Poems describing scenery

First, "verve" and Zen.

The landscape poetry school represented by Wang Wei in Tang Dynasty has an important position in the history of China's poetry. The reason for this is that the creation and artistic spirit of the school of landscape poetry reflect the characteristics of China's poetry to a great extent.

Wang Shizhen (Yu Yang), a famous poetic theorist in Qing Dynasty, commented on "teaching only with verve" in Volume 266 of Qing Draft, and praised verve as the core category of his poetic theory system. Whether this concept is explicitly used or not, Yu Yang takes "natural charm" as the value measure of poetry evaluation everywhere. Judging the history of poetry by the theory of "verve", the creative style of landscape poetry school in Tang Dynasty, represented by Wang Wei and Meng Haoran, is most in line with Yu Yang's aesthetic ideal. In Yu Yang's poetics, Wang Wei, Meng Haoran, Chang Jian and others are highly respected.

At the same time, we can easily find that Wang Shizhen's "verve theory" has a very profound connection with Zen. From Yu Yang's Poetics, we can see that Yu Yang's Zen poetics is not at the general metaphorical level, but internalizes the characteristics of Zen into the aesthetic connotation of "verve theory". At this point, Wang Yuyang went a step further than Yan Canglang's "Zen as a metaphor for poetry".

When talking about the creation of various schools of landscape poetry, Wang Shizhen often describes the beauty of poetry with the unique situation of "entering Zen". For example, he said: "Tang people often go into Zen and forget their words with pride." They are silent in the name of the net, so as to grind the bone marrow. Look at Wang (Wei) Pei (Di)' s poem "A Collection of Wangchuan" and Zuyong's poem "Boundless Snow in the South", even if you are outspoken, you can have an epiphany. "(Xiang Zu Zhu) It is emphasized here that the five-character quatrains of Wang Wei and others are all related to Zen. He also said: "Yan Canglang used Zen as a metaphor for poetry, and said it in Shenqi. The five words were especially combined, and every word entered Zen. He is like a' fruit falling in the rain'. Grass insects sing under the lamp, moonlight in the pine forest and crystal stone in the stream, white thin curtain in the water, looking at the glory S of the autumn moon through the crystal glass, Chang Jian or soft and loose the moon to be his friend, noble "the woodcutter is black, the grass insects are cold", Liu Tuoxu's "petals float with the wind, far with the flowing water", which is no different from the smiles of Buddha flowers and Ye Jia. The theme of the sequel to Silkworm Tail is similar to that of the previous work, and both advocate transcending the muddy realm of language limitations. Regarding the differences between people of landscape poetry school, I also said: "I will talk about Tang poetry, Wang Wei's Buddhist language, Meng Haoran's Bodhisattva language, Liu's language, Wei's ancestral language and Liu Zongyuan's words." (Ju) all use Buddhism as a metaphor, while other poets, such as Du Fu, Yu, Zhang Jiuling's Dian Wu Yu, Yu Jian Xian, Yu Li's Hero Yu, Yu Gui, Yu Lu Tong's Witchcraft Yu, Li Shangyin, and Yu Han's Wo Er Yu Yu, do not involve Buddhism. In fact, it reveals the internal origin of Wang Meng's poets, Buddhism and Zen.

Wang Shizhen talked about Wang Meng's poets by "entering Zen", and regarded them as a model of "verve" in creation, which was not a subjective imagination, but was summed up from the life experience and creation of these poets. In other words, the landscape poetry school in Tang Dynasty, represented by Wang Meng, has an objective connection with Buddhism and Zen in ideology and artistic style. Revealing its internal reasons is really beneficial for us to understand the artistic tradition of this group of poets.

Second, the relationship between landscape poets and Zen Buddhism

The school of landscape poetry we are talking about includes some poets who expressed their inner world with landscape as the aesthetic object from the prosperous Tang Dynasty to the middle Tang Dynasty, including not only poets such as Wang Wei, Meng Haoran, Chang Jian and Chu Guangxi who mainly lived in the prosperous Tang Dynasty, but also poets such as Liu Changqing, Wei and Liu Zongyuan. In time, these poets often experienced the vicissitudes of the Tang Dynasty from prosperity to decline, and it is difficult to divide them mechanically. In art, their themes are similar, and their techniques and styles come down in one continuous line. Moreover, most of them are closely related to Zen and Zen monks, and their thoughts are deeply influenced by Zen style.

Wang Weizhi's devotion to Buddhism and Zen is the common sense of scholars who study the history of literature, so it goes without saying. A Qing people once compared Wang Wei with Li and Du Fu, and pointed out the relationship between his poems and Buddhism: "White wins with charm, beauty with rhythm, and charm with reason." Taibai Qian Qiu is easy to tune, the size of the child is beautiful, and Daxiong (referring to Sakyamuni) is perfect in learning, and every word conforms to the holy religion. "("Er Tang Poetry ") said that Wang Wei's poem" every word is in line with the sacred religion ". Although exaggerated, it shows that his poems are deeper than Buddhism.

As for Meng Haoran, critics rarely mention his relationship with Buddhism and Zen, and there are few written materials for textual research. But the most powerful argument is his own poem. From Meng's poems, we can easily see that Meng Haoran has close contacts with Zen monks. Zen monks who often sing with him are Master Zhan, Empty Master and Master Jiao. Poets also often stay in the monk's room of the Zen temple and chat with the Zen masters. There are more than 20 poems inscribed in the Zen Temple, such as The Final Room of Nancuiwei Temple, The Master Sleeps in the Mountain Room, Lan Ruo, the Zen Master of Xishan Temple, The Room of Accompanying Master Yao Yi, Going to longxing temple Pavilion, The Master Holding the Temple for Floating, etc. From these poems, we can see that Meng Haoran is deeply influenced by Zen.

The poets of this school are Chang Jian, Liu Tuoxu and Yun. They all communicated with Zen monks, and their poetic style was deeply influenced by Zen. Pei Di is a close friend of Wang Wei and his "legal partner". The so-called "Dharma couple" is also a fellow in Zen. There are 29 existing poems in Pei Di, and 20 poems in Selected Works of Wangchuan are works sung with Wang Wei, among which there are many Zen rhymes. Among the other nine songs, four songs are directly related to the Zen monks in the Zen Temple, such as Collection of Renshang Courtyard in Tanzhe Temple, Qingliu Temple, Visiting Renshang Courtyard in Tan Xing, Visiting the Zen Master in Qingliu Temple in Summer, and Lu Yu Tea Spring in Xita Temple. Many times in the poem, I expressed my yearning for Zen, such as "What's the good of floating my name? I am willing to live a Zen life from now on. " ("Tour the influence temple, Tan Xing, Ren Shang Shan Yuan") "The spiritual realm is the best, and the dharma hall is dusty. Naturally, I look down at the clouds. " ("Collection of Tanbi People's Courtyard of Qingliang Temple") "Knowing the law is not dirty. If you are speechless, who dares to pay? " ("Going to the Qinglong Temple to Fuck the Zen Master in Summer") and so on. It can be said that Pei Di has a deep relationship with Zen. Chang Jian's poems are also famous for Zen. One of the most famous is a Buddhist retreat behind Duanshan Temple, which clearly shows the poet's cultivation of Zen. Needless to say, this school of poets is not very eye-catching, but his poems can quite reflect the artistic characteristics of the landscape poetry school. There are only 26 hidden poems, but there are more than 10 poems directly related to Zen and clearly marked on the title of the poem. For example, a gorgeous public house in Zhiyin Temple, a peak temple in Zhiyin Temple, and Lan Ruo, a financial master. The Biography of Talented Talents in Tang Dynasty commented on his poems: "Good sentences are enough, and you are good at writing feelings outside the party. There are not several generations. " "The feeling outside the party is the feeling of living in the heart, releasing the Vatican and staying away from the secular world. Liu Tuoxu is also a poet of landscape poetry school. In the 11th year of Kaiyuan (723), he was a scholar, and later served as Taiwei of Luoyang and magistrate of Xia County. He is "noble in nature, detached from snobbery and despises the world." "Make friends with monks and Taoist couples in mountainous areas. On the one hand, Biography of Talented Talents in Tang Dynasty has more contacts with Zen monks, on the other hand, it makes his poems "good for the outside world." (ditto) The poem says, "The mind is unbounded, and the industry hangs around. "("Mount Lushan Peak Temple ") and other sentences revealed his meditation. Chu Guangxi is an important poet in the school of landscape poetry. There are more than ten poems directly related to Zen monks and Buddhist temples, such as Distinguishing the Sense of Exquisite House, Cautiously Saying the Old Residence of the Master, From Outside the Garden to Longxingyuan, and On the Master's House. Liu Changqing, a famous poet known as the "Great Wall of Five Words", is rarely associated with Wang Meng's poets. In fact, in terms of art, Liu Changqing is the outstanding poet in this school. His poems show more the mentality of a scholar-bureaucrat from the prosperous Tang Dynasty to the middle Tang Dynasty. The cold landscape pictures in Changqing's poems are the externalization of the literati's mind after experiencing the fright of "An Shi Rebellion". Liu Changqing's poems have deeper and wider traces of Zen. There are nearly thirty articles directly related to Zen monks in Zen Temple. It can also be seen that he has a deep relationship with Zen. The charm of Zen is completely permeated in the description of the clear scenery. For example, Master Hehe goes to the Spring Festival, Master Lingfa and Zen Master Shuangfeng Temple in Youlin. Wei is a famous poet in the mid-Tang Dynasty. He has always been regarded as a strong supporter of Wang Meng, "Wang, Meng, Wei and Liu", which shows that Wei and Liu Zongyuan inherited and developed the artistic spirit of Tao and Xie Shanshui's poems in the mid-Tang Dynasty. Nearly 30 of Wei's poems are directly related to Zen monks in Zen temples. As can be seen from the poem, the poet's Zen consciousness is conscious and strong. For example, the poem "Worry can be donated" ("To wei li") is obviously a derivative of the Zen concept of "Mind begets all methods and mind extinguishes all methods" ("Tanjing") in the outlook on life. "Fate makes people more tired, and it is late to realize the Tao" ("Answering Master Cui's Questions, Plain") is an echo of the theory of the twelve origins of Buddhism. Liu Zongyuan's belief in Buddhism is better known. Especially after being demoted to Yongzhou, I have a deeper understanding of Buddhism. He said: "I have been a good Buddha since I was a child, and I have been seeking his way for 30 years. Few speakers in the world can understand him. In Lingling, I am the only one. " (Preface to the Call of Sending a Master to Uncle Zhong You) Liu's poems, such as Reading Classics with Zhao in His Temple in the Morning and Zen Hall, all use the concept of Zen to make him forget the chance.

To sum up, most of the poets of the Tang Dynasty's landscape poetry school have a close relationship with Zen. They are immersed in the wind of Zen and have more or less contacts with Zen monks. Therefore, we have to consider whether the ideas and thinking methods of Zen have had a relatively internal and profound impact on the artistic style of these poets. In other words, is there a Zen gene in the artistic characteristics of the landscape poetry school in Tang Dynasty? The answer is yes.

Third, the ethereal and bright poetic scene and distant style

From reality to emptiness, China's classical poetry art has made a leap. The realization of this leap was mainly in the prosperous Tang Dynasty, but it was mainly reflected in the landscape poets represented by Wang Meng. In this respect, Wang Wei's poems are the most typical. Such as the famous poem "Mount Zhongnan": "Its huge height is close to the city of heaven, connecting 1000 mountains to the corner of the sea. The white clouds merged behind, and the blue mist melted into the mountains and disappeared. The central mountain peaks separate the southwest, and the valleys are also different. I want to stay at home, I shouted to a woodcutter on the river. " This poem describes the majestic momentum of Mount Zhongnan. The phrase "Baiyun" describes the clouds in the mountains flickering and ethereal, and the artistic conception of the poem is broad and vigorous, but there is also an ethereal and changeable realm. The same is true of the poem "A Thousand Horses": "In autumn, the sky speaks for itself, and the feelings are far away from the world, and the sand crane crosses the clouds in the mountains. Clear waves will be at dusk, and the clear moon will be full of leisure. I'm alone this night and I haven't returned yet. " It also created a very ethereal realm. This kind of poem can be found everywhere in Wang Wei's works. Such as: "This river runs through the heavens and the earth, and there are both mountains and mountains here. Human habitation seems to float on the ripples in the distant sky. " ("The Han River Overflows") "The high city overlooks the sunset, and the Cangshan Mountain is extremely reflected." ("Climbing the Tower of Hebei") "Vast, cool and refreshing, crystal tomorrow. The round light contains everything, and the drunken shadow enters the idle stream. " ("Fu Qiu Hanging Clear Light") has an ethereal and swaying realm and grandeur!

This kind of poetic sentiment can be found not only in Mosha's poems, but also in the creations of other poets of the Landscape Poetry School. For example, Meng Haoran's "Sleeping in Jiande": "My boat is sailing in the fog, the day is getting dark, and the memories of the old days begin. How vast the world is, how close the trees are to heaven, and how close the moon is to the water! Suri Public House: Why is it as interesting as a stone? You can enter the family room by yourself. The moss is full of spring scenery, and Luo Xuan and jathyapple are idle. " Now that the sun has set beyond the western mountains, one valley after another is shaded and dim. "I'm sure I can't afford to be a homestay teacher." . Now the cold of the moon and night passes through the pine trees, and my ears are pure because of the sound of wind and water. Chang Jian's "Zen after the Broken Mountain Temple": "The mountains and birds are alive here, and the water is quiet." . "Stay in Wang Changling's former residence:" I'm still soft and relaxed, and I'll be my childlike friend. "Yupu": "Clear water and bright moon are wide, and the annual flow is flat. Fishing Bay in Chu and Guangxi: "The pool is shallow, but the lotus moves and the fish are scattered." Wait, this ethereal and clear poetic landscape can be found everywhere in the works of landscape poetry school.

Compared with the Tang poetry, the poems of Wei, Jin, Southern and Northern Dynasties, despite great efforts in the pursuit of formal beauty, are still relatively solid and lack ethereal and bright charm. The reason why poetry in the prosperous Tang Dynasty was highly respected was largely due to its poetic environment. Yan Canglang said: "In the prosperous Tang Dynasty, people were only interested in antelopes, and there was no trace to be found. Therefore, its beauty is thorough and exquisite, and it cannot be parked together, such as the voice in the air, the color in the phase, the moon in the water, and the flower in the mirror. " (Cang Shi Hua Bian) mainly refers to such a poetic realm.

From reality to emptiness, it is not only a matter of poetic style, but also a matter of artistic conception, but that poetic art has realized its value to mankind at a higher level. People no longer aim at describing the natural landscape objectively, but let the landscape image become the projection of the soul. As Hegel said: "In art, these perceptual forms and sounds are presented not only for themselves or for the appearance and shape they directly present in the senses, but for satisfying higher spiritual interests with that appearance, because they have the power to cause reactions and echoes in the depths of the soul. In this way, in art, perceptual things are spiritualized, and spiritual things are also revealed by sentimentality. " (Aesthetics) Volume I, Chinese translation, page 49) I know the value of empty Ming poetry from this perspective.

So, what role did Zen play in it? The answer is the infiltration of Zen's "empty view" into the poet's artistic thinking. "Emptiness" is the first essence of Buddhism. According to Buddhism, "all four things are empty" and "all five meanings are empty". Only when the subject and object are empty can we get rid of the fate of life and death. But it is undoubtedly difficult to prove that the real thing is nothing. So he "talks in vain." Mahayana Prajna adopts the thought method of "middle view" and is unique, describing everything as an illusion that is neither real nor empty. As Seng Zhao said in "On Non-vacuum", "All kinds of laws are not true in name. For example, an illusionist is not an illusionist and an illusionist is not a real person. " Seng Zhao used "calling people" as a metaphor, saying that everything is not necessary, but a kind of "calling". Philosophically speaking, this is of course pure idealism. But its influence on literary creation is complicated, and it is difficult to distinguish between "materialism" and "idealism".

Wang Wei believes in Buddhism, mainly Zen, which mainly develops Mahayana Prajna. Wang Wei knows this well. He wrote in "Preface to another poem in Jianfu Temple's Light Teacher's Room": "Any teenager is a teenager if he cares about whether he has it or not. Leaving is also illusory. When people don't give up their illusions, there are too many. Therefore, the eyes can be dusty, the heart can't be the same, the heart is not the world, the body has nothing, and things care about me in the boundless realm. " It is with this "unreal" vision that Wang Wei looks at life and the world. Color is emptiness, emptiness is color, there is neither nothingness nor nothingness, and everything is in colorless emptiness. This way of thinking permeates the artistic thinking of poetry, resulting in an ethereal and light aesthetic realm, as if there were nothing.

Generally speaking, the artistic style of landscape poetry school is the most prominent. Poets write beautiful scenery, calm mind, long artistic conception and leisurely and indifferent words. The previous generation of poetic theorists were talking about the far-reaching style of this school of poets. Hu Zhenheng quoted "A Long History of Zhenze" as saying: "It's really ink painting to write mountains and forests in the voice of pure ancient seclusion, such as poems of Wangchuan." It is nothing more than saying that it is "light". Hu Yinglin compared Wang Meng with Gao Cen: "Wang Meng is carefree, while Gao Cen is solemn and stirring." ("Poetry") Hu Zhenheng also quoted Xu's comment on Meng Haoran's language: "Xiangyang has a clear weather and a lonely heart, so its words are scattered and easy to read, and its true colors are reflected in it. Although the algae is not as good as Li Hanlin, the show is not as good as Wang Youcheng, but it is leisurely and unique. " ("Tang Yin Gui Qian") "Pale and far away" is the same style feature of this school of poets.

Take several specific works as examples. Wang Wei's Letter to Songshan: "The clear river flows through its bushes and slowly flows through my chariot. I became a traveling companion and went home with the birds at dusk. An abandoned city wall is above an old ferry, and the autumn sunset drowns the peaks. Far away from Songshan Mountain, I will close the door and rest. " "Brothers and Sisters in the Mountain": "There are many couples in the mountain, and Zen is a group. Although the city is far away, you should see white clouds. " It can indeed be called "uncolored ink painting", and "lightness" is the most prominent feature. This dullness is not only the dullness of language color, but also the dullness of the creative subject's mood.

Meng Haoran's poems are even more famous for their lightness. Hu Yinglin, an Amin poet, summed up the noble style with "simplicity" and commented on Meng: "Meng's poems are light but not quiet, and when they are mixed with beauty, they are idle and far away, which is quite flattering. Those who take it are naturally. " ("Poetry") For example, "Boating in the North Stream": "The North Stream is always full and stands upright. It's fun to be by the river, so why be in the five lakes? "Looking for the Master of Ju Chi": "In Ju Chi, the west of the village has been tilted. The master climbs the mountain, and the chicken and dog are not at home. "It has been diluted. Some of Meng's famous works, such as Qiu Deng Lan Shan Zhi Zhang, Summer in the South Pavilion, Sleeping in Jiande, etc., are all called "light". Mr. Wen Yiduo described it well: "Meng Haoran didn't build poetry tightly in a couplet or a sentence, but diluted it and dispersed it evenly throughout the article, even so light that people doubted whether there was a poem." ("Tang Poetry and Song Poetry Meng Haoran")

Wang Meng's poets basically have a "light" poetic style. So, does this have anything to do with Zen?

What Zen achieves is not the thing itself, but Zen itself, but it is not a slight detachment from things, but a transcendence of things. The essence of Zen is "no mind for teaching, no phase for the body, no shelter for the foundation". The so-called "no phase" is not to completely strip off the "phase", but to "stay in the phase", that is, stay in the "phase" and surpass it. Because of this, Zen advocates freedom, understands everywhere, opposes bondage, and even opposes carving and painting. Everything goes with the flow, everything is indifferent and not far-fetched. The Zen case-solving emphasizes this spirit of being indifferent to the machine and not binding the heart. "The monk asked: How can a monk care? Teacher: Intention is wrong! " (Five Lights Meeting Yuan 1 1) Zen is natural and can't be worked hard. Another example is: "Q: What is the contribution of scholars? The teacher said, "The grass clears itself when spring comes, and the moon dawns. "(ditto) means that everything is natural, just like the grass in spring and the dawn on the moon.

The "plain" or "diluted" style comes from all subjective mentality that is not tied to the heart. Freedom, persistence and unyielding are like clouds swimming in the sky. Many landscape poets have this mentality. The so-called "everything is inseparable from its ancestors" is a positive confession. "I will walk until the water checks my way, and then sit and watch the rising clouds" is the symbol of Zen's "restless heart" and "impermanent heart" In Liu Zongyuan's poem "Fisherman": "I turned around and saw the waves moving from the sky, and the clouds on the cliff came leisurely, one after another." It is also the image embodiment of Zen's concept of "not being born in the world". In fact, the style of "light distance" and "plain" is closely related to the subjective mentality of being unimpeded, restrained and free.

Fourth, the feeling of loneliness and quiet atmosphere.

The landscape poetry school in Tang Dynasty mainly took landscape scenery as the aesthetic object and creative theme, in fact, it put the poet's lonely soul in the landscape. There are many poems of this school of poets, and you will find that the lonely figure of the poet seems to be everywhere in the description of landscape images. The most prominent is Liu Changqing's works, which often appear as a figure who comes from the past and lives alone. Sometimes it is not the poet himself, but the image of others, but if you read it carefully, you will find that it is just the projection of the poet's heart. For example, "The Blesser": "From the temple, in the depths of its tender bamboo, came the deep voice of the late bell. Holly, with the sunset, falls farther and farther under the green hills. " This seems to be about a clever Zen master, but it is actually a reflection of the poet's lonely feelings. Another example is "Moon in the River": "Clouds gather in the sky, and the moon looks at Qiu Jiang. Like a person on the beach, wading alone in the middle of the month. In a clear and hazy moonlight, in the Qiu Jiang, "people on the sand" quietly crossed the river alone. The poet's preference for such images is determined by the lonely mentality of the creative subject. In evergreen poems, even literally, poems like "loneliness" and "independence" can be seen everywhere. For example, "Wandering alone in the wind, the water is boundless", "Wandering alone in the white clouds, swimming alone in the green hills", "Where the sail goes, the horse comes late alone", "Where the river and the sea find a lonely boat without a trace", "People talk empty mountains, and apes come alone." When Fang was a guest in Wan Li, he returned to his hometown alone. "In fact, there is no way to give more examples, it is everywhere. The poet's loneliness is clear at a glance.

Not only Liu Changqing, but also poets of this school expressed their loneliness in their landscape descriptions. Meng Haoran's "Jiangnan is a beautiful thing": "The pole hangs down the north river, the firewood sings into the south porch, and the book takes the secluded things, which will be discussed by the people who make peace." "Besides the night, I am pregnant": "Through the jagged white snow in the mountains at night, a lonely stranger." Wang Wei's Answer to Zhang Wudi: "There is a hut in the south, facing south, which is often closed all year round without guests, and there is no intention of being idle all day." Sitting alone in autumn night: "Sitting alone on your sad temples, you want to be more empty." Zhulou: I leaned alone in the dense bamboo forest, playing the pipa and humming a song. The voice was too low, and no one could hear me except my partner Mingyue. Wei wrote a letter to Cui Zhushu in a lonely night in a temple: "You are sleepy, and the leaves fall one after another. The cold rain is darker and deeper, and the warbler is louder. Sit and let the blue light come late, but it hurts the summer dress. It is best to know the age of the party, and it will be even more bleak to leave this group. " Chanpu Temple Pavilion: "The sunset glow shines on the high pavilion, and the green hills are far away. When a mysterious person looks up, he is very handsome. " Wei's famous article "Xixi Chuzhou": "Pity the grass stream, and there are orioles singing in the trees. Spring tides bring rain late, and there is no boat crossing in the wild. " It seems that it says "Youcao", but in fact it is "You hurt yourself alone." Liu Zongyuan's "Zen Hall": "The land is green, the clouds are light and the wind is light, and the mountains and flowers fall to secluded households. There are people who forget their planes and take part in taking things. There is no need to analyze them. Everything is born, silent. If the mood is like this, the birds fly without a trace. " He not only wrote about his lonely situation after being demoted, but also described the influence of Zen on this state of mind.

It is no accident that so many poems express loneliness, which has almost become the same mentality of this school of poets. Looking back, we can realize that they wrote more poems about mountains and rivers, not to describe the appearance of mountains and rivers, but to express their loneliness in a landscape. They play up the tranquility of mountains and rivers, stay away from the noise of the world, just to entrust a quiet poetic soul!

Closely related to this is the * * * characteristics and quiet atmosphere in the creation of landscape poets in the Tang Dynasty. Poets invariably set off the quietness of mountains and rivers when writing landscape images, and no one wrote its noise. In fact, writing landscapes is precisely to write this kind of abandoned silence to the world. At the same time, writing wind, underwater sound, insect sound, forest sound ... just makes it quieter. Wang Wei's Ji Xiang Temple, which passes through the ancient trees, is deserted, but now I hear the bells on the heights. The stream sings on the winding rocks, and the sun is tempered by pines. "The sound of spring is quieter in the ancient temples in the mountains. In Sitting Alone in Autumn Night: "In the rain, the fruit falls and the grass insects sing under the lamp." "Tan Xing Ren Shang Shan Yuan Trainee Temple Queen": "The wild flowers are blooming well, and the birds in the valley are quiet. "The sound of fruit falling, insects singing and birds singing in these poems is precisely to set off the extreme silence of the mountains. Poets are lonely. It seems that he is the only one in the world. He listens to the rhythm of nature. Meng Haoran, Chang Jian, Liu Changqing and others all wrote landscapes in a very quiet atmosphere. For example, Meng Shi's poem "Master Zhan Xun in Xiangshan" says: "The pine spring is full of sound, the moss wall is old, the bell is heard, and the fragrance is known. "Now the moon and the chill of the night pass through the pine trees, and my ears feel the sound of wind and water." I'm sure I can't be a teacher in a host family. "Almost all the woodcutters have gone home, and the birds are perched in the silent fog. Chang Jian's "Cloud Gate at the Back of Baihu Temple": "It's quiet in Zhouzhu, and you can enjoy flowers. Climb the ridge after entering the stream, and the grass is shallow and cold. The full moon is bright and the peak is bright, and the green hills are lonely. Song Yinchu is sunny at night, and Li Mingyuan. " Liu Changqing's "Qiu Deng's martial arts is too high to go to the temple": "There are few people in the wild temple. From the lake, there are clouds in the mountains. The setting sun clings to the old defense, and the stone gongs tremble in the empty forest. " Go to Nanxi to meet the Taoist Chang: "Take the path, there are footprints on the moss. After a while, the clouds are low on the quiet lake, and the grass is sweet with an idle door. " And the list goes on. Quiet atmosphere is a prominent feature of landscape poets.

What does this have to do with Zen? Yes The Zen of Zen has changed the practice mode of Zen to a great extent, which is manifested in opposing and abandoning meditation, but one thing comes down in one continuous line, that is, the cultivation of mind-only the cultivation methods are different. Zen is no longer limited to the form of sitting still and observing the environment attentively, and further gets rid of the dependence of the heart on things and regards the heart as omnipotent.

Zen is a hermit after all. Although it can be integrated into the secular world, it needs to gain a sense of freedom. "To learn from Zen, there must be a heart everywhere." (A Record of Huang Geng Wanling) It is actually an "ostrich policy" not to abandon the law (Tanjing) and turn a blind eye to everything. Zen is also a reflection on one's inner world, unwilling to give up in the changing situation of the external world, and taking one's heart as an independent and self-sufficient world. This reflection and recognition of the inner world will inevitably bring about the uniqueness of experience. Meditators are lonely at heart. The recluse feelings of landscape poets in Tang Dynasty are closely related to the great social changes before and after the "An Shi Rebellion". The Tang Dynasty fell into a deep canyon from the peak of its heyday. The poets who experienced this chaos personally, their enthusiasm was condensed, their mentality was left out, and they turned from outward projection to subjective introspection. Social reasons are the main ones. However, when the poets approached Zen, they hit it off with the reflection of Zen. Therefore, when describing the lonely situation, they involved many details of Zen, such as Liu Zongyuan's meditation hall, reading scriptures with Zhao in the Zen temple in the morning, Wang Wei's, crossing the temple, my retreat in Zhongnanshan and so on, all of which are obvious examples.

Although the Zen family has repeatedly claimed that "walking, living, sitting and lying are nothing more than Tao", in fact, it is mainly to build temples in quiet mountains and forests, and "realize" Zen machines in endless sunrise and sunset. Zen monks are happy to deal with nature, and scholars who devote themselves to Zen are also happy to live in the mountains, at least temporarily gaining a peace of mind. It is no accident that Wang Meng's poets wrote the mountains so empty, which is directly related to their study of Zen.

In fact, the quiet atmosphere in the landscape is not an objective description, but mainly a state of mind construction. "The mind gives birth to all laws, and the mind gives birth to all laws" (Tanjing) Zen takes the heart as the noumenon of all things, and the so-called "quietness" is just a kind of peace of mind. Mahayana Buddhism regards "peace of mind" as "static soil", and "Bodhisattva wants pure land, so it is necessary to purify the heart. With its state of mind, the Buddha's land is pure "(Vimalakīrti Sutra and Buddhist Products), and the reason for changing" net "into" static "is exactly the same. "Building a house should be people-oriented, without horses and chariots. What can you do? The heart is far from being biased. " Tao Gong's drinking shows that this idea is the most appropriate. He knows there is no trace of Mahayana in it?

Zen Buddhism has a deep relationship with the landscape poetry school in Tang Dynasty, and it is difficult to explain them one by one. The artistic spirit of landscape poetry school is by no means an end, and the influence of Zen is only one aspect. However, from this perspective, it will complement the in-depth understanding of landscape poems in Tang Dynasty.

Landscape poems:

Wang Wei is in Chai Lu.

No one can be seen in the silent valley, only the voice is heard.

Go back to the depths of the forest and shine at me from the green moss.

Meng Haoran in the spring dawn

Sleeping sickness in spring unconsciously broke the morning, and the chirping of birds disturbed my sleep.

How many flowers fall after a stormy night.

Wang Wei, Bird Watching Creek

People are idle, osmanthus flowers fall, and the night is quiet and empty.

When the moon comes out, the birds are startled, and the sound enters the spring stream.

Zhu wangwei

I leaned alone in the dense bamboo, playing the piano and humming a song.

It's too light for anyone to hear, except my partner, Mingyue.

Meng Haoran at night on Jiande River

Stop the boat in a foggy small state, when new worries come to the guest's heart.

The vastness of the wilderness is deeper than trees, and the moon is very close to the moon.

Wang Wei is in the mountains.

The stream of the river has been flowing for less than a day, and white stones are exposed on the riverbed. The weather is getting colder and the red leaves on the branches are becoming scarce.

There is no rain on the winding mountain road, the smoke is misty in the dense pine trees, and the water vapor is heavy, as if to flow, and then the clothes of passers-by.

Wang Wei, a mountain dweller in autumn

The empty mountains are bathed in a new rain, and feel the early autumn at night.

The bright moon shed clear light from the cracks and cleared the fountain on the rocks.

The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe.

Spring spring might as well give it a rest, and the autumn sun can stay on the hills for a long time.

Meng Haoran, passing by the old people's village

This old friend prepared a delicious meal and invited me to his hospitable farm.

Green Woods surround the village and green hills are located outside the city.

Open the window facing the valley vegetable garden and pass the glass to talk about crops.

Please come here to see chrysanthemums when the ninth festival comes.

Drink Tao Yuanming

Building a house is human, and there are no horses and chariots.

Ask what you can do, your heart is far from self-prejudice.

Picking chrysanthemums under the east fence, you can see Nanshan leisurely.

The mountains are getting better and better, and the birds are back.

That makes sense. I forgot what I wanted to say.