(1) The description object is tall, flowing and full of masculine beauty: Li Bai likes to choose the tall, magnificent and flowing natural landscape as the description object, and the landscape itself gives people a kind of masculine beauty;
(2) Artistic techniques: bold exaggeration, rich and peculiar imagination, and the use of myths and legends. From the artistic point of view, Li Bai always depicts landscapes with unrestrained passion and positive romanticism, such as bold exaggeration, rich and peculiar imagination and the use of myths and legends, which has produced a fantastic and magnificent style. Difficult Road to Shu embodies the artistic features of Li Bai's landscape poems.
Li Bai, a quiet spring
Brush the white stone and play the pipa. Deep streams and springs,
Good hands, bright emblem, Zhang Qinggao. Inner silence seems to last forever.
Halfway through the story, I saw the worried ape hanging in the shadows, and it was at stake. It was called Qiu Mu and sang long.
When the guest was sad, he neglected his duty, but the listener was in tears. This is a merchant's feather.
The noise turned into sound. I don't know the history of this song, but I wrote it in estrus.
You are all simple, Shen Lin. "Baiyun Song, Send Liu uphill" Li Bai
There are white clouds in both Chushan and Qinnuo, and they have been running around with you for a long time. Being with you,
When you enter the mountain of Chu, the clouds will follow you across the Hunan River. Xiang Shuishang, female Luo Yi,
Baiyun can lie down, you can go home early. "Lushan storytelling, send Lushi to the royal virtual boat" Li Bai
I am like a chariot catcher, singing phoenix songs and laughing at Kong Qiu. Holding a green jade stick in his hand, he bid farewell to the famous Yellow Crane Tower early in the morning.
All five holy mountains, no distance, according to a constant habit in my life. Lushan Mountain stands next to the South Big Dipper.
Clouds extend to the silk like nine screens, and its shadow deepens the green water in the Crystal Lake. The Golden Gate Bridge leads to two mountains.
A silver stream hangs down to three stone bridges. Xianglufeng Waterfall is separated from it by a distance, and it is a heavy cliff towering into the sky.
The morning glow is red in Cui Yun, and the birds fly and grow. I climbed to the top. I look around the world,
The river is gone forever. The sky is grey and windy, and the river flows like a snow-capped mountain.
I like singing for the majestic Lushan Mountain, which thrives because of its scenery. The stone mirror makes the purity of the mind more pure,
And moss has buried Xie's footsteps. I will take the elixir of life to eliminate the world and practice the three Dan and three products.
Watching immortals in colorful clouds, holding hibiscus in hand. So, when I traveled through nine parts of the world,
I will follow St. Lu Ao to Great Purity.
Li Bai's landscape poems
The overall feature of Li Bai's landscape poems is grandeur and boldness. Shown in: description object: tall, flowing and masculine natural landscape. Artistic techniques: bold exaggeration, rich and peculiar imagination, and the use of myths and legends. Masterpieces: Difficult Travel in Shu, Looking at Tianmen Mountain.
The overall feature of Li Bai's landscape poems is bold and unconstrained. From the description object, Li Bai likes to choose the tall, majestic and flowing natural landscape as the description object, and the landscape itself gives people a kind of masculine beauty; From the artistic point of view, Li Bai always depicts landscapes with unrestrained passion and positive romanticism, such as bold exaggeration, rich and peculiar imagination and the use of myths and legends, which has produced a fantastic and magnificent style. Difficult Road to Shu embodies the artistic features of Li Bai's landscape poems.
Li Bai was an important romantic poet in ancient China. His landscape poems are unique in the Tang Dynasty, showing unique artistic features and becoming another peak of China's landscape poems. This paper aims to further understand and learn the important position of Li Bai's landscape poems in the history of ancient China literature by analyzing their poetic images, thoughts and feelings, creative methods and artistic features. Li Bai is a representative of an outstanding poet in the Tang Dynasty. He wrote a lot of poems in his life. In a large number of his poems, landscape poems describing the mountains and rivers of the motherland occupy a certain proportion. These poems cover a wide range of mountains and rivers. The feelings expressed are sincere and rich, which shows Li Bai's inner feelings of loving the motherland, nature and homesickness. Of course, landscape poetry is only a part of all his poems, and it can't represent all his works, but his passion and ideals in his life are closely related to these poems. So what exactly is landscape poetry? Landscape poetry is a poem with natural landscape as its main aesthetic object and performance object. It is not limited to depicting landscapes, but also includes other natural and human landscapes closely related to landscapes. In ancient China, there were many poems describing the landscapes of the motherland, which profoundly showed the poet's love, intoxication and appreciation of the beauty of natural landscapes. In addition, it is often combined with the themes of worrying about the country and hurting the time, recalling the past and praising history, staying and traveling, farewell banquets, seclusion in the countryside, and seeking immortals to visit the Tao to express very complicated thoughts and feelings. Judging from the description of the poetic images of landscapes, the representative figures of China's landscape poems are Xie Lingyun and Xie Tiao, who are also called "two thanks". Before the "two thanks", landscape poetry was still in its infancy, and the description of landscape only stayed in the intuitive reflection of the mirror, without the subjective projection of the poet's feelings. In the metaphysical poetry of Wei and Jin Dynasties, the description of landscape became a vassal of metaphysical poetry and a tool to promote metaphysics, so it was lifeless. Since Xie Lingyun and Xie Tiao, landscape poetry has embarked on the road of "expressing ambition with poetry", and the perfect combination of subjectivity and objectivity, content and form in poetry has made landscape poetry mature. And Li Bai's landscape poetry creation has pushed it to another peak in the new period. From the image point of view, China intellectuals have been paying attention to the landscape for a long time, and the descriptions and praises of the landscape in China ancient books and records are endless. In traditional landscape poems, the image of water is characterized by beauty, beauty and softness, and is full of static beauty. Li Libai thinks that such landscape description lacks the sense of jumping and fluency of poetic images, so most of his landscape poems choose famous mountains and rivers and Shan Qi water heroes, thus forming his unique image group, which is magnificent and magnificent, showing its unique grandeur and sublimity. For example, "Send Wuwangshan Weiwan back to the palace": "Peach rolls Haimen stone, snow crosses Tianya Mountain. A white horse walks in a vegetarian car, and a thunder rushes to the heart? Roaring 70 beaches, water and stone spray? Clouds roll and clouds are comfortable, and waves connect with western Zhejiang. Nine doubts about cigarettes and cotton, you can see five lakes. In the traditional culture of China, the prototype image of water image is "Yin". Huainanzi? Astronomical Training says: "Yin Qi is water", "White tiger boy?" "Five Elements" contains: "Water also". In the landscape poems of the Southern Dynasties, the image of water symbolizes sadness, resentment, obstruction and mourning for the past. There are also a lot of descriptions of water in Li Bai's landscape poems, but the water image in his works completely abandons the tone of predecessors, and more is to express optimism and pursue idealism, and explore the value of people and life. It is also a description of the image of water. Li Bai did not lament in a low voice, but lamented life and life with abundant passion and heroism. "The Yellow River flows east and the white sun sets. Passing through Sichuan, drifting and not treating each other. Spring allows me to go, and autumn has its ups and downs. Life is neither cold nor loose, and the years are long! "(Li Bai," Antique? After Li Bai's hand, the feminine water image changed its former appearance, showing extraordinary temperament and giving people a refreshing feeling. Judging from the thoughts and feelings in landscape poems, Li Bai's landscape poems are magnificent in artistic conception, magnificent in momentum, deep in thought and heroic in emotion. He used his personality to transform the mountains and rivers in front of him and idealize these landscapes. He often starts from grasping the overall direction, breaks the limitation of time and space, depicts landscapes with images of subjective feelings, creates unique poetic images, and shows his strong personality. For example, "I don't know why the silver falls for nine days" ("Looking at Lushan Waterfall"), "A gust of wind blows down the mountain in three days, and the white waves are higher than the crock pavilion ("Hengjiang Ci "). In the poem "Climbing Mount Tianmu in a Dream", Li Bai described a beautiful and beautiful fairy world: the two are boundless, and now the sun and the moon reflect on the gold and silver platform, dressed in colorful clothes, and the clouds come from the wind. Back in the car, row after row, like pieces of hemp, lined with fairy-like figures. Such a grand and warm scene deeply expresses the poet's yearning for the fairy world. It reflects the darkness and decay of the real society with the brightness and beauty of the fairy world, and shows Li Bai's thought of pursuing freedom. And "Oh, how can I bow and scrape to the dignitaries solemnly? No one will suffer, and people will be sincere and respectful" also shows the attitude of Li Bai and the dignitaries. Li Bai is a poet who despises his valuable friends. In his landscape poems, you can also feel a kind of deep friend J Qian, such as "Emei Mountain Moon Song": "Motan Mountain is half moon in autumn, reflected in Pingqiang River. In the evening, Qingxi went to the Three Gorges, and the four gentlemen did not see Yuzhou II. The poem says that the mountains and the moon can go with Wan Li, and poets and friends cannot meet each other. This contrast makes the feeling of "missing you" more profound. The bright moon is in the sky, but it will never be touched. It is a symbol of missing friends. This is the place where the moon is sung in poetry, which always fully reflects the friendship between friends. However, he was sentenced to long-term vagrancy in his later years and was pardoned in Baidicheng. In a state of near despair, he was suddenly pardoned halfway, and his depressed heart was completely released. On his way back to Jiangling, he wrote the famous article "Early Making a City of Baidi", which is exactly the catharsis and embodiment of Li Bai's affection. "Bai Di colorful clouds, thousands of miles Jiangling also one day. On both sides of the Taiwan Strait, apes cry and stay, and canoes have crossed Chung Shan Man. " The sense of money expressed in the poem is Li Bai's pleasure and excitement after going through hardships. With exaggerated rhetoric, he wrote the majestic momentum of the Yangtze River, and at the same time expressed the heart and money of the poet "anxious to return", like a rolling river running eastward. The whole poem has both scenery and money, and it describes lively scenery and happy money, which is the perfect combination of money and scenery. In terms of creative methods, Li Bai is another great romantic poet after Qu Yuan. It can be said that his achievements reached the peak of China's romantic poetry, and the essence of this romanticism is reflected through his landscape poems. As a romantic poet, Li Bai fully mobilized all romantic skills and realized the perfect unity of content and form of poetry, thus making his landscape poems have unique artistic style and distinctive images. Taking his masterpiece Difficult Shu Dao as an example, the whole poem interweaves history, reality and myth, vividly depicts the difficulty of Shu Dao with unpredictable brushwork and fast-flowing rhythm, and artistically shows the rugged and steep ancient Shu Dao, with profound implications and magnificent artistic conception. Li Bai's landscape poems often win by imagination and exaggeration, and at the same time, they are integrated into myths and legends, so that the landscape has a distinct personality, a layer of mystery and a very strong romantic color. The masculine beauty of mountains and rivers and the feminine beauty of fairy images are integrated in his poems. Landscape is also true and illusory, and it is also true and imaginary, with different levels of beauty. In addition, Li Bai's landscape poems express a positive mental outlook. The majestic image, heroic movement and lofty artistic conception in the poem show his contempt for powerful people and his pursuit of his own reasons. The noble character of cynicism is very encouraging. Therefore, "Difficult Road to Shu" is worthy of being a romantic masterpiece with two shocking storms and weeping ghosts and gods. From the perspective of internal meaning and artistic characteristics, the key to the enduring of Li Bai's landscape poems lies in its rich connotation and profound aesthetic meaning. The description of landscape in Li Bai's landscape poems is not only to make a fuss about landscape, but also to express his inner feelings with the description of landscape, which shows a wide range of social content. The mountains and rivers written by Li Bai are towering and magnificent, showing a great spiritual strength to break through all constraints and pursue freedom. The pursuit of freedom, the independence of personality and the realization of ideals are exactly what Li Bai's landscape poems want to express. At the same time, Li Bai's display of the magnificent mountains and rivers of the motherland in his poems is full of strong patriotic passion, which is also a reflection of the vigorous spiritual outlook of the whole society in the prosperous Tang Dynasty. More importantly, Li Bai's landscape poems reveal a kind of universal consciousness, which is the awakening of universal consciousness. Li Bai's thinking about nature is not limited to social history, but puts life and society in an infinite universe, making his landscape poems more philosophical and full of unique aesthetic implications. As the old saying goes: "Who wields a spur to drive the four wealth? Everything has ups and downs, and naturally. " "Song on the River": "Xing Han put pen to paper and shook the five mountains, and poetry became a smile. Ling Cangzhou —— This universal consciousness has greatly promoted his landscape poems. From the perspective of value orientation, Li Bai's bumpy and contradictory life has not only one side of making contributions and actively joining the WTO, but also one side of quietism of Taoism and being born passively. Therefore, this dual orientation has become an important key to understand the aesthetic value of his landscape poems. Li Bai is knowledgeable. He studied hard and read widely since he was a child. That's right. Reading thousands of books II enriched Li Bai's knowledge. He integrates Confucianism, Buddhism and Taoism, which makes his landscape present three realms: once he enters the WTO, he will be born and live forever. Li Bai believes that although there are many obstacles ahead, he will ride the wind and waves to reach the ideal shore one day, showing a strong idea of joining the WTO. In addition, Taoism has a great influence on Li Bai. Li Bai has an in-depth study of Taoism and is good at visiting Taoist alchemy. His poetic heart is connected with the Taoist heart, so he is praised as a "poetic fairy" by the world. Li Bai also has a certain understanding of Buddhism. He pursues a kind of beauty beyond reality and life, which is the full embodiment of his Buddhist thought. Therefore, there are always two values in Li Bai's landscape poems, which are mainly formed in his youth and later life experiences. In his youth, Li Bai has made great contributions to the world. He has lofty political ideals and hopes to help the emperor make the country prosperous and the people stable. At the same time, there is also the Taoist thought of quiet life, which likes to live in seclusion in the mountains and seek immortals to visit the Tao. "Song on the River" in "Qu Ping's Ci Fu hangs the sun and the moon, and the king of Chu is empty. Xing Han put pen to paper and shook the five mountains. Poetry becomes a smile and makes Cangzhou proud. There are both his affirmation and praise for Qu Yuan's loyalty and patriotism, and his lamentation that if fame and fortune exist, the Hanshui River will also flow to the northwest. On the one hand, we should assist the emperor, on the other hand, we should become an elegant and free-spirited fairy. This ideological contradiction between being born and joining the WTO has always been accompanied by Li Bai's attachment to the truth, goodness and beauty of mountains and rivers from the humanistic point of view, and according to his own state of mind, he endowed Shanshao II with different colors, released his repressed heart, strived to pursue his own ideals, and fully reflected his own life value. In fact, it is also a tortuous expression of love for life. Therefore, his landscape poems are often full of childlike interest. In Li Bai's landscape poems, the four seasons of spring, summer, autumn and winter have long been integrated into the poet Li Bai's pure and kind feelings. For example, "Dragon Gate Drunk on a Winter Night": "Let's be frank, how strong is Xiaoxue?" Elegy is bitter and cold, sad and lonely. Another example is "Autumn in Jingmen": the second frost of Jingmen River falls on the tree, and the canvas hangs in the autumn wind. I am not jealous of fish, but I love mountains and rivers. "It is Li Bai's love for the truth, goodness and beauty of the natural landscape of the motherland that makes his poems full of sincere and friendly feelings. It can be said that Li Bai's discovery of this interest has injected truth and goodness into landscape poems, which is not only the awakening of emotional soul, but also the pursuit of self-life and the affirmation of personal value. In Li Bai's landscape poems, the natural desire of human nature is revealed without reservation, and the childlike innocence, rich magical fantasy and unrestrained romantic childlike innocence are presented to the world one by one. The great achievements of Li Bai's landscape poems in China's ancient landscape poems are not only created by history and times, but also inseparable from his own talent, intelligence, diligence and good credits. He described the magnificent rivers and mountains of the motherland with heroic mind and unrestrained encouragement, and integrated the desire and pursuit of freedom and light into his landscape poems. Qian Jing is integrated with each other and has a lasting charm. With his outstanding artistic style and strong spirit of the times, he realized the unity of aesthetics and sociality. On the basis of inheriting the national traditional culture, Li Zicheng's landscape poems have enriched and developed it, which is the cultural achievement since The Book of Songs and Songs of the South, and also widely absorbed and nourished the poets of past dynasties. Deeply influenced by Zhuangzi and Qu Yuan, Li Bai became another great romantic poet after Qu Yuan. At the same time, his landscape poems were deeply influenced by Tao, Xie Lingyun, Xie Tiao and other landscape poets. , and the length of the philosophers, so beyond the predecessors, become a peak of China's landscape poetry.
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In this chapter, I hope you can master the landscape poems and pastoral poems of the Tang Dynasty.
The so-called landscape poems are poems that mainly describe natural landscapes such as landscapes. As early as the pre-Qin period, natural landscape appeared as a background description in poetry creation, which laid the foundation for the finalization and maturity of landscape poetry later. The maturity of landscape poetry was in Wei, Jin, Southern and Northern Dynasties. Cao Cao's View of the Sea is regarded as China's first landscape poem. Xie Lingyun, a poet in the Southern Song Dynasty, laid the foundation of landscape poetry. His artistic skills of "describing things with extreme images" and "striving for novelty" in landscape description have had a far-reaching impact on later landscape poems. Xie Shu, a poet in the Southern Dynasties, began to inject the poet's emotional interest into the description of scenery, and combined the description of scenery with lyricism, which greatly promoted the development of landscape poetry.
In the Tang Dynasty, the creation of landscape poems was in full swing. Landscape poetry in Tang dynasty is the main part of Tang poetry, and it also reflects the overall characteristics of Tang poetry. The situation of landscape poetry creation in the early Tang Dynasty has not yet been opened, and it still follows the characteristics of meticulous description in the Six Dynasties, lacking the artistic conception of blending scenes; There are many famous sentences about mountains and rivers, but few excellent articles about mountains and rivers.
In the prosperous Tang Dynasty, the creation of landscape poems became a magnificent sight, and the poet's understanding of landscape became deeper, and his artistic ability to grasp and describe landscape was further improved, and the creation of landscape poems reached an unprecedented peak. The landscape poems in the prosperous Tang Dynasty have fresh language, high rhyme, broad pattern and colorful weather. Their styles can be roughly divided into two categories: one is the Qing Dynasty, represented by Wang Meng; One is male, represented by Du Li.