There are landscape poems of the Tang Dynasty. . . . . ?

The first type: people’s appreciation of the beauty of natural landscapes based on moral spirit.

This kind of landscape and nature poems often use natural objects to express their noble character, innocent feelings and lofty ideals. It is the appreciation of all things in nature by people who are mainly based on moral spirit or the unity of man and nature. In the eyes of these poets, the reason why people appreciate natural landscapes is not only because of the beauty of natural landscapes themselves, but mainly because the spirit contained in natural landscapes conforms to a certain kind of human morality or spirit. Such as Qu Yuan's "Ode to Orange", Tao Yuanming's Love of Chrysanthemums, and Zhou Dunyi's Love of Lotus.

For example, Du Fu's "Wang Yue":

How is Dai Zongfu? Qilu is still young.

The clock of creation is beautiful, and the yin and yang cut off the dawn.

The clouds grow in the chest, and the returning birds enter the canthus.

You will be at the top of the mountain, and you will have a panoramic view of the mountains.

The first four sentences of this poem describe the tall and majestic image of Mount Tai, and the realm is magnificent. The last four sentences express the excitement caused by watching Mount Tai. The author describes Mount Taishan in such a majestic and majestic manner, which further shows the extraordinary ambition of "being able to reach the top" and expresses the author's lofty ambitions and lofty ambitions in his youth.

Qi Jiguang's "Climbing to the Top of Panshan Mountain":

The grass and trees mourned from the frost corner, and the clouds opened against the stone gate.

You can’t get drunk with wine by the wind, and countless crows return to the fallen leaves.

But making the carved dragon kill the murderous spirit is no harm to the white-haired old man.

Who is with me on Leming Peak, so General Li dances on the sword stage.

This poem is vigorous and vigorous, with vivid charm. It starts from the autumn scenery in front of you and tries its best to exaggerate the depression and desolation of the autumn scenery at the border. This highlights the poet's ambition to defend the border for the country and not hesitate to die at the border, making the human body appreciate the author's broadness. Big heart and noble sentiments.

Qu Dajun of the Qing Dynasty wrote "Autumn View of Yunzhou":

Outside the white grass and the yellow sheep, I can hear the mourning in the air.

Looking for Suwu Temple from afar, you can’t go to Liling Terrace.

The wind blows and the eagles strike, and the clouds follow thousands of horses.

There are countless willows in Guanhe River, and dragons have fallen into piles overnight.

This poem was written when the poet brought his wife to Guangzhou from his ancestral home in Panyu, Guangdong. It was autumn, the vast grasslands and the desolate grassland just triggered the poet's desolate feelings. In the second half of the poem, the majestic The picture expresses the poet's desire for a situation where eagles soar and thousands of horses gallop, thereby driving the Manchu Qing Dynasty to the distant outside the Great Wall.

ぱ? 二ⅰ belly chewing frame ち? Lying back to health and returning to the magpie's palace, the emperor's ring satin steals and suppresses? Yunhuang? Mu Miaodu? 饫卍? Naokunlu Amaranth Liao pancreatic haze? 竦妷婖仙瑞? Yuan Lai Lu tomb Zhang Leng Yuan? Uniform Blu? 氖惴ⅰ?

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

In the Chinese ideological tradition, Zhuangzi and Taoism are the most enamored of nature. "Tao" is the highest concept in Taoist theory. Its meaning can be deduced upward into a metaphysical cosmology, and downwardly it can be implemented 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 ubiquitous "Tao" was concentrated 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 Lao-Zhuang's theory and Taoism, when creating landscape poems, often observe and gain insights from a purely aesthetic perspective, and integrate the natural landscape with the personal subject. Li Bai is an outstanding representative of this type of landscape poetry.

Chinese landscape poetry has a process of emergence, formation and development. In "The Book of Songs" and "Chu Ci",

Natural scenery has gradually become a lyrical means, but it has not yet become a direct object of aesthetic observation. During the Jin and Song Dynasties, poets regarded landscape as an independent aesthetic object, and landscape poetry was officially born. Xie Lingyun was the originator of landscape poetry. Xie Tiao followed one after another, and they occupied an important position in the development of landscape poetry.

The emergence of Li Bai opened up an unprecedented majestic pattern of Chinese landscape poetry, and rose to a superb peak. In Li Bai's eyes, natural landscapes are no longer just objective aesthetic objects. When we read his poems, we feel that he has completely relaxed his body and mind in the mountains and rivers, and is unrestrained in the mountains and rivers. The mountains and rivers understand him, and he also understands the mountains and rivers. In Li Bai's consciousness, there is a tendency of thinking of losing one thing and oneself. He saw himself in nature, saw his self-expansion and unlimited space for freedom, and saw the value and significance of his own existence. From the natural landscape, he pursues and obtains a kind of freedom and freedom without any restraint. Even his strong pursuit of achievement and the undisguised expression of his worldly aspirations and desires are inseparable from his natural personality type. When his wish could not be realized and he cried out in depression, "The road is like the blue sky, I can't reach it alone", he could only obtain spiritual liberation in the majestic mountains, beautiful waters, giant rivers and seas.

Li Bai wrote about Shu Dao and Tianmu. The breadth, height and intensity of my communication with the spirit of heaven and earth, and the weight of the mountains and rivers of Kyushu, have long been known to everyone.

Even if it is a short lyrical chapter, the person has already become the soul of the landscape before he comes directly. For example, "Climbing the Yueyang Tower with Xia Twelve":

The view from the tower ends at Yueyang, and the river opens back to Dongting.

The geese lead away the sorrowful heart, and the mountains carry the beautiful moon.

I stay in the clouds and receive my cup in the sky.

After getting drunk, the cool breeze blows and people dance on their sleeves.

The poet hides himself behind the buildings, rivers, wild geese, mountains and other landscapes, allowing the buildings to watch, the rivers to take a circuitous route, the geese to fly away with their worries, and the mountains to carry the beautiful moon. Everything in the world has unconsciously become the carrier of human life and emotions.

The third type: people who rely on religious spirit to observe the nature of mountains and rivers.

Like Taoism, Buddhism also has the intention of loving nature, and Buddhism has also had a huge impact on landscape poetry. One of Zhao Pian's "Three Poems of Ciyun Fanshidao Dragon Picture" said: "It's a pity that the lakes and mountains are the best in the world, and most of the scenery belongs to the monk family." An ancient poem said: "There are many famous mountain monks in the world." These verses all tell a basic fact: Buddhism has a very close relationship with the natural landscape.

The mature period of Chinese landscape poetry was in the Liu and Song Dynasty in the fifth century AD, and the representative figure was Xie Lingyun. Xie's poems were influenced by

Buddhism and often regarded mountains, rivers and land as the incarnation of the Buddha's shadow. For example, the poem "Shibi Li Zhaoti Jingshe" says:

Respecting the Lingjiu Mountain, I still want to just go to the track.

Jue Liu flew in front of the court, and Gao Lin reflected in the window.

Living in the Zen room in the open space, he talks about the universe and analyzes the wonderful principles.

In Xie Lingyun’s eyes, Shibi Mountain is imagined as Lingjiu Mountain shining with Buddha’s light and Buddhism. The waterfall in front of the courtyard and the tall trees behind the window can also be used to understand Buddhist principles.

Different from Taoism, which observes nature from an aesthetic perspective and integrates the personality subject with the nature of mountains and rivers, Buddhism does not adopt an attitude of unity with nature, but observes it silently. What is different from Confucianism's moral perspective on nature is that Buddhism does not develop ethical aspects of nature, but only uses it as a metaphor for the vastness of Buddhism. What Buddhism experiences in nature is a kind of religious happiness.

For example, Zen Master Hua of the Song Dynasty said in a poem (see Kong Fanli's "Song Poetry Chronicles Continuation"):

The green bamboos and yellow flowers are not external objects, and the white clouds and bright moon reveal their true nature.

Everything is my family’s belongings, and they are not dust when you pick them up at your fingertips.

In the minds of Chinese monks, nature is the incarnation of Zen Buddha. The so-called "gloomy yellow flowers are nothing but prajna;

The green bamboos are always Dharmakaya". Hanshan, a famous poet in the Tang Dynasty, wrote in a poem:

When you climb the Hanshan Road in Zhihan, the road to Hanshan is endless.

The stream is long and full of rocks, and the stream is broad and covered with grass.

The slippery moss is not related to the rain, and the singing of the pines is not related to the wind.

Who can surpass the world? He is sitting in the white clouds.

With the help of natural mountains and rivers, the author escapes from the world and transcends the mundane world, thereby sublimating to the realm of Zen Buddhism where he understands the Buddha nature and understands his own nature.

Most of the landscape poems written by poet monks, Zen monks and poets deeply influenced by Buddhist thought in the past dynasties can be classified into this type.

The above is only a very rough classification of traditional Chinese landscape poetry. In fact, there are many landscape poems that cannot be rigidly included in one of these categories. In many landscape poetry authors, there is the Confucian spirit of actively engaging with the world, and at the same time there is the transcendent side of Taoism and Buddhism. Taoism and Buddhism, Zhuang and Zen influence each other, blend with each other, and are inseparable. For example, in the poems of Xie Lingyun, an early landscape poet, the "principles" he awakened and explained have very rich connotations. The so-called principles in his poems often have both Buddhist and Taoist meanings.