Appreciation of landscape poems of the Wei, Jin, Southern and Northern Dynasties, and landscape idyl

The landscape poems of the Wei, Jin, Southern and Northern Dynasties were formed on the basis of opposing the overly reasonable, indifferent and tasteless mystical poems and weak court poems of the time. There are a lot of contents written about landscapes in the Lanting poems of the Eastern Jin Dynasty artists in the past, although the artistic level is not the same.

The landscape idylls of the Wei, Jin, Southern and Northern Dynasties are based on Tao Yuanming.

Xie Lingyun and Xie Wei are representatives, among which Tao Xie is considered to be the pioneer of landscape idyll.

Tao Yuanming's poems are mainly based on the theme of pastoral life, and his representative works include "Returning to the Garden and Pastoral Home".

Five poems, "Drinking", "Words of Return", etc., among which the poem "Picking chrysanthemums under the east fence, leisurely seeing Nanshan" is a popular pastoral poem that has been passed down through the ages.

Xie Lingyun's representative works include "Stone Wall Essence House Returns to the Lake".

Ascending the Pond and Going Upstairs", "First Trip to the County" and so on.

Landscape idyll[1], one of the ancient Han poems. Xie Lingyun and Tao Yuanming of the Jin Dynasty originated from the Northern and Southern Dynasties, represented by Wang Wei and Meng Haoran in the Tang Dynasty and Yang Wanli in the Song Dynasty. These poems are known for their depictions of natural landscapes, rural scenes, and a peaceful and tranquil life of seclusion.

The poetry is timeless and beautiful, the style is quiet and elegant, the language is clear and concise, and the white drawing technique is mostly used.

1 All the words of inheritance, or step by step for you to analyze clearly:

Landscape in a vein: China's first landscape poem is actually Cao Cao's "View of the Sea", after the Western Jin Dynasty Xuanfeng became hot, and a wave of writing Xuanyan poems gradually arose in the society, in fact, it is to write about the metaphysics of landscapes, this kind of poems have been written for more than 100 years (the reasons are not repeated), which indirectly led to the rise of landscape poetry, but these are not real landscape poems. This situation was not until Xie Lingyun wrote a large number of poems that really sang about landscapes in the Eastern Jin Dynasty, and landscape poetry really flourished, but Xie Lingyun's landscape poems focused on the intuitive description of landscapes, just like painting with words, depicting them, although exquisite but boring.

It was not until later that Xie Hao wrote landscapes in Yongming style and wrote delicate emotions in the landscapes, so that the landscape poems had the hazy artistic conception of poetry, and completely got rid of the habit of mysteries or deliberate carving.

Pastoral lineage: China's pastoral poetry should be completed in the hands of Tao Yuanming from its rise to maturity.

The main representative of the landscape and pastoral in the Tang Dynasty is Wang Meng, their landscape idylls have not made a detailed distinction, and the poetry of the Tang Dynasty is called "the spirit comes to the gods", no matter which aspect has reached its peak, but it is also from the imperfection of the past, the development of landscape poetry to Xie Wei, there has been a pursuit of artistic conception, then Wang Meng and others who appeared in the Tang Dynasty can only say that the artistic conception is more perfect. In terms of language, the entire Wei and Jin dynasties have gone through a process from ancient to still sound and color, from the Jian'an style and bones to the soft and glamorous poems of the Qiliang period, this soft and beautiful atmosphere has continued until the early Tang Dynasty, and after the continuous efforts of the scholars, it has slowly come to a zone where color and air and bones coexist, so the landscape poetry and poetry of the Tang Dynasty have developed to a perfect realm of color and bone from the language point of view. In terms of genre, the basic stereotypes of various rhythmic poems were completed in the early Tang Dynasty, Shen Quanperiod, Cui Rong and others, so Wang Meng and others in the Tang Dynasty wrote poems whether they were a few words of rhythm poems or quatrains or ancient style poems, and in the Wei and Jin dynasties, more of them were writing five-character ancient poems.

If you want to talk about inheritance and development in detail, there are many more subtle aspects, such as Wang Wei's poems have paintings, which cannot be said to be without the influence of Tao Yuanming, and they are self-contained. Meng Haoran's Zen interest, in addition to his own good Buddha, has he not been affected by Xuanyan and so on.

The most commendable poem of the Northern and Southern Restoration Dynasties is the mountain.

The rise of water-making poetry. Prior to this, the description of the landscape in the poem was only in the position of a foil, but at this time, some poets incorporated the landscape as an aesthetic object into their poetry creation, just as "Wenxin Carving the Dragon: Ming Poem" pointed out: "The early Song Dynasty is full of emotion.

Zhuang Lao retired, and the mountains and rivers were good. The most famous poets are Xie Lingyun (385 433) and Xie Yuezhao (464 499), known as "Big and Little Xie". Da Xie is good at changing shapes, managing the painting environment, and occasionally writing "spring grass grows in the pond, and the willows in the garden become songbirds" ("Ascending the Pond and Going Upstairs") such a natural genius.

Xie Yuezhao's landscape poem "Qingji is self-leading, the sky is alone, the magnificent scenery is secluded, and the expression can be exhausted" ("Selected Poems of Cai Shutang"), which is a step further than Xie. As in its famous sentence, "The afterglow is scattered into Qi, and Chengjiang is as quiet as practice." The noisy birds cover the spring island, and the miscellaneous flowers are full of Fangdian" ("Late Climbing the Three Mountains"); The sky knows the return to the boat, and the river trees are distinguished in the clouds" ("Xuancheng"), both in capturing the interest of mountains and rivers, and in terms of scene symbiosis, it has reached a very high level.