What's the difference between landscape poems in the prosperous Tang Dynasty and water poems in the middle Tang Dynasty?

Landscape poems in the early Tang Dynasty —— Poems about objects from the palace to the Woods created beautiful and simple landscape images. ?

In the early Tang Dynasty, from the first year of Wude, Emperor Gaozu (6 18) to the early year of Kaiyuan, Xuanzong (7 13), it was about 100. Most of the poets in this period spanned the Sui and Tang Dynasties. Although the dynasties changed, literature came down in one continuous line. In the early Tang Dynasty, the poetic style of Sui Dynasty was followed, with the palace poems loved by Emperor Taizong and Shangguan Yi's "Shangguan style" as the main style. The main content of poetry creation is still centered on the court, mostly praise and pursuit of elegance. From Xuanzong of the Tang Dynasty to Wuhou, the creation of the four outstanding poets in the early Tang Dynasty tried to get rid of the narrow scope of Qi Liang's poetic style and palace poetry, and moved poetry from the narrow court to the broad market and from the balcony to the vast countryside. This not only expanded the theme and lyricism of poetry, but also enriched the content of poetry and promoted the development of poetry in the early Tang Dynasty. In terms of landscape poetry creation, although it did not open up the situation, the exquisite description of the Six Dynasties made the landscape poetry look neat, and the poet's eyes gradually shifted from the capital to the mountains, chanting simple and natural gardens and landscapes. ?

(A) "Garden Poetry Heart" Wang Ji's landscape artistic conception?

Wang Ji (589-644) was born in Longmen, Jiangzhou. He lived in three official positions and three recluses. In his works, we can feel his frustration in official career and inner injustice. Wang Ji admires Tao Qian very much. In desperation, he turned to the forest field. "My family has crossed the sea in Bai Yunbian, and I want to leave my job to find nymphs. You don't have to name me, you can take Lan and send it for a hundred years "(Xie Liuhe and Cheng Huan). In his later years, Wang Ji lived in seclusion in Gaodong, making friends with landscapes and pastoral areas, leaving behind works full of garden poetry. Some of Wang Ji's landscape poems describe landscapes, such as Wild Hope: Looking at the dusk, why want to move? Trees are all autumn colors, and mountains are only sparkling. The shepherd brought the calf back, hunted horses and brought birds back. Care for no acquaintances, Long song pregnant with Cai Wei. In a simple style, the author wrote the scenery of autumn and sunset, and also wrote the poet's preference for the wilderness. In the poem "Slogan of the East Stream at Night", the natural scenery in the landscape garden seems to be designed for people: the stone moss should be practical, the branches should be auspicious and easy to climb. Qingxi goes straight to Kaminooji, and returns by moonlight night song. Wang Ji's poems inherited the description skills of landscape poems in the Southern Dynasties, which were simple and natural, and really got rid of the illusion of the Six Dynasties. ?

(2) The artistic conception of "writing heart-shaped scenery" in Wang Bo landscape?

Wang Bo (650-676) was one of the four outstanding poets in the early Tang Dynasty, and also a representative who dared to reform the poetic style of Qi and Liang Dynasties. He began to travel at the age of fourteen, and the poems he wrote when he traveled to Bashu at the age of twenty can better reflect his achievements in landscape poetry. In Wang Bo's poems, there are works that express the feelings of traveling, such as Sleeping in Shenzhen and Hong Kong: Tianjin is close to a huge valley, and the village is in danger. The sound of the weir is silent, and the wind is deeper than the shadows of the trees. Jiangtong is at dusk, and Shannv is at night. At this time, my hometown is far away, and I would rather know the wandering heart. The description of the landscape leads to the homesickness of the author's "hometown is far away at this time, and it is better to know the wandering heart". Other poems integrate personal experiences and feelings into the shaping of landscape scenery. In the process of describing the scenery, it also shapes the self-image. Representative works include Nishi: Miqi Lingben Valley, Low Whip and Embarrassment. Jiang Tao is out of danger, and the summit is in danger. The ship is in a hurry, and the rock is inclined to ride the shadow. The hookah cage is green, and the mountains shine on the cliff. The wind lives in the leaves of Pu, and the branches of bamboo pond hang down. Although the water is beautiful, who knows the song? There is also "Wang Tengge", which depicts the scenery in the form of writing the heart and expresses the author's feelings: Linjiang bamboo, singing and dancing. The painted building faces Nanpu Cloud, and the bead curtain rolls up the rain in the western hills at dusk. The shadow of the idle cloud pool is long, and things change for a few years. Where is the emperor in the pavilion today? The Yangtze River flows freely outside the sill. Wang Bo's poems add lyrical color to the landscape and express the author's inner feelings. ?

(3) Lu's artistic conception of "being close to nature"?

Lu (about 634-685? ) I have traveled to many places and seen different landscapes in my life, leaving many landscape poems: Xia Ming's deep waves, the wind and the clouds. Clear waves are full of moon shadows, and waves gather into sand. "Late to David"?

The wild path is broken, and the spring grass is wasted. Flowers fall from old trees, and birds enter Wan Cheng. In the poem "Mianzhou Guanchi Farewell to Tongfuwan", the overall artistic conception is accurately and vividly expressed with seemingly casual sketches. The scenery in his works is realistic, and he often expresses the artistic conception of being close to nature in plain language. This is a major feature of landscape poetry.

Landscape poetry in the prosperous Tang dynasty-depicting natural, simple and profound landscape realm with flowing style. ?

The prosperous Tang Dynasty lasted about fifty years from the first year of Xuanzong Kaiyuan (7 13) to the early year of Daizong Dali (766). During this period, the country was strong, the society was stable and the people were rich, so it became a fashion to devote oneself to poetry. At this time, the prosperity of poetry reached its peak. There are pastoral poets, frontier poets, and the greatest poets in the Tang Dynasty, Li Bai and Du Fu. Among them, the pastoral people, represented by Wang Wei and Meng Haoran, love the surrounding mountains and rivers, express the scenery in front of them and their feelings with their pens, and achieve the realm of blending emotion with scenery and things with scenery. The poet describes the quiet pastoral life with fluent poems, which are simple and far-reaching, making people relaxed and happy. The common characteristics of landscape poems in this period are natural, simple, cordial and carefree. As an existence with emotion and character, natural landscape is integrated with the poet's life emotion. The poet is not only a hermit, but also shows his love for nature and life and his positive interest in life.

(a) "How clear the moon is in the water!" Meng Haoran's artistic conception of landscape?

Meng Haoran (689-740) was born in Xiangyang, Xiangzhou. He was the first poet who made great efforts to write pastoral poems in the prosperous Tang Dynasty, and was called Wang Meng in the history of poetry. Although he has been seeking official positions all his life, he mainly lives in seclusion. In people's minds, he is also an image of a hermit. His creative theme is mainly about the secluded life in his hometown or the scenery he saw while roaming. The characteristics of his landscape poems can be summarized by the word "light". Mr. Wen Yiduo once said: "The real Meng Haoran is not to build the poem tightly in a couplet or a sentence, but to dilute it and disperse it evenly throughout the whole article so that he can't see the poem. This is the real Meng Haoran's poem." (Wen Yiduo's "Three Hundred Tang Poems") On the North Peak among the white clouds, you found your seclusion. Try to climb to the height on the other side, and your heart will fly with the geese. Sadness grows in the dusk, if the weather in this autumn is not so refreshing and clear. I looked down at the riverbank and took a flat-headed rest with the folks who came home. There are trees on the horizon like a row of grass and rivers like a moon. I hope you will pick me up, bring a basket of wine and get drunk on the Double Ninth Festival. The sadness of dusk and the prosperity of clear autumn are the center of the whole poem, and the sadness of clear autumn also sets the tone for the whole poem, which further conveys the fresh and elegant artistic conception beauty and the author's lofty interest in poetry and painting. Another example is "Sleeping in Jiande River", in which the author expresses his intuitive feelings in plain language. When the boat was moved to Zhu Jiang, the sun dimmed and ancient memories began. The vastness of the wilderness is deeper than trees, and the moon is very close to the moon. Under the technique of sketching, the sunset, the wilderness, the Qingjiang River and the Yanzhu show the scene of Qiu Jiang staying overnight and nostalgia, with a touch of sadness. There are also many heroic works in Meng Haoran's poems, such as Clouds, Dreams and Fogs Walking Around Yueyang (Dongting Lake to Premier Zhang), which depicts a vibrant country with bold pen and ink. This is also the enlightenment of the weather in the prosperous Tang Dynasty. Meng Haoran's poetic achievements are unique and self-contained. His pastoral poems reveal faint thoughts in the light and natural artistic conception. This feature of describing the seclusion of mountains and rivers has had a far-reaching impact on poetry creation after the Tang and Song Dynasties. ?

(2) Wang Wei's artistic conception of mountains and rivers: "There is a picture in the poem, and every word is Zen"?

Wang Wei (70 1-76 1). He was the most famous pastoral poet in the Tang Dynasty, leaving many beautiful landscapes for later generations. He is also a famous master of painting. In his poems, poetry and painting are integrated, and a little pen and ink is used to accurately and concisely shape various perfect landscapes. His poems have the color of "the rivers and lakes are white in the sunset and the fields are green in the tide" ("In the Mountains"); There are composers and acoustics of "On the Curved Stone, White Leng Qingqiu" (On the Temple of Ji Xiang). Poetry and painting are entrusted with the poet's noble feelings and pursuit of ideal realm.

Wang Wei was an official in the imperial court and suffered many setbacks after middle age. From then on, I yearned for mountains and rivers, yearned for Buddhism in the imperial court, and lived in seclusion. Influenced by Buddhism, his poems naturally pursue and express the empty aesthetic realm. Poems represented by Wang Chuan Ji are full of Zen, creating a quiet poetic scene, as Wang Yuyang said, "Wang Chuan quatrains, and every word goes into Zen". In his poems, you can see the word "empty". However, behind the empty artistic conception, there is a warm, noisy and vibrant natural scene. This is also the artistic conception of life that the author eagerly yearns for. People are idle and sweet-scented osmanthus falls, and the night is quiet and empty. When the moon comes out, the birds are startled, and the sound enters the spring stream. Bird watching creek, empty mountain after rain, stands in autumn night. The bright moon shed clear light from the cracks and cleared the fountain on the rocks. Whispering among the bamboos, the washerwoman returned and even got off the boat. Spring spring might as well give it a rest, and the autumn sun can stay on the hills for a long time. Living in autumn, 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. "Chai Lu" is a hibiscus flower with a red calyx in the mountains. The mouth of a stream is silent, without a trace. They open and fall. Although Wang Wei's poems in Wu Xinyi are ethereal, the poet puts Zen in the description of mountains and rivers, and the artistic conception is thought-provoking. The combination of Zen and painting shows the artistic features of Wang Wei's poems incisively and vividly. Su Shi said: "There are paintings in poems that taste like charm, and poems in paintings that look like charm", which is the artistic feature of Wang Wei's landscape poems. ?

(3) The artistic conception of landscape in Li Bai's Wandering Fairy Tales?

Li Bai (70 1-762) lived in the historical period when the Tang Dynasty turned from prosperity to decline. Influenced by Taoist culture, he traveled all over the world, visited famous mountains and rivers, and asked immortals to visit Taoism. "All the five mountains are sacred mountains, and there is no way to think far, according to my unchanging habit all my life", he wrote many poems about traveling in mountains and rivers. ?

Li Bai's landscape poems are good at describing tall and magnificent natural landscapes with bold exaggeration, rich and peculiar imagination and the use of myths and legends. Boldness and boldness are the general characteristics of his landscape poems. His landscape poems are a combination of impassioned grandeur and bold and romantic whimsy. "Putting pen to paper scares the wind and rain, and poetry makes you cry" is another great romantic poet in China after Qu Yuan. ?

The poem "Looking at Lushan Waterfall" shows the author's intuitive feelings about Lushan Waterfall: climbing incense burner peak in the west and watching waterfall water in the south. The suspended flow is 300 feet, and the gully is dozens of miles. As fast as lightning, as looming as Bai Hong. At first, the river fell and was half scattered in the sky. Look up at the situation and turn to the male, which is a good thing! The sea breeze keeps blowing and the moonlight is still empty. Shoot in the air and wash the blue wall left and right. Flying beads scatter light clouds and foam blows dome stones. I like famous mountains, and so do I. Wash your face no matter what you wash. Live in harmony and leave this world forever. Flying for 3,000 days and plummeting for nine days embodies the bold spirit and the author's infinite imagination. "Being inside, being outside, wanting to fall out of the sky, having both form and spirit", this poem was commented by the ancients.

In the poem "Climbing Mount Tianmu in a Dream", "A straight line goes to heaven, its peak goes to heaven, the top reaches five holy peaks, and it casts a shadow over China. The rooftop was 18,000 feet, and at this point, it began to turn to the southeast. " The poet wandered in the fairyland through dreams and constructed a magical artistic conception. Of course, in Li Bai's landscape poems, we can also see his true temperament: birds fly high, and lonely clouds go to leisure alone. You look at me, I look at you, and there are only my eyes and Jingting Mountain's eyes. Sitting alone in Jingting Mountain describes the poet's self-sufficiency in the face of natural landscape. Ming Xiu's bold and fresh beauty constitutes Li Bai's unique elegant and bold artistic style. ?

(4) Du Fu's "deep and simple" landscape artistic conception?

Du Fu (7 12-770) is a great realistic poet in the history of China. His works widely and profoundly reflect the times and society in which he lived. Before I became an official, I had a wandering experience in reading, but I also experienced many wandering experiences caused by social unrest, leaving a lot of excellent landscapes in the process. Du Fu went to Chang 'an to ask for an official post, and lived a miserable and humble life, with too many sorrows and sorrows in his heart. Before and after the "An Shi Rebellion", social decline and turbulence made his feelings of worrying about the country and the people surge, which was manifested in his poetic style, and "depression and frustration" became his characteristic. Du Fu's poetic style is "gloomy and frustrated", and his landscape poems are characterized by broad and muddy weather. Such as "Late Spring": In the sick gorge, Xiaoxiang Cave is empty. It rains all the time in Chutian, and the martial arts often blow a thousand miles of wind. The grass pavilion on the sand is new and dark, and the wild pool on the edge of the city is red. In late spring, Yuanyang stands on the island, still in clusters. There is also a famous poem "Up the Mountain": In a sharp gale, apes whimper from the vast sky, and birds fly home to the clear lake and white beach. The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably. Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness. After all the hardships and hatred, the white hair is full, and the wine glasses are damaged. ?

Based on the life experience precipitated by hardships and bitterness, the poet laments that "Wan Li is sad for autumn" and "has been ill for more than a hundred years", with scenes of "falling trees" and "endless Yangtze River", which can be called a classic in landscape poetry. ?

Water Poems in the Middle Period of Tangshan —— Conveying the lonely and distant life interest with a light and lofty artistic style. ?

From the first year of Dali in Central Tang Daizong (766) to the ninth year of Emperor Wenzong and Taihe (835), it was about seventy years. The Anshi Rebellion made the Tang Dynasty falter, Xuanzong gave up Chang 'an, and the middle Tang Dynasty ended and entered it. Although the eight-year "An Shi Rebellion" was quelled in 763, the reality of the separatist regime and turmoil in the buffer region made the poets in this period suffer physically and mentally. The majestic spirit of the poetry circle in the prosperous Tang Dynasty can no longer truly reflect the spirit of the times after the Anshi Rebellion, and the lofty sentiments of literati are no longer replaced by numbness and depression. Therefore, the poets in the middle Tang Dynasty no longer have the romantic and unrestrained temperament and broad-minded ambition in the prosperous Tang Dynasty. The grim and cold reality makes them fall into depression and hesitation, which is also reflected in their poems. There are three schools of poetic style, namely, Dali poetic style, Han Meng poetic style and Bai Yuan poetic style. In his landscape poems, he also changed from loving and praising nature to relieving his depression in the landscape with a heavy heart, so that the landscape was also contaminated with the poet's frustration and helplessness. Poetry also shows the poet's cold and loneliness, light and lofty interest. ?

(A) "Cold Silence" Liu Changqing's artistic conception of mountains and rivers?

Liu Changqing (709-780? ) Dali poet. He is good at writing modern poems, especially five words, and is praised as the "Great Wall of Five Words" by later generations. During the Dali period, the Anshi Rebellion was over. Although the poet has the ambition of rejuvenating the country, he can't forget the pain in his life experience under the shadow of war, so he often expresses his bleak life in the form of scenes. Dissatisfied with the reality, Liu Changqing retreated into the mountains with a depressed mood. "Stealing the green hills and white clouds, the spring breeze and the grass are your own" (Jiao Ran's poetic style). In his poems, he used a simple and simple style to express his feelings about the scenery. Literary historians point out: "The realm of Liu Changqing's poetry, the feeling of loneliness, loneliness and melancholy, is often progressive layer by layer, as if it were too lonely to be lonely, too lonely to be lonely, as if there were no companions on the road of life" (Literature History of Sui, Tang and Five Dynasties edited by Luo Zongqiang and Hao Xingfeng, P87, Higher Education Press, 1990 edition). ?

For example, the famous "Lord of Furong Mountain in the Snow": Cangshan is far away from sunset, and the house is poor in cold weather. Chai Men heard dogs barking and went home on a snowy night. Send a blessed host: from the temple, in the depths of its tender bamboo, came the deep voice of the evening bell. The sunset with a hat gradually returned to Qingshan. There is also a natural and fresh landscape atmosphere, which reveals the poet's quiet and comfortable mentality. For example, in Dragon Waves, dragons were once seen under the ancient shore. Autumn waters sink late, wandering in the depths. The noise on the sand reflects the trees in the clouds. See a boat alone and cross it. Liu Changqing's poems describe desolation, poverty, cold landscape and simple countryside in Qingyuan, and express the poet's sad mood. ?

(2) Wei Shanshui's "indifferent" artistic conception?

Wei (734-792) made many achievements in poetry, especially in pastoral poetry, and was called "Wang Meng" with Wang Wei, Meng Haoran and Liu Zongyuan. After his beloved wife died of illness, he resigned and lived in seclusion in a temple. "The heart of the Tao is indifferent to flowing water, and the disaster is bleak." ("Jingju Shangfeng Wang Jingji sent Zhang Er photo"). Later, although he came back to be an official, in his spare time, he often climbed mountains near the water and visited everywhere, pinning his lonely feelings on the green mountains and green waters. Some scholars have pointed out that Wei is a "poet who loves to use the word' green'". Full of green can be seen everywhere in his landscape poems. In this green natural vitality, the poet's distant, quiet and indifferent interest can be seen everywhere. Alone, grass grows by the stream, and orioles sing on the trees. The spring tide brought the rain late and urgent, and there was no boat on the wild crossing. In the poem Xixi Chuzhou, I wrote about the solitary grass by the ravine, but I didn't mean to oriole, which showed the poet's calm mind. But in the scenery where no one is crossing the wild and the water is rushing, there is also a kind of helplessness and sadness that is not in place and not used. Another example is the poem "You Xi". The picture is simple and clear, and the atmosphere is beautiful, but it vividly reflects the poet's lonely and cold mood, and expresses the peaceful realm that the poet hopes in his heart with a cold tone: wild hookah, chutian Yunyu. Take a boat to clear the scenery in the evening and go fishing in Qingpu. Falling flowers and floating clothes, returning to the breeze. Luyuan can't be extreme, the trees are far away but lush. ?

Wei inherited the style of Tao Yuanming's poems on mountains and waters, and his artistic conception was indifferent, his language was beautiful and simple, and his artistic conception was quiet and indifferent, which won Zhu the reputation of "meteorological shortcut". ?

(3) Bai Juyi's "carefree" landscape artistic conception?

Bai Juyi (772-846) was a happy man. After being demoted to Jiangzhou Sima, his mentality changed and he began to pursue the "leisure" mood. He left many landscape poems in Luoyang and Hangzhou, the eastern capitals. I like the following two poems:

From the north side of Gushan Temple to the west side of Jiating, the lake is just level with the embankment, with low clouds and waves on the lake. Several early orioles raced to the sunny tree, and their new swallows were carrying mud in their nests. Colorful spring flowers will gradually fascinate people's eyes, and shallow spring grass can barely cover the horseshoe. I love the beauty on the east bank of the West Lake, and I can't get enough of it, especially the white sand embankment under the green poplar. "Spring Tour of Qiantang Lake" is a sea and sky, with vast mountains and long waters. The city lights up around, and a galaxy sinks into the center of the water. On a sunny day, the wind blows against the old trees, rustling as if it were raining; On summer nights, the moon hangs all over the ground, just like autumn frost. Whether you can use river dew to cool off the heat is better than your cottage. When Bai Juyi was in Hangzhou, he wrote two poems, Looking at the West on the River, which were fresh and simple, with neat scenery and neat, elegant, ingenious and generous antithesis. It gives people a clear and simple feeling, and also shows the poet's leisure state of mind in scenic spots.

(4) Liu Zongyuan's artistic conception of landscape?

Liu Zongyuan (773-8 19) is thick. His career was bumpy and unhappy, and he was demoted to Yongzhou and transferred to Liuzhou. Because of his relegation, he naturally likes landscape poems, and puts his thoughts and lofty sentiments in a fresh, elegant or cool poetic environment. His landscape poems learn from Tao Yuanming and Xie Lingyun. The scenery in his works has a special style. The Fisherman and Jiang Xue are the best works. There are no birds flying over those mountains, and there are no traces of people in those paths. A boat on the river, a fisherman wearing his webworm moth; Fishing alone is not afraid of snow and ice. Jiang Xue was written after Liu Zongyuan was demoted to Yongzhou. In the vast snow, a leaf boat, a person fishing for snow, strange and natural detachment. In his desolate and pure paintings, the poet has a strong subjective will-a fisherman who is not afraid of loneliness and cold and sits quietly. The poet's noble and detached personality and resentment towards the exile place can be faintly seen in the poem. This is the description of the poet's self-image. The Fisherman embodies Liu Zongyuan's meticulous, concise and natural poem: an old fisherman spent the night here, under the west cliff, quietly burning bamboo. Then, at sunrise, he walked through the fog. Alas, it was a green landscape. Looking back, the fishing boat has drifted below the horizon, and white clouds are floating in the mountains, chasing each other. Behind the natural adaptation, it also contains infinite loneliness and the poet's aloof character. Expressing emotions through mountains and rivers makes natural mountains and rivers not only the object of appreciation, but also a strong emotional color, expressing the poet's inner feelings. It can be said that Liu Zongyuan developed China's landscape poems to a natural stage.

Landscape Poetry in Late Tang Dynasty-Based on reminiscence and exclamation, it expresses the poor and desolate landscape artistic conception.

In the late Tang Dynasty, it was about 70 years from the first year of Wenzong (836) to the fourth year of Xuan Di's blessing (907). During this period, social contradictions were acute and complicated, the national situation declined and the prospects were dim. Social crisis and class contradictions eventually led to the collapse of the Tang Dynasty. In the field of poetry, external ethnic contradictions, internal feudalism, the struggle between the Niu and Li parties, political turmoil and social pain cast a deep shadow on the hearts of poets in the late Tang Dynasty. Faced with the gloom and decline of society, the poets in the late Tang Dynasty were unable to lift their spirits and could only learn from the bitter experience. Therefore, poets like Du Mu and Li Shangyin, who have a deep sense of hardship, can do nothing in the face of reality and can only sigh the sorrow and despair of the times repeatedly. This is the emotional tone of poetry in this period. On the other hand, in landscape poetry, the poet, singing the barren and cold landscape artistic conception, integrated landscape description with lyricism, with profound implications, and added reflection and exclamation to the landscape description. ?

(1) Du Mu's landscape artistic conception of "writing scenery and melting feelings"?

Du Mu (803-852) was the most outstanding poet in the late Tang Dynasty. His and Li Shangyin's poems add vitality to the sad and beautiful poetry world in the late Tang Dynasty with their unique styles. They inherited Li Bai and Du Fu's fine traditions of paying attention to national destiny and reflecting social reality, and developed their own new style with their own creative practice, which was called "Little Du Li" by the world. Du Mu is ambitious, but the sinister political environment makes him depressed and unable to realize his ambition. When there is no way to serve the country, it is inevitable that there is a feeling of sadness, but Du Mu can stick to his ideals and start studying the art of war. The combination of a poet and a strategist also affects his character and temperament, which is manifested in his poems and has a unique style of freshness and elegance. Poems about epic poems and lyric poems about scenery are his two best poems. Du Mu is good at writing seven-character quatrains and metrical poems. His poems are beautiful in style and profound in meaning. For example, the famous "Mountain Walk" has a fresh beauty, which makes people feel bright and clear after reading it: far away from the cold mountain, the stone path is oblique, and there are people in Bai Yunsheng. Stop and sit in the maple forest late, and the frost leaves are red in February flowers. During his stay in the south of the Yangtze River, bright and beautiful nature and freehand urban life were gathered in his works, and sometimes he added reflection on history, so that the poet's emotions naturally merged into the scenery. This tendency is fully reflected in his most famous poems "Bo Qinhuai" and "Jiang Nanchun Jueju". Smoke cage cold water moon cage sand, night parking near Qinhuai restaurant. Strong women in business don't know how to hate their country, but they still sing backyard flowers across the river. "Bo Qinhuai" is thousands of miles away, green is red, and the water village is full of wine flags. More than 480 ancient temples were left in the Southern Dynasties, and countless pagodas were shrouded in wind and rain. Under the landscape style of "Jiangnan Spring is the last resort", Du Mu's landscape poems are characterized by adding a layer of reflection to history, melting feelings for scenery description and lamenting in the poetic realm. ?

(2) The landscape artistic conception of Li Shangyin's freehand sketch?

Li Shangyin (about 8 1 1-859) was born in a poor family in his early years and fell in love with the beauty of Li He's poems. In the middle period, I fell into the dispute between Niu Li and Li, and my life was down and out, and my life was not satisfactory. In the late Tang Dynasty, Li Shangyin was good at political satirical poems and lingering untitled poems. However, in his few landscape poems, he can often describe poetic scenery with exquisite brushwork, and rely on reason to express his feelings and think. The representative works are: the city is narrow and the mountains are pressed, and the river is wide and floating. The southeast is unique, and there are many tall buildings in the northwest. God protects the shore of the green maple, and the dragon moves the white stone. Why pray in a strange hometown? The flute and drums never stop. "Guilin" is better than dust, idle reading time. Yat sen villa winds over bamboo, and the moon is blooming in the middle of the night. Stone chaos knows spring swallowing, moss panic oblique. Tao Ran relied on gin, but forgot to stay in Shanjia. "Spring Night Self-Dispatching" In the poem "Yixian", we can also see his style: living in the city, paying off in spring and summer. The grass was drowned by the rain and finally got the love of God. The rain was sunny. Climbing on the high shelf, overlooking the distance, the sky is high and the afterglow of the sunset passes through the window lattice. Birds' nests have been dried, and their bodies are light again.

Summary:?

The Tang Dynasty was the first artistic peak of landscape poetry. The ups and downs of the social situation, the development of political culture and the changes of the poet's living environment in the Tang Dynasty led to the changes in the style of landscape poetry. In the early Tang Dynasty, landscape poetry gradually turned from the scenery of the palace and the capital to the mountains and rivers, and landscape poets turned from gorgeous to simple, and began to approach the natural scenery with personal feelings. With the prosperity of the national movement, the landscape poems in the prosperous Tang Dynasty fully integrated the poet's emotion and life interest.

Poets have different styles, showing the atmosphere of landscape poetry in the prosperous Tang Dynasty. In the middle Tang Dynasty, the change of political situation and dissatisfaction with reality made landscape poets use landscapes to relieve their inner boredom. Although the poetic style of this period lacks the distinctive features of the prosperous Tang Dynasty, it fully embodies the characteristics of poets seeking tranquility and leisure in nature and expressing their feelings through mountains and rivers. With the decline of the national situation in the late Tang Dynasty, landscape poets added more reasoning and reflection to the description of landscape scenery.