Human beings have metabolism, and their travels have left traces of ancient and modern mountains and rivers. This means that our generation will come back again.

Human beings have metabolism, and travels between ancient and modern times have left monuments. The meaning of our return is as follows:

People and things in the world change, summer passes and cold comes, time passes, Formed a history from ancient times to the present. The scenic spots and historic sites preserved throughout the country can now be climbed to visit in person.

About the author:

Meng Haoran (689-740), courtesy name Haoran, nicknamed Mengshan, was a native of Xiangyang, Xiangzhou (now Xiangyang, Hubei). He was a famous landscape painter in the Tang Dynasty. A poet of the school, known as "Meng Xiangyang" in the world. Because he had never been an official, he was also called "Mengshan Man".

Meng Haoran was born in the prosperous Tang Dynasty. In his early years, he had ambitions to serve the world. After being difficult and painfully disappointed in his official career, he was still able to respect himself, did not flatter the world, and practiced Taoism and lived in seclusion for the rest of his life. He once lived in seclusion in Lumen Mountain. When he was 40 years old, he traveled to Chang'an and failed to win the imperial examination. He once wrote poems in Taixue, and became famous among the officials. He was so impressed that he wrote for him.

In the twenty-fifth year of Kaiyuan (737), Zhang Jiuling attracted the shogunate and later lived in seclusion. Most of Meng's poems are five-character short stories, mostly describing landscapes, pastoral scenes, the joy of living in seclusion, and the mood of traveling and traveling. Although there are some cynical words in it, it is more of the poet's self-expression.

Meng Haoran's poems have unique artistic attainments. Later generations called Meng Haoran and Wang Wei, another landscape poet in the prosperous Tang Dynasty, "Wang Meng" together. There are three volumes of "Meng Haoran Collection" handed down to the world.

Poetic achievements:

The poetry school represented by Wang Wei and Meng Haoran formed during the prosperous Tang Dynasty, also known as the Pastoral Poetry School. Later generations in order to highlight the outstanding role of these two people in the Pastoral Poetry School Also known as: "Wang Meng Poetry School". This school has the poetry of Tao Yuanming and "Two Xies" (Xie Lingyun and Xie Tiao). It takes landscapes, pastoral scenery and secluded life as its main themes, and its style dilutes nature.

Meng Haoran's poems have broken away from the narrow realm of chanting objects in the early Tang Dynasty and expressed more personal feelings, bringing fresh breath to the Kaiyuan poetry world and winning the admiration of people at that time. Meng Haoran was the first poet to compose landscape poetry in the Tang Dynasty and was the forerunner of Wang Wei. His travel poems are vivid in description, and "Looking at Dongting Lake and Presenting to Prime Minister Zhang" is written with majestic momentum and complete style.

Meng Haoran's life experience is relatively simple, and the subject matter of his poetry creation is relatively simple. Most of Meng's poems are five-character short stories, mostly describing landscapes, pastoral scenes, the joy of living in seclusion, and the mood of traveling and traveling. Although there are some cynical words in it, they are more of the poet's self-expression.

Meng's poems do not engage in carvings and decorations, but sit back and create thoughts. They are full of wonderful contentment and are not frugal and barren. He is good at exploring the beauty of nature and life, understanding the scene and writing his true feelings at the moment. For example, chapters such as "Ascending Ten Thousand Mountains in Autumn to Send a Friend", "Summer South Pavilion Huai Xin Da", "Passing to an Old Friend's Village", "Spring Dawn", "Staying on the Jiande River", "Returning to Lumen Song at Night", etc. are naturally integrated, yet the artistic conception is clear and charming. Overflow.

In Meng Haoran's case, the images in landscape poems are no longer a description of the original landscape, nor are they simply adding his own emotions to them, but using expressive techniques.

Integrate the depiction of landscape images with the expression of his own thoughts, feelings and temperament, thus the depiction of images in his landscape poems has reached an unprecedented height, making the images in his landscape poems more vivid. It is promoted to an advanced form of artistic image, that is, 'imagery'. It can be said that before Meng Haoran, no poet had so deeply imprinted the author's temperament and personality in his landscape poems.