred couples" to "Wan Huhou's past", can be said to be straightforward, surging down like the Yangtze River, magnificent and stirring. At the end, "hitting the water in the middle stream, stopping the boat and not flying" is a symbolic way, vividly expressing the lofty aspirations of a generation of revolutionary youth. "The mid-stream hits the water, and the waves stop the flying boat." One explanation is that "hitting the water" means swimming and rowing hard in the rapids, and the waves even stop the fast-moving boat. I always feel that this artistic conception is not in line with the author's spirit of advocating "hundreds of battles and streams". I prefer the transformation of "mid-stream hitting water", that is, "mid-stream hitting water". Biography of Zu Ti in the Book of Jin:' Zu Ti can't clean up those in the Central Plains, such as great rivers! Later, Zhong Liu Jing became synonymous with vowing to revive the motherland. Here, it is said that the poet should ride the wind and waves in the tide of the new era, go forward bravely, and swear to revitalize China's lofty aspirations and lofty sentiments. After reading it, people seem to hear a heart that loves their country and hometown, and they are pounding, thus feeling the sublime beauty reflected by a great heart. The artistic expression of China's classical poetry attaches great importance to the blending of scenes. Liu Xie said: "The taste is complicated, but it is boring when it is light." (Wen Xin Diao Long) Xie Zhen said: "Landscape is the medium of poetry, and love is the embryo of poetry; It is a poem, a few words are unified, and the vitality is endless. " The word "Poem Four Styles" has reached the realm of well integrating scenes. In the first half of the year, although he focused on the scenery, he was full of feelings in the scenery. "The mountains are all red and the forests are all dyed" is not only a portrayal of the surrounding maple forests, but also a reflection of the poet's fiery revolutionary feelings. Red symbolizes revolution, fire and light. Mountains all over the world is a vivid expression of the author's idea that a single spark can start a prairie fire, and it is an optimistic vision for the revolution and the future of the motherland. "The eagle strikes the sky, the fish jumps shallowly, and ten thousand kinds of frost fight for freedom" is the author's yearning and pursuit for freedom and liberation. The sigh of "melancholy, ask the boundless earth, who is in charge of ups and downs" directly shifts from writing scenery to lyric, which naturally brings out the lyric movement in the second half. Although the second half focuses on lyricism, there is no lack of scenery in it. Recalling the past eventful years describes the years in an eventful, novel and vivid way, turning the intangible extraordinary years into tangible towering peaks, giving people lofty beauty. "The mid-stream hits the water, and the waves stop the flying boat" is also a magnificent picture of bravely breaking the waves. It can be said that the sublime beauty of Qinyuanchun Changsha is interwoven with emotion as the warp and scenery as the weft. It not only enables us to enjoy the artistic enjoyment of magnificent autumn scenery, but also draws confidence and strength from the poet's passionate revolutionary feelings.