Ask for an essay describing Guilin's landscape.

When I arrived in Guilin, I was faced with a landscape that was superior to other parts of the world. It was really a great enjoyment to watch its changes in the morning fog and rain. So many people envy people who live in Guilin. Although as early as twenty-three years ago, during the War of Resistance against Japanese Aggression period, I worked in Guilin Eighth Route Army Office for more than half a year; But at that time, I was too young to see the scenery. In addition to thinking that these landscapes are really strange exhibits, I can also avoid air strikes in Qixingyan, whose beauty is rarely appreciated. /kloc-summer of 0/959-Only after 20 years, Comrade Li Keran returned to Beijing from Guilin, sketched and gave me a picture of the Silhouette of Painting Mountain in Guilin. Suddenly, I was attracted by that painting, which brought me happy memories-not only the scenery of Guilin, but also the life related to it, all of which came back to life in my memory. What I didn't understand before, I understand now; What I didn't know before, I know now. Guilin landscape, so vividly presented in front of me. At this time, I was amazed at the power of art, how touching. Wondering again, I also gave him four deformed old poems like this:

The method of painting is this: the ink is still peeling off the paint pen and axe;

Jiu Feng, a painter, stands upright, and the new meaning is Kung Fu.

This time I came to Guilin again, and I was in the mountains and rivers of Guilin, which reminded me of this painting by Comrade Dai Yibo. So I remembered and confirmed the relationship between painting and mountains, and the relationship between art and reality; I understand how they changed from a natural existence to a living work of art that can touch people's hearts through the works of painters.

The ancients have long noticed that Guilin's landscape is suitable for painting. Huang Tingjian, a poet in the Song Dynasty, once wrote: "Guilin is like a wild goose around the city, and the flat jade is abrupt. Li Cheng died before Guo was born, but there were thousands of peaks. " I'm afraid what the poet meant was not only that painters at that time painted fewer landscapes in Guilin, but that even if Li Cheng and Guo were here, they had never painted such beautiful landscapes in Guilin, right? Later, people in the Yuan and Ming Dynasties painted Huangshan Mountain, and Shi Tao in the early Qing Dynasty brought childhood impressions into landscape paintings because he was born in Guilin, forming a unique style. Huang, a master of modern landscape painting, boasted of "writing all over Guilin's landscape", and Qi Baishi even said that "my mind is the best in the world, and I am used to seeing Guilin's landscape". Therefore, the introduction of Guilin landscape painting seems to have something to do with enriching the techniques of China landscape painting.

As for literature, creating an image for Guilin's landscape, which is recognized by people and can be passed down through the ages, I'm afraid it is still Han Yu's "Qingluo Belt on the left of the river, the mountains are as beautiful as jade pins". He personified the landscape of Guilin and compared it to a simple and beautiful woman, which was indeed a unique observation. Although this image, in the life of our time, has always been the face and character of Guilin's landscape. This time, I went to Guilin, climbed the mountain, climbed Yue Mingfeng, and watched it in the air. Sure enough, the Lijiang River is clear and blue, approaching Yuemingfeng from the northwest, then turning east, passing through downtown Guilin, bypassing Fubo Mountain and Elephant Trunk Mountain, and heading southeast. Like a green ribbon, fluttering in the wind. The surrounding peaks, under the reflection of sunlight and fog, are green, emerald blue and gray silver gray, each with its own shades and distinct layers; Just like the decoration on a beautiful woman's head, it is exquisite and elegant.

It is not easy to summarize the natural features of this area and create a distinctive image, which is often over-depicted or abstract. No wonder later poets, including those famous as Huang Tingjian, Fan Chengda and Liu Houcun, all went to Guilin to write poems, but none of them were as general and vivid as Han Yu's poems. Fan Chengda wrote Guilin, trying to describe the strangeness of Guilin's landscape. As a result, people don't believe it, so they have to draw a picture and attach it. It can be seen that it takes a little artistic means to express something that some people have never seen in words.

The ancients knew for a long time that they created artistic conception when describing landscapes, not just depicting the face of nature. Therefore, landscape painting and landscape poetry become the expression of the author's thoughts and personality. Liu Zongyuan was demoted to Liuzhou as a "list person" and spent all his time giving alms and traveling. As a result, he wrote some essays with fresh artistic conception and meaningful charm. Try to read dozens of articles, from "Ji Jia Zhou Ting Ji" to "Xiao Qiu Xi Xiao Shi Tang Ji", describing the landscape around Guilin, which is really exquisite. Although these essays only describe a trip, or describe a mountain and a valley, a river and a stone, the length is no more than 1000, and the short is less than 200 words, but the subtle observation, in-depth experience, accurate description and concise words can be said to be rare in ancient landscape prose. In these articles, Liu Zongwu created a series of unprecedented realms, but in the end, he wrote: "Sitting by the pool, surrounded by bamboo forests, lonely and empty, sad and quiet." It's too clear to live for a long time, but remember "("Hill and Small Stone Pond to the West "). He came to a "clear" realm for such landscapes, and was very accurate for the natural features of Guilin in his time and his own feelings. But when he wrote about the mountains in Guilin in general, there were only eight words: "The mountains are steep and stand in all directions."

In prose, describing the authenticity and concreteness of Guilin landscape should be based on Xu Hongzu's Travels of Xu Xiake. His prose is rarely summarized and compared, but it is faithful and detailed. Reading, you can't help but be moved by his interest in travel, his efforts and his concrete and vivid memories of travel. However, it is not easy for you to imagine what Guilin's landscape looks like from his account. He himself said, "However, what you want to see is not in all kinds of appearances." He swims in another way and writes in another way. He described the natural features, road mileage, where the water came from and where it was going. People's Travels are not only good literary works, but also leave many useful scientific materials. In this way, Xu Hongzu is the first person who can travel best in ancient and modern times. His tireless travel, traveling all over the world, truthfully recording where he went, improvising, not sticking to one pattern and not engaging in rules and regulations have become the most attractive features of his prose.

Therefore, from ancient times to the present, I am afraid that everyone has their own thoughts on how to treat landscapes. But everything that reflects the truth and nature and creates lofty artistic conception, whether painting, poetry or prose, has become the spiritual wealth of our people, endowing our great motherland with a beautiful image and personality, enlightening and developing people's patriotic thoughts and feelings.

Guilin's landscape is beautiful after all. When I got up in the morning and opened the window, a blue gray rushed into the room, making the wall, desk and manuscript paper on the desk seem to be illuminated by a transparent mist, greener and redder.

Of course, this is the role of the sun. The sun is still on the other side of the mountain, in the clouds. Due to the twists and turns of many peaks, layers of clouds are round and shining, and the sun shines on distant peaks and high and low clouds, giving off different shades of brilliance. At this time, the mountains in Guilin are the most vivid: the blue near them is transparent; The farther gray is black; The past will change from dark gray to light gray, leaving only a faint blue shadow. However, there is more than that. Sometimes, in this layer of clear and overlapping peaks, a wooded and rugged mountain peak will suddenly appear. Among the peaks painted with beautiful colors, it stands naked in front of you like a rude person-that's because the sun shines directly on it through the clouds.

Then, you can see the Lijiang River slowly shimmering and flashing in the distance. The sun dyed the Lijiang River into a transparent green ribbon and gently cast it between the peaks in Guilin.

At this time, you can go out. No matter where you go, sometimes you turn a house and suddenly a mountain peak stands in front of you. Sometimes I sit under a tree and see its delicate shadow through the dense branches and leaves. Or in the pavilion in the park, you just came out and a green mountain peak hung on the cornice of the pavilion. If you stand idly by on the lake, its sparkling and undulating reflection can often arouse your reverie for a moment.

In this way, Guilin landscape has always been around you, not in your eyes, not in your heart, not in your feelings and thinking.

However, if you live in Yangshuo, what will it feel like? I have been there once, and I have to use the word "fairyland" to describe it. Compared with Guilin, that mountain is denser, greener, quieter and quieter. The mountain peaks rise straight from the ground, but stand steeply, connected with each other, covering each other and setting off each other. Due to the flow of sunlight and clouds, the gathering, dispersion and fluctuation of fog, the depth of color is constantly changing. Moreover, the mountains in Yangshuo are not as bare as those in Guilin, but covered with dense jungle, which is like wearing a green velvet skirt. That's not enough. The best time is spring. Before and after Tomb-Sweeping Day, in the green jungle, red azaleas are everywhere. Like a green velvet skirt embroidered with bright flowers. This enables people to produce a warm mood in a quiet atmosphere.

To go to Yangshuo, the most important thing is to take a wooden boat on the Lijiang River. Just a reflection in the river, there is no other realm. The mountains in the water are clearer than those on the shore; And because of the flow of water, the mountains seem to be flowing. The attitude of the mountain changes with the position of the ship. The water in Lijiang River is surprisingly clear. I'm afraid no river has such clear water. No matter how deep, you can see the end; See the pebbles at the bottom of the river, the patterns on the stones, the flash of sand, and the claw marks of insects crawling on the sand. The aquatic plants at the bottom of the river are very dense. Long, cattail-like leaves, flashing green, are moving in the direction of water flow.

From Guilin to Yangshuo, some people compare it to a natural picture scroll. However, compared with the picture scroll, the landscape changes in the early morning, noon and Huangcuo are different, varied and much more vivid. Especially in the rainy morning in spring, there is a veil of white rain floating on the river, and the distant peaks are completely covered by clouds and rain. At this time, only the thin sound of rain was left, hitting the awning, hitting the river, hitting the grass and trees on the shore. As a result, a slight sound that people can't feel makes the whole Lijiang River very quiet. Suddenly, alas, a small fishing boat sailed into Jiang Lai from a stream on the shore. Looking down the stream, in the drizzle, a misty peach blossom extends along the stream bank to the depths of the canyon, and then is blocked by an invisible mountain, cloud or fog.

At this time, I remembered the "Jiangnan Apricot Blossom Spring Rain" by Dyeable Comrade. ...

But then, "painting mountains" is just around the corner. A steep stone wall stands upright on the shore. Due to the erosion of millions of years of wind and rain, the rock clearly presents many layers, just like countless peaks overlapping and pressing together. The lines of these outlines, the lightness of levels and the change of colors make people imagine it as nine horses, so painting mountains is also called "painting mountains and nine horses". Nine horses stand on the stone wall on the bank of Lijiang River, standing or lying, leaning or bending, galloping or jumping, or drinking along the river. It really looks vivid. However, Comrade Keran's Silhouette of Painting Mountain in Guilin has revived in my memory at the same time, and it has appeared more vividly in front of me.

The length of the painting is not large, it is completely uncolored sketch. The whole picture is almost completely occupied by standing rocks. Only in the lower half of the picture, there is a row of wooded cottages. On the ridge in front of the village, there is a man holding a cow. But these are not the main body of the painting, and they have not attracted the special attention of the viewer. What immediately attracted the viewer was the rock covered with paper. Rocks are like surging waves, one after another. They are stacked on top of the other, crowded around, standing on the wall, standing on the wall, until the top is close to the sky. The Jiu Feng peaks of Huashan Mountain are strewn at random, while the rock wall is as straight as an axe, the edge is steep, and the limestone is rough, as if you can reach out and touch it. So the whole painting shows a magnificent and aggressive momentum. At this time, in front of me, the painted mountain seems to stand out from the surrounding mountains and move into a living, flesh-and-blood, thoughtful and emotional object. The mountain that exists naturally and the mountain that creates art are inseparable and integrated.

However, this is only a moment. When the painting mountain passed, the impression disappeared. In my memory, there were only magnificent artistic conception and hard-working feelings. ……

Sitting at the bow of the boat, I pondered blankly, as if I realized that human labor and the creation of human spirit were so magical! It seems to build a mythical bridge between man and nature; It is also like a golden key in mythology, which opens the door to the immortal abode of fairies and immortals. People can only see the essence and soul of nature clearly when they cross this bridge and enter this cave gate.

From the geological point of view, Guilin landscape is just a "karst" phenomenon: calcium carbonate in limestone has been dissolved by water for a long time, forming a "karst cave" area. In addition to Guilin, the stone forest in Yunnan is also the so-called "most developed karst" area in geology. As a natural phenomenon, they have no beauty or ugliness in themselves. Some scenery is beautiful, others are not beautiful or not beautiful enough, which is the result of long-term observation and comparison in social life. And this concept of beauty and ugliness is the product of human labor and consciousness on nature. This kind of human labor and consciousness of nature has been formed in history, and natural beauty has become an independent objective existence. Moreover, in different times and different classes, people's views on natural beauty are constantly changing, which makes people's understanding of nature increasingly profound and rich.

As an art, landscape painting has been a means to help people understand and appreciate the beauty of nature since ancient times, and then to help people transform nature according to the law of beauty. Like all arts, its strength lies in its profound observation and concrete description of nature; So it looks real and powerful. Therefore, you unconsciously entered the spiritual realm created by the painter from the specific feelings of the landscape. No matter it is magnificent, no matter it is magnificent, no matter it is all kinds of love feelings, it can make you full of passion for the mountains and rivers of the motherland. At this time, you will feel that your patriotism is concrete and powerful, and it is a passionate and energetic emotion that is saturated with your own experiences and feelings. Thus, the painter's labor was rewarded at this time.

Comrade Keran has drawn a lot of sketches in recent years. He called his creative method "trauma to the scene". Of course, there is no fiction in these works, but there is no imitation of nature. He always describes a specific object, and puts the described object in a specific description to express the spiritual world of the object. In this way, in these works called "sketching", the typical personality of the motherland's rivers and mountains that everyone can see and feel is concrete and universal.

Perhaps it is at this point that Silhouette of Painting Mountain in Guilin was a success. It shows the spiritual outlook of Guilin's landscape through a true and bold portrayal of the Carboniferous rocks in Guilin. So for the audience, for me, there is a power to further understand the art of life according to my own experience.