Wang Wei and Meng Haoran s landscape idyll

Past the old man's village. Tang Meng Haoran.

The old man Gu Ji invited me to Tian's house.

The green tree village is close to the edge, and the green mountain Guo is oblique outside.

Open the noodle garden, and talk about the wine.

Stay until the Double Ninth Day, and come to chrysanthemums.

Can I write an email address? But I only have Wang Wei's poems, all of them.

Wang Wei and Meng Haoran's landscape idylls are the same and different, each with its own merits, First, Wang Wei and Meng Haoran's landscape idylls both belong to the "Qing School", but Meng Haoran's style is more light. Meng Haoran's landscape poetry is obviously influenced by Xie Lingyun and Zhang Jiuling, and his light style is in the same vein. In Meng Haoran's poems, some are so faint that it makes people doubt whether there are poems or no poems.

For example, the poem "Wanshantan Composition": "Fishing sits on the rock, the water is pure and the heart is leisurely." Under the trees of the fish pond, the ape hangs between the vines of the island.

The wandering girl used to interpret the admiration, and it is rumored to be on this mountain. If you can't get it, you can return it along the moon. The artistic conception of the whole poem is light, and the poet's mood is also leisurely, pure, expansive, and indifferent.

Wang Wei's landscape poems are more simple and leisurely, with far-reaching and infinite flavors. It seems to be written casually and unpolished, but it is really vivid, subtle and timeless. 2. Wang Wei is the master of the Nanzong School of Painting, whose landscape idylls pursue the beauty of sound and rhythm, and Meng Haoran's landscape idylls show people the beauty of nature and humanity, with a strong regional cultural color.

3. From the perspective of contemplating nature, Meng's poems are mostly dynamic travel, and Wang poems are mostly contemplative sketches; In terms of lyrical mode, Meng's poems emphasize subjective lyricism, while Wang's poems emphasize objective depiction; In terms of creative skills, Meng Shi focuses on poetry, smooth and sparse, and Wang Shi integrates poetry and painting, which is precise and elegant; In terms of genre, Meng's poems emphasize five words, and Wang's poems work part-time; In terms of style, Meng Shi is more sparse and simple, while Wang Shi is beautiful in addition to dilution. The difference between Wang Meng's creations shows the synchronic evolution of landscape idylls from one side. Fourth, Wang Wei's landscape idylls contain profound Buddhist and Zen interests, while Meng Haoran's poems have no Zen interest.

In Wang Wei's landscape idyll, a point of convergence is formed between poetry and Zen, and the two are connected: Zen is far-reaching, giving people a tranquil and peaceful reverie. And Meng Shi has no Zen interest at all.

In short, if Meng Haoran enriched the backbone of southern landscape poetry with the sustenance and magnificence of comparison, then Wang Wei opened up a new realm of northern landscape idylls on the basis of fully absorbing the expression of southern landscape poetry, and realized the artistic ideal of blending the style of the Han and Wei dynasties with the words and colors of Qi Liang with the combination of majestic and fresh nature. If Meng Haoran's landscape poems are based on feelings, and less depiction, and win by diluting imagery; Wang Wei, on the other hand, is better at accurately portraying morphological features and expressing rich feelings with carefully structured pictures, so his landscapes are more vivid than Meng Haoran in terms of color and composition. 。

The similarities and differences between Wang Wei and Meng Haoran's landscape poems.

The idyllic poems of the two are based on the theme of landscapes and pastorals, expressing the quiet and tranquil beauty of nature, depicting mountains and rivers, and describing farm life without seeking the beauty of words, and many poems show their tranquil and lonely style. Here's what they have in common. The difference is:

Meng Haoran's landscape poems depict the fresh and beautiful landscape and countryside, the friendship between the old people is sincere and profound, and the life of the Tian family is also simple and lovely, expressing the poet's cheerful mood, such as "Passing the Old Man's Village" and so on. There are also many poems that write about their secluded life, the pleasure of self-purification, and the boredom of being talented, such as "Sujian Dejiang". Wang Wei's landscape idylls were mostly written in the later period, when Wang Wei held a negative attitude of birth, indulged in inner life, and sent his feelings to the landscape to escape from reality, often permeating the atmosphere of Buddhism's nihilism and loneliness.

For example, these landscape poems of "Mountain Dwelling in Autumn and Darkness" and "Zhongnan Mountain" have objectively produced a negative impact on whitewashing reality and guiding people to pursue a quiet and lonely life.