Compared with Xie Tiao's landscape poems and Tao Yuanming's pastoral poems, how did the landscape pastoral poems in the Tang Dynasty develop? Please talk about specific poems.

Xie Lingyun is the originator of landscape poetry. In "Leser", "The lonely traveler dies of grief, and the journey is hard and steep. Stones gurgling in shallow water? The sunset mountain shines. If the wild forest is crowded, the birds will sing. " Write lonely guests, mountains and rivers, sunset, barren forest, and tell stories directly here. Climbing the Pool Upstairs describes what you saw and did when you climbed the stairs: the sunshine in early spring drove away the residual wind in autumn and winter, Chi Pan was overgrown with spring grass, and the songbirds in the willow garden had changed. Wait a minute.

Pastoral poetry is a new theme developed by Tao Yuanming, which mainly describes rural life, farmers and farming. Rural life, unpretentious, gives the poet a beautiful enjoyment: "There are more than ten acres of square houses and eight or nine thatched houses. Willow trees cover the eaves, and peach trees cover Li Lieman in front of the hospital. It's far from home, and there is smoke in Yiyi market ... "Tao Yuanming has lived in the countryside for a long time and is familiar with farmers. In the second part of Return to the Garden, he said: "There is no miscellaneous words when we meet, and Sang Ma has a long way to go. My field is growing higher and higher, and my cultivated land is expanding day by day. I am always afraid that the frost will come, and so will the grass. " Meet no longer greet, but directly into the topic of concern for crops in Sang Ma. On the one hand, it is to replace greetings with specific questions, on the other hand, it is also a unique emotion of farmers. Shi Tao took rural life as the content, and truly wrote the pain of farming. The third part of "Returning to the Garden": "Beans are planted in Nanshan, and the grass is full of bean seedlings. Get up early in the morning to get rid of weeds, and come back with hoes in the moonlight at night. The narrow path covered with vegetation, the night dew wet my clothes. The clothes are not covered, but the wish is not violated. " Although this poem is about hard work and life, its theme is not about its suffering. "It is a picture with great aesthetic significance to get up in the morning to treat garbage and take the lotus home." . Landscape poems mainly describe natural scenery, and poets' aesthetic appreciation of landscape images is often associated with travel.

After Tao Yuanming and Xie Lingyun, pastoral poetry often became the spiritual home of literati. Landscape pastoral poetry reached its climax in the prosperous Tang Dynasty, and representative poets such as Wang Wei and Meng Haoran appeared, seeking spiritual perfection with the help of natural scenery and melting themselves into the scenery. Great changes have taken place in the pastoral poetry of the middle Tang Dynasty. On the one hand, the natural consciousness of mountains and rivers permeates daily life, and poets often find natural interest around mountains and rivers. On the other hand, poets can't forget themselves. In landscape description, natural interest is often lonely, even lonely. Nevertheless, their poetry creation is still a model of China's pastoral poetry.

The pastoral school is represented by Meng Haoran and Wang Wei, as well as Chu Guangxi, Chang Jian, Zuyong, Pei Di and others. They inherited the pastoral poems of Tao Yuanming and Xie Lingyun since the Jin and Song Dynasties, and the creative tradition of landscape poems has formed a poetic genre with the same theme and similar artistic style. Their poems depict natural landscapes and pastoral scenery, show the interest of returning to nature, loving and nourishing nature, and express the leisure and ambition of seclusion. Their poetic style is fresh and natural, their artistic conception is light and leisurely, and their scenery is elegant and vivid. Improving the artistic skills of expressing natural scenery in poetry is a wonderful flower in the art garden of Tang poetry.

Wang Wei is a representative writer of the pastoral poetry school in the prosperous Tang Dynasty. His early poems, such as Journey of Youth, Journey of the Army, Journey of the Old General, Song of the Dragon Head, and Frontier Messenger, are bold and unconstrained in style. And the pastoral poems that can best establish its status and mark its artistic achievements, such as Wei Shui Peasant House, Autumn Mountain Residence, Zhongnanshan and so on. Or writing about the quiet and leisurely life in the countryside or the quiet and beautiful natural scenery is a high degree of unity of poetry and painting, which has both the natural artistic realm of Tao Yuanming's poems and the meticulous carving of Xie Lingyun's poems, and the language is fresh and clear. Su Shi once commented: "There are fascinating paintings in poetry and poems in paintings."

In Meng Haoran's poems, he writes about the landscapes he saw during his travels or the natural scenery of his hometown. When he expresses his loneliness, he is often mixed with frustration, and when he entertains himself with scenery, he is mixed with homesickness. Such as Sleeping at Jiande, A Gift from Dongting Lake to Prime Minister Zhang, and Homesickness on the River. And the elegant and leisurely ambition to describe seclusion, such as passing by the old people's village and visiting Wang Baiyun later. His painting style is peaceful and diluted, fresh and natural, and has not been carved, but it is also extraordinary, light and powerful. Shen Deqian commented: "Meng Zhi's poems are superior to others. Every time he doesn't want to work hard, he goes beyond the secular and restores the unexpected" (Tang Poetry). But some of them are magnificent, such as "Dongting Lake to Prime Minister Zhang".

Wei is a representative poet of the pastoral poetry school in the middle Tang Dynasty. His landscape poems are beautiful, thoughtful, fresh and natural, and full of commercial flavor. Wei's poems are very long, and the seven-character singing rhythm is beautiful, and the five laws are full of air, which is intriguing. His masterpiece "Xixi Chuzhou" handed down from ancient times not only described the scenery of barren hills and wild rivers in the spring rain as picturesque, but also showed people's hearts and sorrows with emotion. In addition, Wei also showed concern for the hard work of farmers. For example, the poem "Guan Tian Jia" contains both sympathy for Tian Jia and shame for being an official. At first, the theme of caring for farmers was the new development of Wei's pastoral poems.

Liu Zongyuan has made great achievements in describing natural landscape, both in poetry and writing. He inherited the achievements of the previous generation of landscape poetry, personified and personalized the natural landscape, making it full of bright subjective colors and strong lyricism. Liu Zongyuan's landscape poems are profound and euphemistic in emotion, meticulous and concise in description, and have quite high artistic achievements. For example, the poem "Fisherman" shows the author's yearning for free life, his love for mountains and rivers, and his peaceful mind through the description of his life. The change of sunrise scenery on the river is particularly wonderful and touching. "Jiang Xue" is picturesque, a masterpiece of five elements, and also a masterpiece that has been told all the time. In the vast snow, he wrote an old man fishing alone in the cold river, which showed the poet's lofty personality and indomitable spirit. Although his landscape poems are different in scenery, they show his sober and noble character everywhere, and at the same time, they often reveal the bitterness of being exiled to the wilderness, realizing the high integration of self-image and landscape image. This feature can also be seen in his landscape works. The landscape travel notes represented by Eight Chapters of Yongzhou are full of quiet and sad colors. Reflecting Liu Zongyuan's exile, he gained spiritual comfort by describing the joy of mountains and rivers, and also expressed his protest against the ugly reality in a tortuous way. Its concise words and vivid and meticulous scenery make the scenery full of charm and color.

Except Wei and Liu, all other poets have created more or less landscape poems. Or take strange risks as beauty. For example, in the first sentence of Meng Jiao's "You Nan Shan", the majestic and steep image of the mountain is highlighted by subjective feelings, and then its feelings are confirmed by in-depth descriptions such as "Sufeng Night, Deep Valley can't be drawn clearly", "Long wind drives pine and cypress, and sound blows ravines", so that the image of the mountain is both enjoyable and very real. Or desolate and cold is also beautiful, such as Jia Dao's "Looking at Clear Snow", "Looking at Clear Snow, Clouds of Tens of Thousands" and "Wildfire Burning Grass, Breaking Smoke and Creating Stones", which show the natural realm, open up new natural aesthetics and enrich the content of landscape poems. With the expansion of content, new expression techniques have emerged. Although some of them have not been successfully used, most of them have made achievements and made important contributions to the art of landscape poetry.

"Wang Meng" is the collective name of Wang Wei, Meng Haoran, Wei and Liu Zongyuan, and is the representative of the pastoral poetry school in Tang Dynasty. Wang Wei was a noble court and lived in the mountains in his later years. His poems have a wide range of themes, including quiet, elegant, vigorous and simple style. Meng Haoran's desire to help the world was frustrated, and finally he retired and concentrated on writing pastoral poems. As a local official, Wei is more concerned about people's livelihood, including poems with social themes and poems with leisure themes. Liu Zongyuan failed to join the Reform School, and was relegated to death for a long time. His poems mainly express grievances, and some of them are landscape poems.

Comparing their representative works, it is not difficult to find that Wei and Liu Zongyuan both went to nature with heavy hearts to seek comfort. When they enter nature, the purpose of washing troubles is too clear, so they can't turn themselves into nature. On the contrary, they often infect the landscape with the poet's own frustration, embarrassment and helplessness. Therefore, if Wang Meng's pastoral poems show a kind of painting beauty and the beauty of human nature shaped by nature, then Liu Wei's landscapes naturally show an emotional deepening and a natural humanization (emotionalization); Both of them are two stages of landscape nature in literature and have high aesthetic value.