Editor's note: The original article was published in Du Fu Research Journal, No. 4, 2021, No. 150 in total.
Liu Ning is a researcher at the Institute of Literature, Chinese Academy of Social Sciences
In the course of its century-long development, the Communist Party of China has been carrying out various forms of ecological civilization construction practice. Since the Eighteenth National Congress of the Communist Party of China, the Party Central Committee with Comrade Xi Jinping as the core has incorporated the construction of ecological civilization into the overall layout of the "five-in-one" and elevated it to the height of the millennium plan for the sustainable development of the Chinese nation; the construction of the ecological civilization system has been continuously improved, and a series of ecological concepts such as "man and nature are a community of life" and "green water and green mountains are golden mountains and silver mountains" have been deeply rooted in the hearts of the people. Xi Jinping Thought on Ecological Civilization is deeply rooted in the rich ecological wisdom and cultural soil of Chinese civilization.
Ecological issues are increasingly attracting the attention of countries around the world. The rich ecological wisdom accumulated by Chinese civilization has important reference significance for the construction of contemporary ecological civilization. How to understand the traditional Chinese ecological wisdom, the current discussion focuses on ecological thinking in the Confucian and Taoist thought tradition. In fact, the ecological writing of classical Chinese poetry is very rich, especially Du Fu, who is known as the "poetic saint", and his rich chanting of the relationship between man and nature presents the profound connotation of traditional Chinese ecological wisdom. Unlike European and American ecological literature, which focuses on the criticism and reflection of the various evil consequences of human conquest of nature, Du Shi shows more of the rich spiritual experience of harmonious integration between man and nature. Understanding the ecological wisdom presented by Du Shi can more deeply understand the traditional cultural origin of Xi Jinping Thought on Ecological Civilization.
I. Du Shi's "Benevolence of Loving Things" and "Seeing the Clarity of Things"
Although Du Fu did not have such a clear ecological concept as today's people, he loved nature and had an extremely rich chant about the birds, animals, plants, trees, winds, clouds, moons, and mountains in the natural world. He cares for all things with the Confucian heart of benevolence and love for things, and his poems are full of the benevolent righteousness of "loving things", and even ordinary flowers and plants, even the smallest life, have received his pity. At the same time, he is also deeply influenced by the art of landscape pastoral poets, observing all things with a clear heart, and his pen portrayal of "viewing objects" not only expresses the rich mood of animals and plants in nature, but also reflects the clear interest of the heart.
Du Shi's "Benevolence of Loving Things" has touched countless readers in later generations. He created "Sick Horse" in Qinzhou: "It has been a long time since the ride, and the cold weather is deep. The old man in the dust tried his best, and the old age was sick and sad. The bones are so special that they are tamed to this day. The object is not shallow, and it is touched by a deep groan. "The old horse is not a famous horse that is different, but after a lifetime of service and even decay, the poet's care and pity for it is very sincere. In Mianzhou's "Watching fish again", he is deeply disturbed by the greed of exhausting and fishing: "The small fish cannot be remembered, and half dead and half alive are still alive." The wounds of the big fish are hanging down, and the flexion of the mud and sand is sometimes standing. ...... My disciples hu indulged in this pleasure and violently mourned the sanctuary of heavenly objects. The poem depicts the big fish and small fish trapped in the net eager to break free, and between the words it seems that the poet is anxious and helpless for their fate, and the concluding sentence directly denounces such an act as a "violent creature" and full of benevolent sorrow.
When Du Fu was in Shuzhong, he once wrote the poem "Five Plates" in Wupanling in the north of Guangyuan County: "Although the clouds are dangerous, the mountains are more than enough. The Yangling Trail is thin, overlooking the River Wood Dredging. There is no net in the secluded area, and the water is clear and fishy. Good birds don't fly in vain, and wild people live in half nests. Happy to see the simple and vulgar, calm and comfortable. The portrayal of the simple situation of Wupanling in the poem reveals everywhere the tiredness and disgust of the turbulent current affairs of the remnants of the pests. The poet is relieved that the fish and birds in front of him are far from harm, echoing the early peace of war, the rapid removal of the giant monkeys, the return of peace to the world, the strong desire to end the wandering as soon as possible, and the worries of the benevolent people and love things linger at the end of the pen.
Du Fu's love for the benevolence of things has many delicate reveals, such as the "Sending Title Jiangwai Caotang" written in Zizhou because he missed the former residence in Chengdu, and the poem mentions the concern for the four small pines in the house: "Still remember the four small pines, the vines are easy to be entangled." Frost bones can not be long, always pity for the neighbors. "Little Goose in Front of the Boat" created in Hanzhou is full of love and pity for the goose: "The goose is yellow like wine, and the wine loves the new goose." Lead the neck to the boat, no line chaos and more eyes. The wings were opened by the rain, and the force was small and trapped. The guests scattered in the city twilight, the fox Nai Ruohe. Du Fu's care for every grass and tree and the weak life in nature was not deliberate, and these sincere pitys were born out of his broad mind of benevolence and love of things. In "Temporary Return to Dongtun to the White Emperor", he said that "Tsukiba pits ants, collects ears and allows village children", and the poet wants to consolidate the ground to build the field, but he is afraid that this move will destroy the ant nest; he does not prohibit those village children who come to pick up their own ears of wheat. Pity for the ants and care for the village children are the benevolence of the poet's unity, which is a profound expression of the Confucian spirit of benevolence in pushing oneself and people and things.
As a poet of magnificent poetry, Du Fu's taste of nature is not only developed with the pen of benevolence and pity. A large number of landscape objects are written in Du's poems, showing an extremely rich ecological interest. Since the Eastern Jin Dynasty and the Southern Dynasty, the development of landscape idylls has accumulated rich experience in expressing the beauty of natural ecology. Du Fu is not a typical landscape pastoral poet, but he draws on the poetry art of the previous generation with the courage of a collection of achievements, of which the absorption of the art of landscape pastoral poetry is very in-depth. In his poems, he said, "Yan De thinks like Tao Xie's hand, and makes Qu Shu zuo and travels with him", "He knows that Er Xie will be able to do things, and he will learn yin and how to work hard", all of which clearly express the method of taking Xie Lingyun, Xie Shuo, and Tao Yuanming. Landscape poetry tastes nature with a clear state of mind, and shows the vitality and interest of landscapes and landscapes, movements and plants in the Chenghuai Guan Dao, and the unique brushwork of the resulting observation and writing has a profound impact on Du Shi. Du Fu's "Night Feast Zuo Shi Zhuang" written in his early years: "Lin Feng slender moon sets, and the clothes are lu jingqin Zhang." Dark water flow flower path, spring star with grass hall. Examine the book burn candle short, look at the sword lead cup long. The poem heard Wu Yong, and Bian Zhou did not forget. "This spring night feast, full of elegant interest, the grass hall under the light moon of the stars, the stream that flows quietly under the flower path, all of them set off the charm of light and far-reaching and transcendent, which is the meaning of the landscape poetry. Later, Du Fu wrote many chapters in Chengdu Huanhuaxi Caotang, temporarily forgetting the pain of wandering, and the poems were integrated with the tranquility and tranquility of Tao Yuanming's idyllic poems in the clarity, such as "Buju": "The west end of the Huanhua Creek water, the master is Bu Lin Tang you." It is known that Guo Shaochen is more worried about the dust, and there are more Chengjiang sales customers. Countless dragonflies are up and down, and a pair of partridges float up and down. If you travel east, you must enter the boat towards San'in. The grass hall far away from the hustle and bustle of Huanhua Creek made the poet forget the sorrows of the guests, and the stream traveled thousands of miles east to Wuyue, which triggered his strong desire to rediscover the beauty of the Shanyin landscape.
Landscape poets look at things with a clear mind, profoundly appreciate the vitality of all things, and are also full of distinct imagery and business for the performance of the state of things. Xie Lingyun's many masterpieces of scenery have such "the clarity of viewing things", such as "You Nanting": "When the sunset is clear, the clouds return to the sun and the west." The dense forest contains Yuqing, and the distant peak hides half-plan. Long-term cramps and bitterness, the hotel overlooks the suburbs. Zeeland is gradually approached, and hibiscus starts from the pool. Not tired of youth, I have seen Zhu Ming move. In the delicate twilight twilight, the poem depicts the business of spring grass at the beginning of the new month; "The Stone Wall Jingshe is still in the lake": "The forest is dark, and the clouds are harvesting the sunset." The lotus is stacked and the barnyard is dependent on each other. "In the twilight of the forest valley, in the rush of time, depict the animal state of the lotus flowers blooming on the lake and the pu barnyard in yi. Such a pen of things comes from the clear and pitched heart of the surface, and the delicacy of its brushstrokes and the flowing business are endlessly evocative.
Such "clarity of observation" is also vividly presented in a large number of Works by Du Shi. The "Two Songs of Qu Jiang" (the second of the song) reads: "The day of the pilgrimage is the spring dress, and the river head is drunk every day." Alcohol debts are commonplace, and life is seventy years old. Wear flowers butterflies deeply to see, dot water dragonflies model fly. The scenery flows together, and it is not contrary to the temporary appreciation. Among them, "wearing flowers and butterflies is deeply seen, and the water dragonfly models fly" uses extremely delicate brushstrokes to portray a gentle and moving, but short and fleeting spring color, which is a spring business that people can't help but want to keep. Another example is "Peach blossoms chase pear blossoms, yellow birds and white birds fly" in "Qujiang To Wine", which is also a delicate depiction of birds flying and falling flowers, and the spring day is delayed; "Forest flowers with swifts are wet, and water is long with wind and green belts" depicts a unique moment of forest flowers and water in the wind and rain, portraying a vivid spring feeling. Another example is "celery mud with swallow's mouth, bee whiskers on the powder", "when out of the Bijifang, the western suburbs to the grass hall." Shiqiao official Liu Xiao, Jianglu Wild Plum Fragrance", "Jinli smoke outside, Jiangcun eight or nine homes." Round lotus floating leaflets, fine wheat falling light flowers", "Tianshe Qingjiang Qu, next to the Chaimen Ancient Road." Poems such as "Grass Deep in the City, Lazy Clothes in the Secluded Place" are delicate and tasteful depictions of the natural world, the poet's sensitivity to the changes of nature's birth and death, and the meticulous observation of the state of matter, all of which are integrated into these condensed verses.
Xie Lingyun's landscape poems are good at expressing the beauty of color in nature, such as "white clouds hugging youshi, green xiaomei Qinglian"; Wang Wei's landscape poems also fully inherit such color art, such as "tender bamboo contains new pink, red lotus falls on the old clothes", "wood end hibiscus flowers, red calyx in the mountains". Du's poems also have many bright colors, such as "green weeping wind folding bamboo shoots, red blooming rain and fat plums" depicting gardening; "the wind contains cui xiao juan juan net, rain and red roses and fragrant", which depicts the desolate mountains of the border plugs; and "Sai liu line is sparsely green, and the mountain pear knot is small red". As for the natural beauty of landscape poetry, there are many echoes in Du's poems. Du Fu portrayed spring in Shu, and there is the famous "Seven Absolute Sentences of Seeking Flowers Alone on the Riverbank", in which "Huangshi Pagoda is in front of the river and the water is east, and the spring light is lazy and sleepy and leans on the breeze." The peach blossoms bloom without a master, cute crimson love light red", "Huang Siniang's family is full of flowers, thousands of flowers are low on the branches." The delicacy of the brushstrokes, the richness of the colors, and the excitement of the poems are evocative.
The landscape poet's "clarity of seeing things" reflects the Taoist spirit and metaphysical will to cultivate the poet's soul. Du Shi has both "the benevolence of loving things" and "the clarity of seeing things", and in dealing with all natural things, there is not only the benevolent care of pushing oneself and others and things, but also the delicate observation of clear meditation. The ecological thinking of both Chinese Confucian and Taoist families is rich and poetic in Du's poems.
Second, Du Shi's unique experience of "friends with things and me"
Du Shi has many works, expressing the feeling of "things and my friends", people for all natural things, neither simply take the initiative to care and pity, nor just observe the taste of pure care, but more like facing a close friend, communicating with each other tacitly. The unique experience of harmonious blending of man and nature contained in this poem of "Things and My Friends" has opened up the artistic expression of classical poetry and enabled readers to appreciate the richness of Classical Chinese ecological wisdom.
Du Fu lamented in "Yuelu Mountain Daolin Second Temple Trip" that the mountain light was looking for "one heavy and one cover my heart, and the mountain birds and mountain flowers are friends", and such a "friendship" is always revealed in his pen. In "Jiangcun", which depicts the scenery of the Caotang, he feels that everything in the Caotang is so kind: "Qingjiang is a song that embraces the village stream, and everything in Changxiajiang Village is quiet." Self-propelled beam on the swallow, close to the water gulls. Although the poetry implies the allusion that the gulls forget the machine, it is also a true portrayal of the life of the grass hall. When the poet and nature seem to communicate with each other, when the poet cannot bear the rapid passage of spring light, he will say, "The scenery of the word flows together, and it is not contrary to the temporary appreciation", as if the spring light is a friend who can understand his heart. When chunguang disturbed his own guest sorrows, he sighed helplessly: "Seeing that the guests are sad and not awake, the rogue spring color comes to Jiangting." That is, he sent flowers to further study, and taught the warbler language Tai Ding Ning. "Spring is like a reckless friend, obviously knowing that he is difficult to understand, but also to let spring return to the earth, probably intended to comfort himself, who knows but more touched his own sorrow." Such a kind thing and my feelings, delicate and delicate.
Friendship is not as natural as family affection, but it has a unique spiritual experience and will care more about each other's affectionate exchanges. Deep friendship will not just stay in return and gratitude, but there is a richer mutual understanding, blind date in between, Du Fu's "Title Peach Tree" expresses this complex friendship, and the object of friendship is the five peach trees in front of Du Fu's house: "The path to the church is not oblique, and the five peach trees are also shaded." Gao Qiu always gives to the poor, and the next year is still full of dazzling. Curtain households should pass through the milk swallow, and children Mo Xin beat the crow. The widow group thieves are not today, and the book of the world has been a family. Someone suggested that Du Fu cut down the peach trees in front of the house that blocked the road, and he responded in the poem that these peach trees not only bear fruit in the autumn to fill the poor with hunger, but also bloom bright flowers in the spring. However, the poet's love for the peach tree does not stop there, he goes on to say: "Every curtain household should pass the milk swallow, and the child Mo Xin beat the crow." "Milk swallows, crows and peach trees should be loved by people, not because they are good for people, but because all living things should be respected and cared for. Pu Qilong has an incisive analysis of this: "Covering the 'feeding the poor' is beneficial to people, and 'shu eye' is with me in the spring, although things are small and profitable. The second half is further explored. Regardless of whether it is beneficial or not, and the thing should be loved, not the word of promotion outside the peach, but the word of the point of the thing. Promotion is all thrown away, and there is no reason. Saying 'milk swallow' and 'loving crow', there is no supplement to the world, but full of vitality, human feelings are protected, peach is not its kind? Different from the above poems such as the sick horse and the little goose, "The Inscribed Peach Tree" shows the profound connotation of "things and my friendship", the former is the poet's pity for the weak and helpless life, and the latter is more about the friendship between people and the peach tree.
"Friends Between Things and Me" shows the richer aspects of harmonious coexistence between man and nature. The benevolence advocated by Confucianism is largely based on the derivation of "kinship". Mencius Liang Hui Wang Shang Yun: "The old man is old, and the old man is old; the young man is young, and the young man is young." "The love for the world is derived from the outward movement of family affection step by step. How to effectively express such benevolence in the face of strangers who lack family ties is a problem that Confucianism must consider. By abstracting the moral principle of benevolence into Tianli, Song scholars have given Confucianism a universalist connotation, but in their understanding of Tianli and benevolence, they are still significantly influenced by the emotional experience of family affection. Zhang Zai's "XiMing" Yun: "Minwu compatriots, Wuwu and Ye." Although it is said that things are my friends and friends, it is obvious that the feeling of "things and" mentioned here is closely related to the meaning of "compatriots" mentioned above, and is a derivation of the meaning of "compatriots" as family affection. Cheng Haoyun: "The medical book says that the paralysis of the hands and siblings is unkind, and this is the best name." The benevolent one, with the heavens and the earth and all things as one, can not be himself. If you recognize yourself, why not? If there is no self, if there is no self, it is not related to oneself, such as brotherhood is not kind, and the qi is not consistent, it does not belong to oneself. Therefore, 'Bo Shi Charity' is the function of the saints. The benevolent must not only regard all things in the world as their own relatives, but also regard all things in heaven and earth as one with themselves. It can be seen that the benevolence of Confucianism relies heavily on the experience of family affection to be with all things in heaven and earth. However, in the face of an infinitely diverse world, such a way will undoubtedly have its limitations, and Du Fu's rich experience of "friendship between things and me" has more enlightenment on how to coordinate the relationship between people and all things.
Du Fu's exploration of the relationship between things and friends is embodied in the creation of many new artistic themes and techniques. One of the most especially can be experienced is its performance of the pleasure of revisiting the landscape. In the spring of the second year of the first century, Du Fu revisited Xiujue Mountain and Xiujue Temple, and wrote the famous "Later Journey": "The temple remembers the place where it was traveled, and the bridge was pitied when it crossed again." If the country is waiting, the flowers and willows are more selfless. The wild run smoke is thin, and the sand is late in the day. All the worries are reduced, and it is better to give up this. "The poet revisits the landscape again, the mountains and mountains seem to be waiting for their return, and the flowers and willows selflessly show their beautiful scenery.
Du Fu's writing of the pleasure of revisiting landscapes in this way is a very artistic and innovative brushwork. Although the landscape poets from Xie Lingyun to Wang Wei depicted the thousands of styles of the scenery of the rivers and mountains, they rarely wrote from the perspective of revisiting, and what they valued most was the spiritual touch of the first encounter with the landscape. In Xie Lingyun's pen, the scenery that suddenly appears in front of the poet's eyes between the mountaineering and the water is so fresh and vivid, but it is so fleeting, for example, "Passing the Shi Ning Villa" meticulously describes the beautiful scenery that the poet saw along the way between the mountains and rivers: "The mountains are poor and the water is wading along the edge." The rocky ridges are thick and stacked, and the continents are endless. White clouds hug the stone, and green xiao is beautiful and clear. The poet kept trekking, and the rock ridge in front of him also changed, and it was in the changing sight that he suddenly saw "white clouds hugging the stone, green and beautiful and clear". The white clouds surrounding the rocks do not stay for long, and this fleeting beauty has infinite freshness and vividness. The discovery of beautiful scenery during the tour is often more shocking and precious due to the inconvenience of the twists and turns of the road. Xie Lingyun lamented in "Shibi Jingshe Returning to the Lake" that the qinghui in the mountain forest is so fleeting, and the sunset is full of eyes in the blink of an eye: "The climate changes in the dusk, and the mountains and rivers contain qinghui." Qinghui can entertain people, and wanderers forget to return. It is still early to leave the valley, and the sun has already faded into the boat. The forest is dark, and the clouds are harvesting the sunset. These verses focus on the fresh experience of the first encounter with the scenery, vivid and clear. Bao Zhao said that Xie Lingyun's five-character poems are "like the first hair of hibiscus, naturally cute", such a metaphor, can tell the magic of Xie's poems.
Landscape poets are very good at portraying the fresh landscape world that seems to be encountered for the first time, such as Meng Haoran's "Early Fishing Pond", "Dongxu early light, Nagisa bird has been frightened." Lying on the yupu mouth, the radial sound is dark. The sunrise is meteorological, and the river road is wide", the poem depicts the river scenery at dawn, and the world seems to have just awakened. This experience is also expressed in Wang Wei's poems, and his "Pastoral Works in Spring" cloud: "The spring doves on the house are singing, and the apricot blossoms on the edge of the village are white." Holding an axe to cut far away, the lotus hoe to the spring vein. "Every grass and tree in nature, under the pen of the landscape poet, is full of the fresh beauty of new acquaintances and first encounters.
In fact, in reality, landscape poets have gone through mountains and rivers, and it is impossible to have no experience of revisiting at all, but the unique experience of revisiting has never received full attention from landscape poets. It is in this sense that Du Fu's "Temple Reminiscences of The Place Where It Was Traveled, And when the Bridge Is Pitied Again" presents a very significant artistic novelty, and the poet not only no longer avoids the experience of revisiting, but also clearly says that Jiangshan is more beautiful in the revisit. In the re-tour, Jiangshan is no longer a new knowledge, but an old friend who meets again, has a deeper affection for each other, and thousands of things also present a different scenery. If the landscape is first seen, its scenery is characterized by bright and vivid, then what you see in revisiting and re-appreciating it will have more delicate and leisurely charm. Du Fu described in "Later Journey" that the re-visit saw that "the wild run smoke is thin, and the sand is late in the day", which haunts the lingering breath of spring.
The difference between the first sight of the landscape and the re-visit is clearly presented in Du Fu's famous two groups of works, "Accompanying Zheng Guangwen through the Ten Songs of General He's Mountains and Forests" and "Heavy Over the Five Songs of He". The poet was twice a guest in General Ho's other profession, and the two groups of poems wrote about the different experiences of the first and the most important. When he was a first guest, the poet was repeatedly touched by the beauty of the garden, and he noticed the strange flowers in the garden: "Exotic flowers come to the absolute area, nourishing the vines and clearing the pond." He also noticed the secret in the twisted vines: "The vortex is deep without horses, and the vines are curved and hide snakes." Feel the deliciousness of the food in the garden: "Fresh crucian carp silver silk, parsley and green soup." The scenery seen in the eyes also left a distinct color impression: "Green hanging wind folding bamboo shoots, red blooming rain and fat plums." ”
"Heavy Over the Five Songs of Ho" focuses on the unique experience of revisiting the garden, the poet is no longer a complete stranger at this moment, his eyes are no longer attracted by the strange flowers in the garden, but notice the intimate scenery of "the dog greets the former guest", he is an old friend of the garden, but also the deceased of everything in the garden, he can "sunset on the platform, when the spring breeze sips tea." Stone railing oblique point pen, tong leaf sitting inscription poem". The leisurely state of mind makes the ordinary grass and trees in the garden also have the meaning of playing: "The rain throws the golden lock armor, and the moss lies in the green sinking gun." The little life in the garden, its lively figure outlines many delicate landscapes: "Emerald singing truss, dragonfly standing fishing wire." "Revisiting the garden, there are many new feelings in the familiarity, just like the old friends who know each other, and they enter each other's world more in the exchange. Such a revisit, which reflects the unique relationship between man and nature, is quite interesting. In traditional landscape poetry, people need to look at the landscape with a clear heart; in the revisit, people have a richer sense of self- awareness, and the landscape is naturally more like an old friend reunion, and taste the wind of the country and mountains in a cordial friendship.
This kind of revisiting is obviously different from the sigh of revisiting the old place and the thought of returning home that often appear in classical poetry. The sigh of revisiting the old place is a very common lyrical theme, Bao Zhao's "Wucheng Fu" depicts the prosperous Guangling in the past, the desolation after the war, and the endless indignation between the lines is the past and present. Du Fu's "Lamenting River Head" also focuses on this, the prosperous Qujiangtou before the Anshi Chaos, in the war chaos, it is "Jiangtou Palace locks a thousand doors, and the fine willows are green for whom". The theme of revisiting the old place was chanted a lot after the Middle And Tang Dynasties, and the most often expressed was the sigh of the vicissitudes of things and people. Dai Shulun's "Revisiting Changzhen Temple": "The same as Changzhen Temple, qingshan is the same on all sides." Birds chirp and bamboo are dark, and people are scattered and empty. Pujian millennia rain, Pine Gate midnight wind. The old tour is sad in the past, looking back at the west and the east. "The poet remembers the past when he traveled with his friends to Qingshan Temple, but now he has returned, and the people who used to travel with him have wandered to the west and the east. This emotion is more concentrated in Cui Hu's helpless chant of "Human Face Peach Blossom": "Last year, in this door today, the face of the peach blossom reflected red. The human face is nowhere, and the peach blossom is still smiling in the spring breeze. Xu Xuan's "Revisiting Mulan Pavilion" also expresses the sense of vicissitudes of revisiting: "Surrounded by the long causeway with Bixun, in the past years, I still visited here. Lan Jun's broken wave city is straight, and Yule wears the garden tree deep. The dust of the eunuch road has become a long goodbye, and the immortal scenery has been sought. After knowing that the elderly and amorous, he relied on the column to do a solitary groan. This kind of thing is a lament of human non-humanity, which is completely different from Du Fu's interest in revisiting. The former is still centered on the poet's own feelings, and the natural world seems to have no changed scenery, but only a wordless mirror facing the changes in the poet's life. Among them, there is no unique emotion like Du Fu's relative acquaintance with everything in the country and the mountains.
Du Fu's revisit of the country is also different from the general sense of returning to the countryside. Tao Yuanming portrayed the unique feeling of returning to the hometown in "Returning to the Hometown". He once again saw the scene of the township garden, "three paths are deserted, and the pine chrysanthemums still exist", and he was pleased to find a peaceful home for his body and mind. Du Fu's revisit of Jiangshan, although cordial, is not based on Jiangshan as his hometown, during which the unique emotions of people and nature like old friends know each other, which is quite different from Tao Yuanming's homecoming thoughts.
Later generations of poets often have difficulty learning Du Fu's unique brushwork of writing revisiting and revisiting, compared to the bard orientation that has almost become a routine, compared to the bard orientation of things that are not human or return to the countryside, the relative rhyme of revisiting the rivers and mountains and friends and friends seems to be difficult to write. The Song dynasty Wang Zao has a poem that wants to outline this kind of interest: "The mountain city is heavy to turn quiet, and the victory day is idle to find the old fishing trip." It must be that the sand gull is suspicious of the vulgar driving, and the back of the person flies away and does not turn back. "The poet revisited the mountain city, the scenery felt more quiet, but the familiar sand gulls hated the poet's vulgarity and flew away. In a faint self-deprecation, the verses are quite ingenious, but compared to the rich brushstrokes of Du Shi's writing revisiting, the poetry is not without thinness. The difficulty of Du Shi's method is not only the lack of artistic skills, but more importantly, it is difficult for poets to fully appreciate Du Fu's rich emotional world. Du Fu's calm taste of revisiting the good fun shows the rich connotation of the harmonious blending of man and nature, and his in-depth experience of "things and my friendship" does not simply follow the benevolent logic derived from family affection, nor does he simply rely on the self-clarity and pure concern to obtain the integration of things and me, in a sense, Du Fu has made richer thinking about the connection between man and nature in addition to the ideological traditions of Confucianism and Taoism. In his pen, the relationship between man and nature is not only the love of nature like a relative, and the respect for nature on the basis of self-purification, but also the tacit communication between man and nature like friends and friends.
Third, Du Shi's enlightenment to the understanding of "harmonious coexistence between man and nature"
Full of the feelings of "benevolence of loving things", "seeing things clearly" and "friends between things and me", Du Shi embodies the multiple aspects of the harmonious and symbiotic relationship between man and nature, and shows the rich connotation of traditional Chinese ecological wisdom.
General Secretary Xi Jinping pointed out in the report of the Nineteenth National Congress: "The modernization we want to build is the modernization of harmonious coexistence between man and nature", "Man and nature are a community of life, and human beings must respect nature, conform to nature, and protect nature." "This is the inheritance and innovation of the ecological wisdom accumulated by Chinese civilization." The traditional Chinese ecological wisdom is not only embodied in the ideological traditions of Confucianism and Taoism, but also vividly and richly presented in the poetic world of Du Fu, the "poet saint". Du Shi has been recited from generation to generation and deeply rooted in the hearts of the people, not only infecting countless readers with a strong sense of home and country, but also subtly shaping the feelings and attitudes of Chinese care for nature and living in harmony with nature.
Since the 19th century, western ecological thought and ecological literature have been richly developed, especially after the 1960s, ecological thought has been unprecedentedly active. Ecologists place great emphasis on holistic ecological views, with Schweitzer proposing: "Because of the ethics of reverence for life, we are in contact not only with people, but with all living things that exist within our bounds." The Russian thinker Uspensky believed that "the earth is a complete being,...... We recognize the indivisibility of the earth—its soil, mountains, rivers, forests, climate, plants, and animals—and respect it as a whole, not as useful servants, but as living beings. This holistic view of ecology also expresses a strong desire for harmonious coexistence between man and nature.
The rise of Western ecological thought and ecological literature is spawned by increasingly serious ecological problems, with distinct cultural reflection and critical characteristics. According to the ecologist Mortmann, "If there is a crisis in the system of life that connects human society to the surrounding nature, that is, the death of nature, then, logically, the system encounters a crisis of the whole attitude to life, the way of life, and the non-secondary basic values and creeds." "Human beings struggle to satisfy their own desires, driving the development of civilization and humanity as a whole, but endless desires cause irreparable damage to limited ecological resources. In Possession or Existence, Fromm points out: "Human civilization is abused by man's active control over nature, but this control has reached its limit since the beginning of the industrial era." "Technological progress not only undermines the ecological balance, but also poses the danger of nuclear war." Ecological thinkers call on human beings to establish a high sense of responsibility for the earth, to fulfill their responsibilities to the earth; to abandon the delusion of conquering nature and controlling nature.
This kind of cultural reflection and criticism is the most important expressive theme of European and American ecological literature. In Walden, Thoreau recounts his solitary life on Walden, where he details his income and expenses. Because of the simplicity of life, he said that he can earn all the living expenses by working six weeks a year, "all winter, and most of the summer, I am free and at ease to study." This critique of excessive pursuit of material desires is a subject of great concern to ecological writers. Thoreau's discovery of the value of the wilderness has also received strong attention from ecological writers. In his later works, Thoreau put forward the idea that "the world can only be protected in the wilderness", thinking about the relationship between wild nature and healthy human civilization. He hated the destruction of the wilderness by industrial civilization, believing that there was a kind of vitality and vitality in the wilderness that had not yet been awakened, and that going to the wilderness was not going to the primitive and the past, not to the regression of history. On the contrary, wilderness means future and hope, but also beauty and health. The most energetic thing is also the most wild thing. Thoreau's critique of materialism and his yearning for the wilderness have had an important impact on the creation of european and American ecological literature.
Obviously, Du Shi's ecological thinking is quite different from the interest of contemporary European and American ecological literature. Although Du Fu was wandering and displaced, he did not fall in love with and yearn for the wilderness. Due to the different historical situations and cultural environments, Du Fu did not make a strong reflection and criticism of human civilization like contemporary ecologists, and his thinking reflected the equal emphasis on man and nature. The construction of ecological civilization in the new era and the active promotion of the concept of harmonious coexistence between man and nature have drawn positive and beneficial influences from the traditional Chinese ecological wisdom represented by Du Shi. This year marks the 100th anniversary of the founding of the Communist Party of China, the beginning of the 14th Five-Year Plan and the beginning of a new journey of comprehensively building a modern socialist country. In the new era, the construction of ecological civilization should be integrated into all aspects and the whole process of economic construction, political construction, cultural construction, and social construction. An in-depth and comprehensive understanding of the ecological thinking contained in Du Shi is of great enlightening significance for understanding the traditional cultural origins of Xi Jinping Thought on Ecological Civilization and realizing the harmonious coexistence between man and nature.