How does Wang Weishi describe great rivers and mountains?

Rodin once said: "The so-called master is a person who looks at what others have seen with his own eyes and finds beauty in what others are used to." Wang Wei, a landscape poet in the prosperous Tang Dynasty in China, is such a master who is good at discovering and creating beauty. Because of the different world outlook and living environment of poets in the early and late period, the ideological content and artistic style brought to poetry are also very different. But looking at Wang Wei's life's creation, it is not difficult to find that there is an unchanging spirit that dominates his poetry creation, and this spirit is the soul of "beauty". Beauty lies in the objective world itself reflected by him; Beauty lies in the social content in his poems; Beauty is also reflected in the unique emotional color and beautiful rhythm of leisure in his poems.

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As far as the aesthetic subject is concerned, the aesthetic standard is subjective and relative. The poet Wang Wei is the individual consciousness of the aesthetic subject, and the objectivity and absoluteness of his aesthetic standards can be established to a great extent. In my opinion, in addition to the poems that gave birth to his aesthetic thoughts, which took root in the long-term accumulation of China's cultural history and gained people's recognition, the aesthetic factors of his aesthetic object itself and the performance object chosen by the poet are also an important aspect that cannot be ignored.

The life of social struggle is beautiful, but its struggle beauty will be different because of the class nature of aesthetes. A custom or folk custom is beautiful in the eyes of the nation where it grew up, but it may also be beautiful in the eyes of another nation. Some social phenomena that were once considered beautiful in history may be very ugly today (such as the feet of ancient women in China). All these show that the beauty of social life has great differences in aesthetic standards, as well as the historicity and variability of social beauty itself. Different aestheticians under different historical conditions consciously or unconsciously discover and create beauty in their labor in order to grasp the differences of aesthetic subjects and understand the variability of aesthetic objects; In the process of discovering beauty and creating beauty, ugliness is abandoned consciously or unconsciously, so that the contingency and relativity of beauty constantly lead to its inevitability and absoluteness. Wang Wei wants to refine the social beauty he reflects, and aestheticians also want to refine Wang Shi's aesthetic thought of artistic beauty for the same reason: to seek the inevitable and absolute beauty.

"Lament the chaos in Ma Si and strive to cross the Golden River." ("Join the Army") This is the beauty of the struggle life; "The breeze and the bright moon are thinking hard about acacia, and my son has been in the army for more than ten years." (Lost Title) This is the beauty of chastity and load-bearing displayed by the boudoir in the bitterness of sadness and resentment. Here, engaging in war and shedding painful tears of acacia for the war have undoubtedly become the beauty of social life. However, because the ultimate desire of human beings is anti-war and unwilling to leave Acacia, the beauty of war is often not beautiful because of its utility in the essential sense of human beings. Of course, if we look at the specific wars in the past specific times and the painful course in the history of human struggle with an intuitive vision of the progress of human civilization, wouldn't it be a kind of beauty to live in this special social phenomenon-war? Therefore, only when people bravely go to the society, know the society and enrich themselves with all the knowledge created by human beings can they fully understand the essence of social beauty. "As the years go by, please give me peace and stay away from all kinds of affairs." (Answer to Deputy Governor Yin Zhang) and "What's the cloud in the world?" It's better to lie high and eat. Attitude (Drinking and Pei Di) is not conducive to the understanding of social beauty. Of course, this passive seclusion is only a part of Wang Wei's world view, not the whole. Because he also has many excellent works that positively reflect social life. "Journey to the West in Gansu" and "Joining the Army" describing the border war are examples. The former is thin and heroic, lined with snow, full of momentum and strong sense of movement. The latter, however, is vivid and bold, with both sonorous and melodious sounds in the battle and mysterious and changeable images of the border. These poems have distinct themes and are permeated with the author's positive spirit. As for some of his early works expressing feelings, it is another style, which often shows us people's emotional quality. Compared with the "frontier ranger" category, his feelings are delicate and his theme is subtle and simple. For example, I miss my Shandong brothers when I am on vacation in the mountains. This kind of work gives people a sense of freshness and expresses people's common thoughts and feelings in some common events in social life:

I am a lonely stranger in a strange land, and I miss my family more often during the holidays.

When I think of my brothers' bodies climbing high, I will feel a little regret for not being able to reach me.

This poem shows us the beauty of human feelings when we miss our loved ones in social life, and expresses a little pain between relatives far away from home. As for Acacia, it is based on seeing things, expressing the connotation of human feelings through the characteristics of things, and expressing infinite feelings in limited language, which has become a masterpiece handed down from generation to generation.

These two kinds of works give people a sense of beauty, not only because the poet has skillful skills, but also because of the social essence under the historical conditions at that time. This essence is what Comrade Lin Xingzhai called "the absurdity of the world in the pre-historical era of mankind", that is, "the division of human sensibility and rationality" under the control of moral power. To eliminate the absurdity of the world, human beings must make great sacrifices, have specific wars, have parting lovesickness and have specific dedication. The sacrifices made by people for the ultimate liberation of their own consciousness and the inherent essence of freedom are all beautiful and the result of the unity of truth, goodness and beauty.

In the realistic beauty, natural beauty is also a very important field, and many of Wang Wei's pastoral poems reflect this natural beauty. This is as important as his poems reflecting social life, and even has higher aesthetic value. Compared with social beauty, natural beauty rarely has the changeable epochal and national characteristics of human society. No matter people take symbolic or anthropomorphic methods to nature and seek the beauty of its social content factors, the result can not be compared with the variability and versatility of natural beauty. Times have changed, but people's love for colorful rivers and mountains has not changed. History has changed, but people's love for the endless beauty of nature has not changed. Rich and powerful nations should praise it, declining nations should regret it, people who enter WTO should praise it, and people who are born should be attached to it. In the history of human development, people always take a positive attitude towards nature. If we put aside the artistic features of Wang Wei's poems and regard them as a window to understand the beauty of nature, it is not difficult to find that nature itself is beautiful.

"The grass is green in the rain and the peach blossom is red on the water." This is the refreshing beauty of nature and the beauty of spring scenery. "Akiyama gathers more photos, and birds are one by one. When the color is clear, there is nowhere at dusk. " Mulan Chai is the beauty of harmony and movement of all things in nature. "Jingxi Baishi comes out, and the cold red leaves are thin." (in the mountains) is the quiet beauty of the mountains in late autumn, and it is the beauty of overall change. The infinite variety and versatility of natural beauty are vividly reflected in the poet's works. Even in farewell poems, the poet uses landscape sentences to set the color tone of poems, so that we can feel the beauty of nature in his non-landscape works. If we express the joy of farewell with the bad weather ("Seeing Judge Zhang off in Hexi"), it will set a bright tone for the poem from the beginning. These poems make people feel that human feelings will eventually be pushed to the background of nature. Nature is changeable and unpredictable. Whether it is mountains and rivers, the sun, the moon and the stars, or the sea breeze, we human beings can't impose rich social factors on it, but it can provide us with the most beautiful infinity. This infinity is the richness and indescribable variability of its form. "In artistic beauty, a high degree of unity of content and form is required; In social beauty, content is more important than form; In natural beauty, it focuses on form. " Therefore, the most important feature of natural beauty is its independent formal beauty factor.

Color, shape and sound are the basic materials that constitute formal beauty, and these materials are displayed in front of us with infinite richness in nature. For example, Wang Wei's Collection of Brothers' Courtyard on the Tanbi of Qingliang Temple:

The heights are too cold, and there is ni in the void.

Sit and watch Nanmo ride and listen to Qin Cheng chicken.

He is lonely, and Sandy is far away from the trees.

Beyond the green hills and thousands of wells, the sun sets.

Eyes are not stained today, heart is empty.

This poem is colorful, tangible and vocal, and has the nature of thousands of changes. It even washes away all the ideological factors of people, and even our aesthetic subject should be integrated into the formal beauty of nature and become an integral part of colorful beauty. The vastness of nature gives people a sense of emptiness. The height from top to bottom, the distance between east and west, north and south, solitary smoke, distant trees and sunset glow are all in the poet's extremely empty inner world. The objective world is ethereal, and it is natural to have a clear vision and an empty mind. Here, only a true master can feel the formal beauty of nature in selflessness and things. His "Don't Work in Wangchuan after Rain" can also illustrate the characteristics of natural beauty. The poem wrote:

The forest stores rainwater, and smoke, steamed quinoa and boiled millet come slowly.

An egret flies over the quiet swamp, and mango birds sing in the trees in midsummer.

I learned to watch the morning glory in the mountains calmly and eat sunflower seeds with dew under the pine branches.

Why should I scare seagulls, even if I think about it, by giving the honorary position to any clown? .

This poem shows the factors of its formal beauty and natural integrity. Pre-poetry is a static and empty universe, where things and I blend, but there is a continuous flow of movement and static. Empty forests, fireworks, rice fields, egrets, Xia Shu, orioles, dew sunflower and seagulls, a series of natural objects spread out in the poet's flowing thoughts. The movements of the two poems are not absolute and lifeless, but harmonious and unified, which makes us feel micro-motion in silence and ethereal in motion.

From the above discussion, we can see that the soil from which Wang Wei's poems came into being is very important for exploring the aesthetic thought of his poems. Here, the content of social beauty, the variability and versatility of natural beauty, and the formal beauty of natural beauty all exist in beauty, which are important contents and formal factors that constitute the artistic beauty of Wang Wei's poems.

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As a superstructure, literature and art are not only influenced by a certain material foundation, but also by other corresponding superstructure and ideological factors. Wang Wei's poems are no exception. He wrote in the wall of the house where Lishan people live: "The world is like a dream, or crazy or singing. Pine trees are old and there are more bamboo forests. Medicine Qian Hankang is sold, and the door is for children. Looking above the pillow, there are no white clouds. " This is obviously a very disgusting work. Many similar works show that Wang Wei's main pursuit in his later years is not to face life directly, but to avoid the world, even his attitude of "looking at others in the world with white eyes" ("like Cui's Xing Ting"). Although this idea of abandoning all worldly wisdom is not entirely the dominant consciousness of his world outlook, a large number of such poems are very unfavorable to his ideological value. However, just as the ideological content of his poems has its social soil, so does Wang Wei's negative hermit thought. In his later years' work "Sighing with White Hair", which reflected his life experience, he revealed the bitterness of people in a society, which was touching to read. Among them, "don't leave the door open" has been branded with a strong social consciousness. This is not the inherent thoughts and feelings of the static Buddha, but just a feeling and complaint to the society. "Work in the Mountains in Early Autumn" said, "I never tire of Shang Ping getting married early, and I don't like Ling Tao becoming an official late." It is also the expression of this idea.

Wang Wei is a talented and ambitious person, but his lifelong ambition has not been put into practice. If we don't jump out of this poem and understand his thoughts in a broader social background, but only focus on his negative and reclusive side in the poem, it will not be conducive to correctly understanding the ideological beauty of Wang's poems. No wonder, in the eyes of different aestheticians under different historical conditions, they will be different because of their different positions, ideological depth and aesthetic orientation. Among them, there are positive values and negative values, which are comprehensive and one-sided.

Correctly understanding the social background of Wang Wei's negative thoughts will make it easier for us to understand the works of positive thoughts in his poems. We can not only find the beauty of their thoughts from these poems, but also see the rich and changeable beauty in social life. The representative poems of this kind are frontier fortress poems, farewell poems and some poems of in my heart forever. "Stuffing Works" shows a passionate struggle passion and indomitable spirit;

The conference semifinals outside Juyan are hunting, and the white grass grievances are burning all over the sky.

The desert schooner gallops in the dusk, and the vast plains in autumn shoot at vultures.

With the support of Qiang Health School, Fort Deng and General Lu, who were guarding the positions, stormed across Liao overnight.

Jade sword, the bow of horn, the war horse on his war horse, the court gave the victorious general, as brave as Holt of Han Dynasty.

The first couplet shows the poet's broad mind and sense of responsibility. Wildfires all over the sky set off the atmosphere of war, making the vast battlefield outside Juyan show a warm feeling of resisting foreign aggression. It is a spiritual portrayal of the poet taking the world as his responsibility, and it is a spiritual sublime beauty. The couplets are connected in momentum, relaxed and cheerful, which shows the poet's confidence in winning the enemy. The whole poem not only has clear and lively picture effect, but also has melodious emotional ups and downs. This is a poet's work describing the feelings of the frontier fortress war. It is no wonder that Fang Zhi said that this poem is "written with high spirits, like fire, and its spirit is like floating in the sky." (5) As for his "Making Frontier Fortress", it is a wonderful work in frontier fortress poetry, which makes this poem with countless aesthetic colors become a masterpiece throughout the ages:

Riding a bike to visit the border and passing through Juyan County.

Pengpeng also floated out of Korea, and the geese heading north also flew into the sky.

The vast desert is lonely, and the Yellow River sets the yen.

Xiao Guan rides it every time, and it is protected in Yanran.

Both of them are border crossings. The former wins by thinking and spirit, while the latter is good at realm and image. This work has no emotional shadow, and the whole poem is full of brilliant youth in the poet's soul. The words in the poem are concise, the image is fresh and lively, and there is no sense of procrastination. It is not only like a cheerful lyric song, but also like a splash-ink freehand painting with bold colors; There are both indirectness of literature and intuition of painting, and the whole video series also contains the rhythm of music. Its image entity has many aesthetic effects on the aesthetic subject, and readers often feel that if there is me, there is me, so if I leave, the reality will be * * *. Among them, "the desert is lonely and straight, and the long river falls in yen." A pair of couplets stands out and enhances the essence of the whole poem. Desert is a natural wasteland, but solitary smoke tells the miracle of the world. The long river is mysterious and far away, and the sunset is just around the corner. We can go in and out; You can't break through or escape. This is the kind of situation that makes people linger, and it is the kind of art world that is unclear and unclear.

The law of beauty tells us that excellent works of art are never satisfied with the original content provided by real life, and creative writers and artists always hope to express their artistic talents in a wider range in their own creations, so that their works are not only rich in content, but also perfect in form. "Send Yuan Er Shi An Xi" is such a work:

The rain in the early morning moistened the dust of the land, the inn of the inn, the branches and leaves of the inn, and a new leaf

I advise you to have a glass of wine. There is no reason not to go out.

This poem does not explain the major ideological theme positively, but renders the feeling of parting from the side with farewell. The first two sentences describe a peaceful and quiet environment, which acts on readers' senses with a beautiful and harmonious atmosphere. The third sentence, drinking wine at one stroke, pushes people's feelings away and touches readers' hearts. The fourth sentence envisions the desolate people outside the Commissioner for no reason, breaking the harmonious realistic environment, making people feel close to the Commissioner, leaving their hearts behind, and the pain of separation of body and mind suddenly rises in the reader's chest. It took only 28 words to write down this typical event in life. The language is simple and clear, just like Taoism, telling the hearts of others sentence by sentence, putting a faint emotional color on the reader's heart, and slowly realizing its charm in leisurely tasting. As a farewell, "sending Yuan Er Shi An" is a feeling of retention, while "sending Wei" is a desire to bid farewell to Fujian:

If you want a general to choose a wise man, go to Juyan when you go to war.

Knowing that Korea made Xiao Guan far away, I was worried about watching the sunset in the lonely city.

From the comparison between the two poems, we can see that the former feels that there is no reason to stay outside the customs, while the latter imagines that "the battlefield will go to Juyan." Not only the theme is clear and full of passion, but also the work is fast-paced, with large spatial distance and fluent and sonorous language, which is consistent with the spirit advocated by the work.

In addition, the works such as Journey in Early Spring, Xi Shi Yong, Song of Luoyang Girls, and Spring in the Boudoir are healthy in content, mainly expressing women's inner feelings. This kind of works has vivid characters, beautiful and simple language and colorful scenery, and is a masterpiece describing the life of ancient women. The trip in early spring used bird sounds, body smells, car objects, feelings, dreams, Chun Yan and so on. To render a young woman's inner state of mind, written euphemistically and delicately. And the boudoir's spring thoughts are more distinctive:

When the spring breeze breaks, it will be more painful to worry that you can't see the distant sky.

Idle flowers are covered with moss, and no one knows all day long.

Under the bright spring, an unknown woman like a girl in spring exhausted her youth in loneliness. Falling flowers are everywhere, just like the lost years of the boudoir. The desolation of the environment sets off the emptiness of the soul. The words "worry", "break", "hurt" and "leisure" hit the readers' feelings and made them feel sorry for this imprisoned woman who longed for love. Because the author is good at giving full play to the advantages and characteristics of his poetic language and writing ordinary events into extraordinary works, his works have gained a corresponding position in formal beauty.

These works directly reflect Wang Wei's social life. From these works, we can see that the poet is closely related to his own times.

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Wang Wei's poems have a unique and distinct aesthetic color. In other words, Wang's poems, as the objective existence of beauty, bring a unique sense of color to the appreciator. This sense of color not only includes a special emotional experience brought by the image series of poetry to the appreciator, but also includes the feeling that the appreciator participates in re-creation.

We know that objective existence often causes certain emotional reflection in the process of reflecting our aesthetic subject. Natural color is an objective existence, therefore, as an objective existence, natural color can also cause our certain emotional reaction and produce aesthetic feeling. The aesthetic feeling brought by natural colors is only low-level and simple. Of course, we can also produce a color concept from the observation of other objective things in people, and use this color concept to purify our aesthetic feelings. For example, we say that a poem is gloomy in tone and a person's heart is as white as jade, which is a method of color purification. Wang Wei's poems don't stop there. Although Wang Shi is an objective thing, when we appreciate and read it, the artistic conception color it brings to our aesthetic activities is rich and multi-layered, and we can't purify our feelings with any single natural color. For example, his "Long Shang Xing", which describes the frontier customs, goes like this:

Negative feather to the border state, sing a long head.

The clouds are yellow and close, and the grass is white and autumn is seen.

This poem describes the frontier scenery in late autumn. Although there are no lyrics, this colorful frontier fortress picture deeply touched the readers' hearts. Because the author and the reader live in different environments, this spatial difference will naturally cause emotional reactions in the readers' minds. Readers who have been to the frontier with different lifestyles will have different feelings because of this poem. Some will feel kind, some will feel sad, and some will feel excited. People who have never been to the frontier fortress may be fascinated and even have fantasies. Different emotional feelings lead to different shades and levels of colors. Another example is his "Two Nights in Huaiyin":

There is no shore in the south of the water town, and the boat in the north is not prepared.

Homesickness is lost in Huai, and doubt in dreams.

When the wood falls, the cold is near, and the mountain grows late.

The guests are in a confused mood, not as good as Luoyang.

After reading the complete poem, we will follow the poet's thoughts and wander in the late autumn of the work. One moment it's a water country, there's no embankment, there's no air, and the other moment the boat hasn't arrived. There is a rare homesickness lost on the Huaihe River, which is suspected to be in the city. The days are short and the nights are long. Because of touching the scene, the falling of autumn leaves is naturally associated with the coming of winter. Not to mention "the guests are in a confused mood", even the readers are worried and unable to extricate themselves. This shows that an excellent literary work can often capture readers' hearts, cultivate people's feelings and shorten the distance between readers and authors because of its rich emotional color. At this time, readers can forget themselves, unconsciously share the consciousness of participating in creation with the author, get what the author has gained from the work and feel what the author feels.

Besides the poet's mood and the appreciator's sense of participation, the image system of the work itself is also an important factor of aesthetic color. This image series is not isolated and single, but holistic and pluralistic. The image system of poetry should be completed in the organic combination of aesthetic objects, poets and readers. This image system is different from the general image, but an image. In addition to the indirect function of language, it usually has the poet's subjective thoughts. The color emotions we get from "image series" are naturally much richer than the feelings we get from ordinary images. See also "Send a Judge to Hexi";

Bicycles are blocked, and you dare to ask you to serve your country.

When Lu saw it one by one, he thought of today's Huo Zhuangyuan.

Sha Ping even Xue and Peng were involved in the incident.

Be generous and sing a song to send you away.

This work is narrative, picturesque, nostalgic and lyrical. When appreciating, we can jump out of the carrier of language and grasp the inner vitality of images outside poetry. If we don't dissect his thoughts, feelings and language, but actively participate in the author's creative consciousness and integrate our feelings with those in the poem, we can grasp the series of images provided by the author from the overall conception, so as to appreciate the multi-layered emotions of poetry images. Such as Spring and Pei Di Visiting Coco in Xinchang;

Taoyuan has always been a dusty place, and the southern end of Liushi visited a secluded place.

I'm afraid to ask the bird when I get to the door. Why do you have to ask the owner when you look at bamboo?

Outside the city, the mountains are clear, and the mainstream enters the west.

I have been writing books for many years, and I always work as a forest when I plant pine.

Compared with the previous poem, this poem lacks some emotional expression, and the author's mood is gentle and soft. However, like the previous poems, the movement law of the whole image of poetry lies in the flowing thoughts in the poet's heart; Narration is not only a means to express feelings, but also a carrier to combine poets' images, so that we can fully feel the rich beauty of images and emotions in our works with a leisurely and quiet mind. If the former's poems are colorful and bold, the latter's poems are fresh and elegant and refined. The poet's other poems in his early years, such as Four Chapters of a Juvenile Journey, Lost Title and Acacia, are full of emotion, and the emotions contained in the works are hidden and lively, giving people a different aesthetic feeling, but the image characteristics of the works are not as prominent as those listed above.

All this shows that excellent writers and artists are never so mechanical, because when they become writers and artists, they are already the best aesthetes. Therefore, the works they created, the beautiful things they felt, and their emotions are well-deserved in the cultural history. Wang Wei is such a well-deserved poet. In his poems, the emotional color we feel is not simply explained by natural color, because the aesthetic emotion it brings to the appreciator is much richer and purer than natural color. It is the most perfect creation and development of Wang Wei's poetic images.

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Beauty in aesthetic category has the characteristics of harmony: the unity of contradiction between subject and object, the unity of content and form, the unity of truth, goodness and beauty, and the unity of regularity and purpose. This highly unified artistic beauty is a necessary condition for the existence of beautiful works. Many of Wang Wei's beautiful works not only have these basic aesthetic elements, but also have their own unique style characteristics, which is a charm of seeking peace and leisure hidden in his poems. This is also the peak of his artistic pursuit. Such as: "Looking back on the lake, green mountains and green waters, white clouds rolling." (Li Hu) The natural objects in the white clouds are used to impress the readers' emotions and make them penetrate into the beauty of nature. Another example is "the lonely smoke under the mountain is far from the trees, and the plateau is boundless." "Chun Lv is a lush grass, and Xia Han is a long pine tree." (Seven Poems of Pastoral Music) Writing feelings is not to reveal, but to replace feelings with scenery; The surface style is fresh, but the bones are quiet and peaceful.

Farewell poems also have this feature. Farewell is an affair, but Wang Wei doesn't write about feelings. Usually scenes come together to write feelings. This is not only a way to set off feelings, but also the poet's consistent proposition of seeking quietness in motion, so that his farewell poems often unify his state of mind with a pen of quietness: "Autumn is clear in Wan Li, and dusk is empty." ("Send the school to abandon the official and return to Jiangdong") "It is cold and the mountains are clean, and the river is in a hurry." ("Zhou Qi sent three ancestors"), "Being led by distant trees, walking towards a distant town where the sunset shines." ("Send my brother back to his hometown") "The road is surrounded by snow in Tianshan Mountain, and the home is at the seaside and the tree is in autumn." (Send Cui San to Michigan) These scenes are all from the poet's farewell poems. They can not only relieve the emotional tension and pain of the farewell, but also make the reader open the emptiness in the monotonous situation and let the appreciator really stand outside the poem as an aesthetic. You not only understand the complexity of farewell, but also accept the picturesque beauty of nature. In addition, non-farewell works such as "I miss my distant home in the West Building of Wang Ye" and "Seeing Wei Taishou" are also useful examples of writing feelings. The former's "old friends are invisible, lonely and peaceful", while the latter's "hometown is invisible, clouds and air are the same". These two couplets are both beautiful sentences. One person and one thing, the poet pinned the intangible feelings of expectation and yearning on "beyond the cloud" and "Pinglin Cave", which can be said to be natural. Both couplets are self-composed, with rigorous composition and ethereal feeling, which is the poet's unique style.

There is no doubt that Wang Wei's poems focus on silence. From youth to old age, its performance process is: from people to scenery, from emotion to meaning, from movement to stillness. He takes the spirit of eternity and transcendence as the goal of his poems. His literary phenomenon has its independent, perfect and profound aesthetic value. For example, at the age of 0/9, he/Kloc-began to express an idea of pursuing a better life, and integrated the quiet life order of Xanadu into his works with a harmonious artistic realm, forming beautiful pictures, which fully showed his artistic talent in depicting natural scenery. Among them, "looking at the brightly colored trees, he never considered the distance until he reached the end of the blue stream, and suddenly-strange people!" " Looking from a distance, the clouds are winding, the trees are shaded, and thousands of families are hidden among flowers and bamboos. "Usually, it is only recorded in the depths of mountains, and Qingxi has visited Yunlin several times." They are all wonderful sentences describing fairyland from different angles, which are fascinating. Another example is his "Pan Qianpi", which is more mature than previous poems:

Autumn is crisp and self-evident, and love is far away.

Smooth sand cranes, clouds outside the mountain.

The clear waves will be dusk, and the clear moon will be idle.

I was lonely that night, but I still didn't come back.

This is an empty autumn land far away from the world. There are cranes in the sand, mountains outside the clouds, clear moonlight and clear waves at dusk. On such a night, you can paddle alone and swim without returning. The work exhausted the poet's quiet and empty mind and brought people into the heavenly world he built. In the works, we can't see the rich feelings revealed by the works describing social life. We try to describe nature with static words, such as "far", "outside", "leisure" and "loneliness". All these show that he integrated the quiet spirit of Buddhism into his works, making them poetic and elegant. Look at his "Deng Shusheng Small Platform";

Stay at home and look at Yunshan everywhere.

Under the sunset bird, autumn primitive people are idle outside.

You know, far from the forest, but you can't see the roof.

It takes a few more months to entertain guests, and don't close the door when you pick it up.

The former poem can make readers feel the existence of the poet personally, but this poem makes readers and poets think about the scenery out of bounds together, so that they can have a panoramic view of everything except Yunshan and Yuan Qiu, and then infer the situation outside the forest. The work expresses the poet's idle state of mind, and it is written freely and naturally. Climbing the Tower of Hebei, Master of Thousand Pagodas and New Sunny Wild Hope are all representatives of this kind of works. In "New Sunny Wild Hope", "White water is outside the field, and Bifeng is out of dust." This is a quiet ink painting, depicting the beauty and harmony of nature. The style of quietness and leisure in these works is not mechanical, and its quietness is not a pool of dead silence, but an organic unity of quietness with movement, combination of movement and quietness, small movement setting off big quietness, and local dynamics setting off panoramic quietness. Without this unity, the essence of beauty will cease to exist. Such as "Send Li Taishou to Shangluo":

Shangshan is surrounded by Chu and Deng, and the goods are green and heavy.

Flying across the road, spring is shining and the door is closed.

Wildflowers bloom in ancient times, and travelers surround the empty forest.

It's rainy in spring, and the mountain city is shaded.

Dan Quan arrived in Jingcen in vain with Guo Lue.

If you see Xishan Shuang, you should know Huang Qixin.

The first couplet always writes about the geographical environment, and sets off the tranquility of Qingshan with heavy and micro clouds. Then use the flying spring of the postal road to write about the closing in the sunset, and use wild flowers to write about the noise of pedestrians in the empty forest. In the poem, a rainy board house in spring and a cloudy mountain city during the day are all panoramic pens that organically combine the whole movement with the quietness of the earth. Then, the poet wrote sketches with the "Tong" Dan Quan as the lining and the "Di" white feather as the lining, all in order to write static things vividly and pursue the highest state of static from the dialectical unity of dynamic and static.