Who were the poets in the prosperous Tang Dynasty?
Li Bai, Du Fu, Wang Wei, Zhang Jiuling, Meng Haoran, Wang Changling, He, Wang Zhihuan, Liu Changqing, Gao Shi.
Poets in the prosperous Tang Dynasty
1. Wang Wei and the Poet Who Created the Beauty of Quiet Ming Xiu
Wang Wei and Meng Haoran's hermit complex and other poets' landscape feelings —— Centering on Wang and Meng: the influence of Zongshen's thought on the emotional style of poetry
Wang Wei is a representative writer of pastoral poems in the prosperous Tang Dynasty. Originally from Taiyuan Qi (now Qixian County, Shanxi Province), he later lived in Pu (now Yongji, Shanxi Province). Born in the first year of Chang 'an after Wu (70 1). From the age of 15, he studied in Chang 'an for several years, and in the ninth year of Kaiyuan (72 1), he was promoted to the first place, released Tan Cheng, was convicted of something, and was demoted as the treasurer of Jeju to join the army. From then on, he began his career as an official and a recluse. He lived in seclusion in Shang Qi, Songshan and Zhong Nanshan, and established a seclusion career in Zhong Nanshan. He also presented the poem to Zhang Jiuling, the prime minister, for reference, and the officials were on the right. He once went to Hexi to be our festival envoy, the producer and judge of our festival envoy, and learned about the South Election by remonstrating with history. In the 14th year of Tianbao (755), during the Anshi Rebellion, in the first year of Germany (756), the rebels captured Chang 'an, and he was forced to accept a fake post. The following year, the two cities were recovered, and he was convicted and imprisoned; But he was pardoned at once, and not only was he reinstated, but he was gradually promoted to the position of right minister. However, in his later years, Wang Wei had no intention of honor or disgrace. After retiring from the DPRK, I often burn incense and sit alone and concentrate on meditation. In the second year of Shangyuan (76 1), he died in Wangchuan at the age of 6 1.
At that time, Wang Wei, like many talented people who wanted to make contributions to fame, was full of enthusiasm and yearning for fame in his early years and had a positive attitude towards life. He said in "A Journey to Youth": "Who knows that if you don't suffer from the imperial court, you will die fragrant." His poem "Send Judge Zhang to Hexi" says: "Shaping even snows, Peng is involved. Generously lean on the sword and sing a song to send you away. " High profile, ambitious. Wang Wei had already been to the Great Wall when he went to Hexi to celebrate our times. His poems before and after his departure, such as joining the army, hunting, going out of the Great Wall, and making two envoys to Anxi, are full of strong and clear feelings and momentum. Its "to the fortress" cloud:
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. When I arrived at the small pass, I met a spy waiting for the knight and told me that Dou Hu was in Yan.
With the spirit of luxury and leisure, it is integrated into the wonderful scenery description, forming a magnificent poetic meaning. The endless river, the sunset on the vast horizon and the beacon smoke on the lonely castle in the desert reveal the heroic spirit of the poet when he went west to the end of the day.
However, what established Wang Wei's position as a master in the history of Tang poetry was his pastoral poems expressing his feelings of seclusion. He is proficient in music and good at painting. In his poems describing natural landscapes, he created a quiet Ming Xiu poetic scene with "paintings in poems and poems in paintings", which is exquisite and difficult to interpret. For example, an autumn night in the mountains:
The empty mountains are bathed in a new rain, and feel the early autumn at night. The bright moon shed clear light from the cracks and cleared the fountain on the rocks. The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe. Spring spring might as well give it a rest, and the autumn sun can stay on the hills for a long time.
In the fresh, quiet and vibrant landscape, I feel the endless fun of life, and my spirit has sublimated to the realm of ethereal lightness. The beauty of nature and the beauty of the soul are completely integrated, creating a pure and beautiful poetic realm that is inseparable like a hidden mirror.
The beauty of empty mirror and tranquility is the crystallization of Wang Wei's pastoral poems. Because of his emptiness, he observes nature very carefully and feels very keen. Like a painter, he is good at capturing the light and color of natural things in the dynamic, and shows a very rich sense of color hierarchy in his poems, such as:
As the sun sets, the rivers and lakes are white and the tide rises all over the sky. ("Xing Guizhou")
The spring water in the mountains hits the dangerous rocks, and the sun in the pine forest is cold. (Ji Xiang Temple)
The stream of the river has been flowing for less than a day, and white stones are exposed on the riverbed. The weather is getting colder and the red leaves on the branches are becoming scarce. There is no rain on the winding mountain road, the smoke is misty in the dense pine trees, and the water vapor is heavy, as if to flow, and then the clothes of passers-by. ("In the Mountains")
The white clouds merged behind, and the blue mist melted into the mountains and disappeared. The central mountain peaks separate the southwest, and the valleys are different. (Zhong Nanshan)
As the sun sets, the rivers and lakes become whiter; The tide came to the sky, as if the sky and the earth were full of the blue of the tide. One is the contrast of colors, and the other is the mutual development of colors. The color of the sun is warm, and it feels cold because of the cool color of the pine forest, which is the function of conditional color. Red leaves wither and evergreen trees are greener. This emerald is full of space, ethereal and dripping, and there is a feeling of wet clothes without rain, which is also the role of conditional color. As for "clouds, when I look back, they are behind me, and fog, when I enter them, they are gone", it is faint and fuzzy, and the smoke disappears, like a fuzzy ink painting. With the painter's eyes and the poet's feelings, what Wang Wei wrote was interesting, quiet, beautiful and ethereal.
At that time, Meng Haoran was a poet as famous as Wang Wei, and he was also good at writing natural landscapes. He was born and died earlier than Wang Wei, but he became famous after Wang Wei.
Meng Haoran (689 ~ 740), a native of Xiangyang, was a poet in the prosperous Tang Dynasty and lived in seclusion all his life. Before the age of 40, he lived in seclusion in the south of Hanshui River, not far from Lumen Mountain. He traveled south to Jiang and Xiang, and north to Youzhou. He once stayed in Luoyang and traveled in Vietnam. In the 16th year of Kaiyuan (728), he entered Chang 'an, made friends with Wang Wei, Zhang Jiuling and others, and began to make friends with many poets. The following year, he dedicated poems to the secret province and moved the capital in the name of "Wei Yundan, Hehan, Shu, Wu Tong"; But unfortunately, it came last. Later, he went south to wuyue to show his attachment to mountains and rivers. In the 25th year of Kaiyuan (737), he entered Jingzhou and Zhang Jiuling, where there were many songs. Three years later, he died before he achieved his goal.
In others' eyes, Meng Haoran is a real recluse poet. Li Bai said, "Master, I cheer you from my heart, and your reputation has risen to the sky. In the rosy youth, you gave up the importance of hats and chariots and chose pine trees and clouds; Now, whitehead. " ("A Word to Meng Haoran") In fact, Meng Haoran did not intend to be an official. Like other poets in the prosperous Tang Dynasty, he had a strong desire to help the world. His poem "To Prime Minister Zhang of Dongting Lake" said:
The autumn water rises and almost blends with the shore, mixing water and sky with the sky. Ozawa's water vapor transpiration on the cloud soil is white, and the waves seem to shake the whole Yueyang. I'm going to cross the water to find a boat and paddle. It's a shame to return home in the sacred age. Sitting around watching other people's hard river fishing can only envy the fish caught in the fish.
This poem is a gift for Zhang (Zhang Jiuling). While "fishing in the forest", he sits and watches fishing. Through Zhang's quotations, he shows the urgency of hoping to get a career and the luxury of being unwilling to be lonely. Therefore, this poem is written with a broad realm and great momentum, especially the couplet "Clouds dream and fog around Yueyang City", which is the extraordinary voice of the prosperous Tang Dynasty.
Meng Haoran is aloof and pure. Although he always has the ambition to help the world, he is unwilling to bend down and follow. Zhang Jiuling can recommend Wang Wei, but he can't. When he had to come second, he shouted, "I was expelled because of my mistake and was ruled by a wise ruler. I have been ill for so long that I can't see my friends." He gave up being an official and went to the mountains and rivers to show the sublimity of different customs. He said in "Thinking of Xin in the South Summer Pavilion":
The shadow of the mountain rises suddenly, and the moon in the pond rises slowly from the east. Hang your hair in the shade at night, open the window and lie down in a quiet and spacious place. The evening breeze sent waves of lotus fragrance, and the dew on the bamboo leaves made a crisp sound. I thought I would want to make a song, make a song, I just hate my friends in front of me. Feeling for a night, I miss my old friends all night, and it is hard to miss them in my dreams.
He expressed his feelings when enjoying the cool alone, saying, "But, alas, who here will understand?" It shows the poet's lofty and complacent loneliness. With the feelings of mountains and rivers, it blends with the clear light of the pool moon, the fragrance of the lotus wind and the clear sound of bamboo dew, and it feels clear and bright. Purified feelings, expressed by purified scenery, have a pure and clear beauty.
Because of the different living environment and temperament, Meng Haoran and Wang Wei are different in poetry creation and artistic style. His pastoral poems are closer to his own life, and the words "Yu" and "I" often appear in his poems. Such as "Passing through the Old Village": "Prepare chicken rice for me, old friend, you entertain me on your farm. We look at the green trees around your village and the pale blue of the distant mountains. " For example, climbing the Wild Goose Mountain with friends: "The world is reincarnation, and the past and the present are reincarnation. The glory of rivers and mountains remains unchanged, and this trace can be proved. " The description of scenery in Meng Haoran's poems is often a part of his living environment, with the characteristics of improvisation and true carving. Such as "Spring Dawn":
Sleeping sickness in spring unconsciously broke the morning, and the chirping of birds disturbed my sleep. How many flowers fall after a stormy night.
Writing about my feelings at dawn, casual speculation reveals a beautiful and pleasant spring, which seems to have a feeling of regret, but there is no trace to be found. Compared with Wang Wei's poems, the language of poetry is natural and pure, which is reflected in beauty, and seems to be more simple and closer to the realm of Tao Yuanming's extravagant poems.
Meng Haoran has traveled many times in his life, preferring to swim in the water. He wrote many landscape poems in the process of roaming wuyue water town by boat. When he meets the scenery, he often writes from a height, lingers from a lonely place, and inadvertently touches the scene, forming a dull and far-reaching poetic realm of Ming Xiu.
Wang Wei and Meng Haoran enjoyed a high reputation and great influence in the poetic circles of the prosperous Tang Dynasty. Cui Xingzong called Wang Wei a "contemporary poet" (preface to rewarding Wang Wei), and Wang Shiyuan said that Meng Haoran's five-character poem was "the best in the world" (preface to Meng Haoran's collection). At that time, with Wang and Meng as the core, a group of poets with similar poetic styles appeared, such as, Chu Guangxi,, and Chang Jian.
Pei Di once lived in seclusion in Zhong Nanshan with Wang Wei, and was deeply influenced by Wang Wei in life interest and creative style. His Twenty Poems of Wangchuan is a duet between them. Such as "Hua Zigang":
The sun goes down, the wind goes fast, and the grass is sparse at home. Cloud light invades shoes, and mountain green clothes brush people's clothes.
This is a better poem he wrote. Although it can't be compared with Wang Wei's works on the same subject, the creative tendency of trying to write poems clearly is still obvious.
Chu Guangxi's life experience is rather tortuous. After he was promoted to Jinshi, he served as county commandant in Anyi and other places, and soon resigned and returned to his hometown. He lived in seclusion with Wang Wei and others in Zhong Nanshan for many years. Xuan returned to his official position, was captured by the rebels in the Anshi rebellion and accepted a fake post. Then he was exiled to the south and died in a relegation place. Many of his poems have been handed down to this day, such as Ten Encounters with Wang Sanwei, Eight Miscellaneous Poems, Family Affairs and so on. , is his masterpiece of writing rural life directly. In these poems, because the author wants to express the thoughts of returning to nature, nourishing nature and pleasing feelings, it is said that Hyunri has many elements and is not successful in art. Chu Guang -xi wrote five miscellaneous poems, four poems in the south of the Yangtze River and other works that show seclusion and interest. Such as "Fish Bay" in Five Miscellaneous Poems:
Fishing in Green Bay comes in spring, and apricot blossoms come in spring. The pool is clear and shallow, and the lotus knows the fish are scattered. Waiting for lovers at dusk, the boat is green and the shore is green.
The small scene of Ming Xiu, which is composed of apricot flowers, spring water and fish swimming in the pond, blends into the poet's keen feeling and quiet state of mind, and indeed has a lasting appeal of "strategically located and far-reaching interest" (comment on Yin Lan's "Jiling River in Yue Ying"). In terms of natural style, it is very close to Meng Haoran's poems.
Liu Shenxu and Zhang Zirong are also poets with similar poetic styles to Meng Haoran. They are all friends of Meng Haoran. They often sing along with each other, seek common interests and respond in unison. Such as Liu Shenxu's "Send Meng Haoran to the Yangtze River in Late Autumn":
The leaves of trees have fallen, and the southeast is foggy and frosty. Forests and mountains in the evening, the sky and the sea are blue. The color changes for a long time, so does the autumn sound. Lonely boat, still crossing the night alone. The cold flute is opposite Jingkou, so the old friend is in Xiangyang. Looking back tonight, Jianghan is far away.
A long-lasting yearning for friends is contained in the vision of water and sky, and the poetic scene is clear and clear.
Zhang Zirong has similar poems, such as Meet Meng Haoran in a Happy City Except Night and Send Meng Haoran to Xiangyang. , and the better is "Jiajiang Evening Back to the Ship":
There is no sky until dusk and the river is clear. Go home far, go back to the boat. Look at the dark bamboo by the pool, and you will be ashamed when you leave the island. More worthy of the sound of breeze and streamer.
The scenery I saw when I wrote about boating on the river was quiet and elegant, similar to Meng Haoran's poems, but the smell was lighter and eventually inferior.
Among the poets with similar poetic styles to Wang and Meng, Chang Jian has the highest creative achievements. He was a county commandant for some time after he was a scholar, but spent most of his time in seclusion in Zhong Nanshan and Wuchang Zhu Jiang. His secluded pastoral poems are lonely, secluded, beautiful, elegant and ethereal, which are very similar to Wang Wei's poems. For example, in a Buddhist retreat behind the Broken Mountain Temple:
On a pure morning, near the ancient temple, the early sunshine points to the treetops. A secluded place with bamboo paths, branches and flowers, to a Buddhist retreat. Here, birds live in the mountain light, and people's hearts feel quiet in the pond. Everything here is silent, but so is the rest of the clock.
The quietness of the ancient temple in the deep mountains and the ethereal shadow of the mountain light pool are all vividly written, which are connected with the subtle and deep Zen realm. There is no dust in the heart of distant feelings, into the silence; The crisp and melodious chimes show the movement in silence and convey the ethereal charm of life.
This Ming Xiu-style poetic style, both internal and external, not only makes the landscape illusory, but also makes the landscape emotional. As usual, it is said in the poem "Jiangshang Musical Instrument Store": "Jiangshang Qinti Yuqin, with one string clear and one heart clear. The seven strings of Lingling are all over the ground, and the wood is full of melancholy clouds. It can make the river white and make the river deep. I only know the branches of the phoenix tree, which can be decorated with gold. " Clear-minded and calm, watching mountains and rivers has feelings, and feelings are like scenery; There are feelings in the scenery, and there are scenes in the feelings, which blend with each other and form a crystal clear and wonderful poetic meaning.
The emergence of a large number of pastoral poems in the prosperous Tang Dynasty is directly related to the prevalence of seclusion. All the poets in this period had a long or short experience of seclusion. Even in his official career, he yearns for seclusion in mountains and rivers, and has a lingering seclusion complex.
However, among the scholars in the prosperous Tang Dynasty, there were no hermits who lived in seclusion for the sake of seclusion. Some people regard seclusion as the ladder of being an official, so they have the saying of "shortcut to the south", and more regard seclusion as a manifestation of pride and independence, showing noble character by entering mountains and rivers and indulging in mountains and rivers; Furthermore, the return to nature is regarded as spiritual comfort and enjoyment, and the pure beauty of harmony between man and nature is pursued. The beauty of nature's mountains and rivers does have a certain effect of purifying the soul, which can cleanse the filth, make people forget the troubles of the world, and produce a noble feeling of indifference to mountains and rivers and loneliness.
This kind of landscape feeling is very important to the creation of Ming Xiu's poetic realm. Because only loneliness can we have a careful observation and keen feeling of nature and understand the landscape with an ethereal mind. From reality to nothingness, we can find the beauty of the scenery outward and our true nature inward. Meng Haoran indulges in landscapes, but also reveals deep loneliness from time to time; Wang Wei's seclusion in his later years really reached the realm of "no self" mentioned in Pei Youcheng's Portrait Praise. Therefore, the mentality of Wang Wei's poems more typically shows the quiet beauty of natural landscapes.
Wang Wei's "Living in a mountain is a matter" said: "Loneliness covers firewood and flies, and the vastness is reversed." This is a portrayal of his mentality when he lives alone in the mountains. Because of his quiet and lonely nature, he can write a beautiful life of seclusion and loneliness. Zhang Yue, the vice governor, said, "I am more than old, and everything is safe. I think that there is no brilliant strategy to serve the country, only to retire to the mountains and forests. Wide wind, the wind in the shade, the moon shining on the right to play the piano. You ask me good or bad luck? Listen, there is a fisherman singing on the lake! "I have no intention to live in seclusion in the mountains, and I am accompanied by the wind, mountains and the moon. Not only did I not feel lonely at all, but I showed my independence and leisure.
The famous Twenty Poems Collected from Wangchuan is a group of poems written by Wang Wei in his later years when he lived in seclusion in Wangchuan, which shows the poet's lonely feelings. In the realm of Ming Xiu's poetry, people feel a kind of peace of mind that completely gets rid of secular fatigue. It seems that all emotional fluctuations and thoughts have been purified, leaving only the intuitive impression of silence and synaesthesia and the unspeakable beauty of nature. For example:
No one can be seen in the silent valley, only the voice is heard. The shadow of the sunset shone into the depths of the forest, and the scenery on the moss was pleasant. (Chai Lu)
I leaned alone in the dense bamboo, playing the piano and humming a song. It's too light for anyone to hear, except my partner, Mingyue. (Bamboo House)
The branches of the topmost hibiscus flowers are full of scarlet calyx in the mountains. The mouth of a stream is silent, without a trace. They open and fall. (Wu Xinyi)
One said "I didn't see anyone", the other said "I don't know", and then said "No one is here". In the eyes of ordinary people, how lonely it is! Wang Wei, on the other hand, is not, because what he appreciates is the ethereal and quiet beauty, which contains natural vitality, and can only be observed carefully when people are lonely. A wisp of sunset glow on the moss of an empty mountain, moonlight in a quiet night forest, and hibiscus flowers blooming and falling all show the endless primitive state of nature's creation, which is free from human interference, loneliness and melancholy, but only an ethereal silence. The artistic conception of beauty comes from the perception of the ethereal and quiet eternal beauty in nature.
In the hermit mentality of Wang, Meng and others, there is a sense of detachment from the secular; His unobstructed mind and mysterious spiritual realm of the sky are higher than those who simply lived in seclusion in the mountains before. This also makes them yearn for seclusion, which transcends the general sense of seclusion and has richer and fresher ideological and cultural implications.
Wang Wei turned his heart to Buddhism very early and studied Buddhism intensively, which was greatly influenced by the popular Northern Zen Buddhism at that time. In his later years, his thought was close to that of Nanzong Zen, and he wrote the Monument to Master Nengchan. Meng Haoran, Pei Di, Chu Guangxi, Liu Shenxu and Chang Jian. He also had close contacts with Zen monks, and their poems were deeply influenced by Zen style. Their landscape poetry creation, from the way of viewing things to the emotional style, has the cultural meaning influenced by Zen thought, full of Zen meaning and interest.
The influence of Buddhism and Zen on Wang, Meng and others is various, but the most important one is the concept of "no life". Wang Wei wrote the poem "Crying for Yin Yao" in his early years, saying, "Recalling the past when you were in Japan, you asked me if I had learned anything". Until his later years, he said in Sitting Alone on an Autumn Night: "If you want to get rid of old diseases, you can only learn without life." Similarly, Meng Haoran said in "Returning to the Mountain to Show the Master": "Teenagers have no physiology and often want to see this body." His "Lan Ruo, the West Mountain Zen Master" said: "I am under the teacher, and there is no life in meditation." In addition, Chu Guangxi also said in the poem "Crying with the King and Singing the Thirteen Dimensions of Yao": "Wang Fuzi, an old friend, meditates and has no life. I have been sad and happy for a long time, and I will smell it. " Wait a minute. The theory of "no life" is another expression of "silence" and "nirvana" besides Mahayana emptiness in Buddhist scriptures. This sentence is very popular in Vimalakīrti's classic in Tang Dynasty. There is a saying that "No life is silence". What learning without life wants to achieve is, after all, an empty realm of "no self". Wang Wei said in the Monument to the Zen Master that the sixth ancestor Huineng "teaches patience: if a ninja has no life, there is no me." Meng Haoran's "Accompany Yao Zuojun's son to pay tribute to the main room" says: "I will know that without me, I am tired of seeing the sky." Ecstasy should be awakened, and the guest's mind is not at peace. "The specific method for them to learn to be lifeless is meditation, that is, sitting quietly, clearing their thoughts, calming their thoughts and emotions to the maximum extent, and leaving their body and mind in a state of emptiness close to silence. This can turn the pure consciousness of the individual's heart into an intuitive state, and like spontaneous light, it can produce epiphany, wisdom and feeling of the integration of all things, and enter the realm of "no self" where things and I are integrated.
This spiritual realm of meditation wisdom is a spiritual realm realized by China people after contacting with the Mahayana doctrine of Buddhism, which has had a great influence on Wang, Meng and others' artistic thinking and ways of looking at things. They come out of the quiet room of meditation and are used to taking the quiet nature as the object of observation and rest, which makes the creation of landscape poems unique, from the early description of qi and appearance and skillful imitation of similar words to the artistic conception creation of "seeking images, entering the heart and knowing things to get the heart" (Wang Changling's poems). Since the Wei and Jin Dynasties, the aesthetic consciousness of natural landscapes has been realized through metaphysics and evolved into a Zen realm based on Zen interest, which is often expressed through poetic realm. For example, in Wang Wei's "My Retreat in Zhongnanshan", "I will go to the water to stop my path, and then sit and watch Yun Qi". When the water is exhausted, there is naturally nowhere in the mountains. People come here unintentionally, and clouds come out unintentionally. It can be said that thinking and the environment are integrated, and God is in things. The poet focuses on unintentional writing, accidental writing and intuitive impression of sitting and watching. The "cloud" that is careless and natural and leisurely is an image portrayal of the poet's mentality. However, Zen Buddhism, which is very vivid, quiet in motion and quiet in motion, has penetrated into the realm of mountains and rivers and turned into the sky and clouds, ethereal and natural.
Associated with meditation, Wang, Meng and others like to write about the feeling of sitting alone, combining meditation with the aesthetic experience of mountains and rivers, and reflecting the quiet Zen in the description of Qing Hui. For example, in Wang Wei's Sitting Alone on an Autumn Night, the fruit falls in the rain and the grass sings under the lamp, while in Guoyin Temple, the wild flowers bloom well and the valley birds sing quietly. Sitting in an empty forest at night, the breeze is as straight as autumn ",reflecting the quietness of the forest with fruit falling, insect singing and bird singing, and expressing the poet's lonely feelings. Another example is Meng Haoran's "Wan Shan Tan Zuo": "Fishing and sitting on a rock, the water is clear and the heart is idle. Fish swim under the pond tree, and apes hang between the islands and vines. " And "boating in Wuling": "The water belongs to the sky, and the cloud belongs to the sky. Sit and listen to the idle noise and clear the dust. " Although the scenery written is different, it is shrouded in a faint and quiet emotional atmosphere. There are similar emotional styles in the works of poets such as Wang and Meng, forming a light poetic style that tends to express the quiet beauty of natural landscapes.
The ethereal realm of flowers and laughter is the highest realm of Zen, and it is also the artistic extreme pursued by Wang, Meng and others in the creation of landscape poems. In the poetic realm of Ming Xiu created by them, there are not only beautiful and delicate quiet pictures, but also soft and flexible emotional charm, which can spread turmoil in the empty silence and show profundity in the plain. Wang Shizhen, who advocates the theory of verve, said that the poems of Wang and Meng are mostly Zen poems, and the quoted poems are: "There is moonlight in the pine forest and crystal stone in the stream" (Wang Wei); "Or be a friend of your own childlike heart" (Chang Jian); "The woodcutter is black and the grass is cold" (Meng Haoran); "Petals come with the wind, far away from running water" (Liu Shenxu), etc. People think that his "subtle words are no different from the smiles of Buddha and Ye Jia" (Poems with Classrooms, Volume III). In fact, these poems show the slight noise of nature that the poet felt when he was still looking at the silent photos, writing silence with actions, seeking silence in the noise, and going beyond the image to the heart of the poem, showing the emptiness of the artistic conception. In addition, Wang, Meng and others are also good at writing about the movements in silence, such as the singing of birds in the mountains, the fish swimming in the clear pool, and several sparse bells in the ancient temples in the mountains. They can see the popularity of life in an empty place, and the quiet Zen can be transformed into the distant charm of poetry, which is even more diluted.
It is worth mentioning that although most of the works of pastoral poets in the prosperous Tang Dynasty have Zen and interest, few Wei directly entered the realm of ethereal Zen. The unique quiet beauty and ethereal realm of Wang Wei's poems have established his authentic position in the history of the development of China's pastoral poetry, which is unmatched by others.