The most representative of Liu Zongyuan's literary achievements is his landscape travels, "Eight Records of Yongzhou" is one of the masterpieces, which is a must in Tang Dynasty literature. The Liu Ji has eleven landscape travels, nine in Yongzhou, and two in Liuzhou. The first four of The Nine Travelogues of Yongzhou, the first four of which are "Journeys to the Feast of the Western Mountains", "The Tale of the West Hills of the Yi Dynasty", "The Records of the West Hills of the Yi Dynasty", and the "Records of the Small Hills of the West of the ZhixiaoQiu", were written in the autumn of the fourth year of the Yuan and the fourth year; the next four are "The Records of the Thirst of the Yuan Family", "The Records of the Shiqu", "The Records of Shijian", and "The Records of the Little Rock City", which were written in the autumn of the seventh year of the Yuanhe Dynasty, three years before and after, and later known as the "Eight Records of Yongzhou". Yu Yi's "Journey to Huangxi" was written on May 16, 1988. Liu Zongyuan lived in the Fahua Temple in Yongzhou, looking at the West Mountain from the west pavilion of the temple, and there was a feast tour of the West Mountain; looking for the mountain to the west, swimming in the cobalt tin pond; and then swimming west from the pond to the hill on the fish beam; and then going west to Xiaoshitan, with four seasons. From near to far, three years later, Liu Zongyuan took a boat to Visit Yuan Jia thirst in Xishan; less than a hundred steps southwest of The Thirsty, he got the Stone Canal; then swam in Shijian; and finally Little Rock City Mountain, and went to the farther Yellow Creek in the next year.
Liu Zongyuan's nine travelogues, the content is related, the passages run through, the system is self-contained, and there is no similarity in his writing scenes, all of which are deliberately careful works by the author. Different from previous travelogues, Liu Zongyuan's travelogue "is not to objectively write landscapes for the sake of appreciating landscapes, but to pin his life experiences and feelings of grief and indignation into the landscapes, so that the landscapes are personified and emotional." This is consistent with all his moods and emotions in other articles. Liu Zongyuan regards the landscape as a confidant, borrowing scenery to write people, borrowing things to write hearts, and the scenery is full of emotional colors, and the words are either hidden or significantly the author's shadow. This is a unique work born of difficulties.
In the depiction of landscapes, Liu Zongyuan observes subtle and experiences deeply, not only refining with his pen and clear language, but also cleverly using a variety of literary means. He wrote about the landscapes and scenes he wrote about. Yuan He wrote four articles in the fourth year, "Embellishing small scenes, so as to become a big view." Although it is called a small scene, it is written beautifully, naturally, and remotely, with small hills and small stone ponds,...... Such as rock thinning forest, Qingxi short tree, written with sound and color, sound and emotion, everywhere is full of poetry and painting. Each one is a beautiful psalm. Write about the strange shape of the mountain stone, saying that it is like a cow and horse going down the mountain to drink water, like a bear rushing to climb the mountain. Write about swimming fish, saying that "the fish in the pond can have a hundred heads, and they are all empty and have nothing to rely on." The sun is clear, the shadow cloth stone is not moving, the circle is far away, the back and forth are fleeting, as if enjoying with the tourists. "Fish, shadows, and people interact, statically moving, anthropomorphizing fish, knowing people's intentions, "enjoying with tourists." Here a "che" word, the scenery is written to the extreme, its sunlight and the bottom of the water, so that the exhaustion of the form, the object is not hidden, reading makes people feel relaxed. He said that fish "if you swim in the air and have nothing to rely on", like swimming in transparent air, referring to the clarity of the water, making people feel like a fairy.
Write the tree, saying, "Sitting on the pool, surrounded by bamboo trees on all sides, lonely and lonely, miserable and cold, quietly and quietly." "It's miserable, it's quiet, it's chilling. Liu Daxun said: "The knot is extremely cold and interesting, and the feelings are very sad. Writing about the hillock and saying "The Abandoned Land of the Tang Clan", it was like a burst of coldness. Write the pond, saying "The pond looks southwest, the snake line is folded, and the ming extinction is visible." Its shore potential is poor in canine teeth, and its source is unknown. "When writing about the mountain, he does not write directly about the height of the mountain, but uses the surrounding landscape to set it off." He sat on the hill and looked out over the four states, "Where the soil of the four states is under the mat." "The height of the mountain is self-evident. To say that the scenery under the mountain is "thousands of miles" is a small metaphor. The scenery seen by the human eye is thousands of miles away, and it seems to be within reach. Saying that "the mountain is unique, not the same as Pei Qi", is the author's own situation. Suddenly, the mighty spirit soared into the sky, "Leisurely and qi, and there is no end to it; the ocean is swimming with the Creator, and does not know its poverty." "The mind condenses and dissolves, and meditates with all things." Enjoying the beautiful scenery has reached the state of self-forgetfulness, "leisurely", "foreign", unconsciously melting themselves and all things into one.
Liu Zongyuanyuan and the four travelogues written by Seven Years, the scenery is vast. On October 19 of that year, Liu Zongyuan took a boat from the southeast of Chaoyangyan in the Western Mountains to Wujiang to visit Yuan Jiaqiu. Then take a hundred steps to the southwest and swim in the stone canal. Further south to the end, overlooking the stone stream. After swimming through the three scenic spots, Liu Zongyuan climbed the Huangmao Ridge of the West Mountain, which is the Little Rock City Mountain that Liu Zongyuan said. After his return, Liu Zongyuan wrote these four travelogues, describing the scene of the day's tour.
"The Thirst of the Yuan Family" is like a small landscape map, written with sound and color, and the sound and color are wonderful. Thirst, the local dialect is water. The Ming Yi Tongzhi says: "The Yuan family is thirsty in the southeast of Chaoyang Rock. Liu Zongyuan remembered that the chuyue dialect called the regurgitation of water thirsty. "This is a private property of a person with the surname Yuan, and Liu Zongyuan said the surrounding scenery one by one. Write water, saying "If the Yuan family is thirsty, they will always be beautiful in their place." ...... Chongzhou Creek, Chengtan Shallow Nagisa, between the toilets bent, flat deep black, steep boiling white. The boat is poor and endless. "Like smelling the water.
Writing about mountains, he said, "There are hills out of the water, the mountains are beautiful stones, the green bushes are grown on them, and the winter and summer are often blue." " Like a mountain. Write about the tree and say"Its tree is more maple heather, and the maple maple grapefruit." "If you see the branches supporting the sparse, swaying posture. Write grass and say "Grass is Lan Zhi." There are also heterogeneous flowers, which are like acacia and vine, and the water stones are watery. Every wind descends from the four mountains, vibrating the trees, covering the grass, the red and green, the aroma of the leaves, the swirling waves, the retreat of the valley, the swaying of the leaves, and the passage of time. "If you see flowers and leaves swaying. Its grass green, floral fragrance, mountain color, water sound, tree sound, converge into a strange light, scenery, excitement and wonder, dazzling, immersed in poetry.
Liu Zongyuan wrote that the spring scenery is even more unique, he said in the "Record of The Stone Canal": "There is a spring that is quiet and quiet, and its sound is large and detailed." ...... Its flow reaches the boulder and falls out of it. Over the stone, there are shi hong, Chang Pu quilt, there is green fresh ring around. ...... Deep and multi-mullet. ...... On its sides are all strange stones, strange woods, strange flowers, beautiful arrows, which can be sat in a row and can be arranged. The wind shakes its peak and rhymes with the cliff valley. Seeing is quiet, and hearing is far away. "The scenery of the mountain spring is flexible, and people are intoxicated by the picturesque situation. The wind blows the grass and trees, and the rhymes vibrate in the cliff valley. The blown grass and trees calmed down, but the sound it made still echoed in the distance. There is sound and color, the meaning is endless, and people's emotions can't help but drift in time and space. Reading "The Book of Stone Streams" has another good place in dongtian. Stone stream "Its water is so large that it is rocky at the bottom and reaches two ends." Horizontal cloth on it, flowing like weaving, sound like a piano. "Place a bed on a rock and let the sound of water rush under the bed."
Liu Zongyuan sighed and said, such an infinite and beautiful realm, has anyone enjoyed it in ancient times? Will anyone follow me to do such a thing later? Mao Kun's "Tang and Song Dynasty Eight Great Literary Notes" volume 23 said that the scenery of "Shi Jian Ji" said: "Embellished like a pearl and a green feather." "Little Rock City Mountain" said that the Shicheng Mountain is in the north of huangmaoling in the west of the city, along the ridge, there are "broken soil", "fort dock", strange stones, beautiful scenery. Its text reads: "Throw a small stone, there is a sound of water in the hole, and the sound of its sound is more intense, and it has been a long time." The ring can be on, look far away, there is no soil and the jia tree is beautiful, the odd and strong, its sparse number is admired, and the facilities of the wise people are also. "The whole travelogue is based on fiction, from the mountain out of the stone, from the stone step castle, next to the cave gate, up to it, suddenly appearing in a different place. Qing Jiang Benhou was a native of Yongzhou, and he said in the "Yongzhou Landscape Record": "A hole in the top of the mountain, into dozens of steps slightly dark, from the northeast, see the Xiaoxiang confluence." Jin Sheng sighed and commented: "The small scene in front of the pen is small, and the pen is strange in the sky." In the second half of the travelogue, Liu Zongyuan borrowed the gem of the stone and spat out the depressed and uneven breath in his chest.
Liu Zongyuan said that he suspected that there was a creator for a long time. If there is, why is zhongzhou unique to beautiful scenery, and it is listed as Yidi; if it is said that this beautiful stone is left for the sake of entertaining the sages, or if the creator does not honor the spirit of man, but only the spirit of the stone, "the south of Chu is less than a stone, and the rest does not believe in it." "Heaven and earth have no intention of becoming, so why bother with god?" Zhang Shizhao's "Liu Wen Zhi Zhi" and "Little Rock City Mountain Record" said: "This article is only two hundred words, and it reads with the potential of a scale of thousands of miles, and it also makes oneself think of it, one by one, the strange strength of the rocks, the sparse number of trees and arrows, and the full scale of the table." Chu Xinyu said: "The situation is suspicious, the general Shu Yongzhou Mountains and Rivers, the absolute tone of the ages." ”
Liu Wenji landscape is the most peculiar, prominent for wenqi, magical and wonderful. Yuan he and the eighth year of Liu Zongyuan's "You Huangxi Record", the most known as Qiwen. The Yellow Creek in the text originates from Yangming Mountain in the north of Ningyuan County, Hunan, flows west through the northeast of Lingling County, and then flows northeast into Qiyang County to join the BaiJiang River into Xiang. Huangxi is seventy miles east of Yongzhou Prefecture. The text begins with Yun: "The Jin Dynasty in the North, the Shi Feng in the West, the Wu in the East, and the Chu Yue in the South, during which the famous mountains and rivers and the state are hundreds, and the best is always the best." The rule of the ring water is 100 miles, the north is to the source of The River, the west is the source of Xiang, the south is to the Taki Spring, and the east is the Huangxi Dongtun, during which the famous landscape and the village are hundreds, and the Yellow Creek is the best. Sima Qian's "History of the Southwest Yi Lie" also has such a literary posture: "The southwest Yijun is long, with ten numbers, and the night lang is the largest." The same is true under this, with "Dian is the largest", "Qiongdu is the largest", "Zhengdu is the largest", "White Horse is the largest" and so on.
According to this, later generations said that Liu Zongyuan's "You Huangxi Record" imitated Sima Qian's "History of Southwest Yilie", which caused some controversy. The so-called "monarchs" of the many small countries with ethnic minorities in the southwest mentioned in the "History of The Chronicle of The Southwest Yilie" are actually the chiefs of some tribes. The Kingdom of Yelang was in the western part of present-day Guizhou, but only the size of a county. However, his king asked the envoys of the Han Dynasty who was the biggest friend of Yelang and the Han Dynasty, and for a while it became a joke for eternity. This is where the idiom of "night lang is arrogant". Liu Wen used this small metaphor to highlight the beauty of Yongzhou's landscape, and its language was far more colorful than Sima Qian's text. Dai Dunyuan of the Qing Dynasty's "Xiao Mu Draft" said: "The world is always righteous, and ancient and modern people say that it is only such a thing, and those who think that they are unique in the world at that time have a great rate of spit in their past lives." ”
The "Draft History of the Qing Dynasty" also has this sentence: "Books are like a vast sea, how can life be read exhaustively, the only righteousness in the world, ancient and modern people talk about, often the same, when the world thinks that the only one, more than the past people spit on." That's not true. In fact, "the discussions made by posterity do not have to be unpublished by previous generations", the key is whether there is novelty and bright color. Qu Yuan's "Long Journey" Yun: "But the heavens and the earth are infinite, and the mourning life is long and diligent." The past is yufu and xi, and the comers are not heard. And the same sentimental fate, sighing and worrying, Chen Ziang of the Tang Dynasty chanted in different words: "I didn't see the ancients before, and I didn't see the comers after me." Thinking of heaven and earth, alone but weeping. "The poetry is deep, exciting, and as soon as it is exported, it is remembered." As a result, the singing has been singing for thousands of years and still has a heart-wrenching feeling.
Liu Daxun, a Qing dynasty man, commented on the "Book of You Huangxi": "The beauty of the landscape and water will be strange and steep, it will be cold, the son will be thick enough to think of the text, the sentences will be refined, all of them will be exquisite, there is no such tone in ancient times, and the son will be thick and creative." "To say that Liu Zongyuan's travels are innovations, this should be to the point." It is also inheritance and innovation that have given these literary styles a new life. Lin Shu of the Qing Dynasty said: "The "Yellow Creek" is the first proud stroke of Liuzhou's collection. "Remember the landscape zezi thick as an expert, Changli can not reach also." Zi Hou ZhiWen, Gu Li Qi Qiao, like the Six Dynasties and not the Six Dynasties; from the primary school, every word must have a basis, the body and material work, the creation of language is particularly ancient, reading it is like being in yulin and Yangshuo; strange feelings, bandits are not easy to learn, and can not be learned. "Liuzhou is extremely poor and beautiful, and everything is prepared for Shaw." Yangshuo, the name of the ancient county, is in present-day Guangxi. It is commonly known as "Yangshuo Landscape Jia Guilin", which is famous for the Yangshuo Generation.
"You Huangxi Chronicle" says that the beauty of Huangxi began with the Yellow Shrine, "above the shrine, two gables stand", flowers and trees cover it, with the mountain undulating, the gap is the cliff cliff, cave, flowing water. Underwater "small stone flat cloth". There is a pond "the most beautiful, invincible". It is shaped like a large open jar, flanked by cliffs. The pool is inky green, while the water flowing in is like a white rainbow, "deep and silent, there are hundreds of fish, and the square will come under the stone." Next to another waterhole, "the stones are majestic", and the rushing water passes through the strange shaped rocks. "Underneath it is a large stone column, which can sit and eat. There are birds with red heads and black wings, as large as hooves, standing in the east. A few miles south of it, the ground is the same, the trees are strong, the stones are thin, and the water is singing. A mile to the south, to the Great River of Hell, the mountains are gentle and the water is gentle, and there are earthen fields. QingRen Shen Deqian's "Eight Readings of the Eight Texts of the Tang and Song Dynasties" volume VIII said: "You huangxi is only more than ten miles, but it is written like a thousand rocks and valleys, steep and deep, far away, boundless, with chemicals in hand, different brushes." "Reading such a text is like reading a painting, which is overwhelming.
Qing Li Gangji said: "Zi Hou Landscape works, their lofty expanse, the shape of material craftsmanship, the poetry of Zhenhe Tao Xie, the endowment of Yang Ma, the rong is a furnace, and the Xun belongs to the desperate situation of the Wen family." "The tao here is Jin Tao Qian, Tao Yuanming, a pastoral poet; Xie is Xie Lingyun, a Southern Dynasty Song dynasty poet, a poet of the Shanshui school. Yang is the Western Han Yangxiong, Ma is the Eastern Han Dynasty Ma Rong, both of them are troublesome.
The travelogue of the works of appreciation, the text is based on the beauty and wonder of the scenery. Liu Zongyuan's landscape travels can be compared with poetry. Its scenery is pleasant, and people entertain themselves in the scenery. The purpose of viewing the scenery is to cultivate sentiments and pin down the heart. If there is no one in the travelogue, the scenery will lose its soul and will not have aura. People who are not concentric, looking at the scenery is also different, for the text naturally has a high and low. In modern times, some people commented on Liu Zongyuan's landscape travels: "Liuzi's thick landscape records seem to have been diluted by Tao Yuanming, and the literary realm is the highest and not easy to reach." The ancient articles, there are clouds of the wave committee, the official to stop the image of the gods, actually born from the familiar, the so-called literary into the magic of the uncooked also. ”
Zhang Shizhao praised this: "A few crosses, not reading books, and those who have experienced in the literary context cannot say, the phrase 'born from familiarity', especially explores Li Dezhu." "Gao Jie, deep and quiet, and poignant are the main themes of Liu Zongyuan's travels, which are related to his personality and state of mind. The ancients were literate, varied, unpredictable, and root-seeking, without any fault of "being born from the ripe", and then doing whatever they wanted, being handy, and even out of the blue, reaching the realm of "the text into the magic". But this is beyond the reach of ordinary people, and the hardships and efforts paid in the process are like searching for a treasure orb in the mouth of a deep water dragon. The phrase "born from familiarity" reveals the way of writing, and those who do not understand the bitterness in it will not say such wonderful words.
There is a difference between elegance and custom. During the Wei and Jin dynasties, the "Seven Sages of the Bamboo Forest", represented by Ruan Yuan, in order to avoid disasters, spent all day sending love to the landscape, indulging in alcohol and pretending to be crazy, forcing xuan to talk far away, and "mouth does not deny the characters". This passive attitude of avoidance obviously cannot be compared with the emotions and thoughts expressed in Liu Wen's travels. Qu Yuan, who had the same encounter as Liu Zongyuan, was exiled to the mountains and rivers for many years. Qu Yuan used Chudi's unique literary style of poetry to record and express his emotions, and the Chu words of "literary into the mysterious coming" were sung through the ages. Although Liu Zongyuan's travelogue is also full of riotous things, it is already a completely different new literary style. Liu Zongyuan's travelogue, because of the infiltration of things endowed with riot poetry, made the landscape he depicted magically integrate into his mind, resulting in his travelogues, such as silk bamboo, like ink jade, sound and color, like poetry and painting. This is the stroke of God.
Later generations wrote travelogues, and the Ming Dynasty's "Travels of Xu Xiake" is worth mentioning. Xiake is a trumpet, whose real name is Xu Hongzu. Strange, from the age of twenty-two, for more than thirty years, he poured out his family wealth to the point of life, traveled through thousands of mountains and rivers, and left behind this huge work of 630,000 words, known as "the wandering saint of the world". This book has high academic value in geography and other aspects. Because they are all personal experiences, he describes landscapes and landscapes, directly narrates scenes, "has not tried to portray", and "natural alarm". But Xu Xiake cannot be compared with Liu Zongyuan, a master of landscape travels, in literature. Liu Zongyuan's "Eight Records of Yongzhou" and other texts, the characters are pearls, and the poems are picturesque. As he himself said in the "Preface to the Poetry of Yuxi": "Qingying is beautiful and clear, and the golden stone is sounding." " Sightseeing in the mountains and rivers, cultivating temperament; travel notes huazhang, refreshing people's hearts. Now that people have read it, it is still so fast.
Liu Zongyuan's "Records of Dongqiu of Yongzhou Longxing Temple" says: There are two kinds of suitable travel, "Kuang Ru Ye, O Ru Ye, Ru Si only". In other words, the view is nothing more than an open and deep appearance. Standing on the mountain of Longxing Temple, "the ascending hall can look at the South Pole, and the gate can overlook the Xiang River, if it is open." And "now the so-called Dongqiu people, okinoki also." "The hill is quiet and can rest." Qiu Zhiyi can be seen mysteriously. Go under ziqiu. Yamato does not move, the top of Zchu, Ohuzchu. Lin Qinnan looked at it and said: "The last few words are like songs and ballads, and it is fascinating to read." ”
The memoirs in the Liu Ji have three parts. One is the travelogue, which is the most splendid part of his writings; the other is the biography of the characters; and the other is the remaining memories, memories, and scenes, including a total of twenty-six temple records. "Willows are all true." (Mingren Wang Xijue) and travel notes to explore the strange, the text jumps out of the moving although there are differences, but this part of the record, the narrative of the wonderful, are all self-surprised. "There is not a single word that is not refined and carved, and those who lay out the whole thing, fold it to the extent of the law, and have a very canonical text." (Shen De subliminal) Reading Liu Ji zhi Tang affairs, Liu Ji recounts the Tang Dynasty officialdom and life scenes, anecdotes, so that today's people have the good fortune to intuitively feel that era like playing a movie.
Liu Zongyuan's writing of the scene is ghostly, and posterity is out of reach. The 26th volume of the Liu Ji (柳集) "Xingzhou Jiangyun Chronicle" was written in April of the 21st year of Zhenyuan, during the Yongzhen Renovation, which coincided with the completion of the Xingzhou Kaishan River Guide Project, and Liu Zongyuan should be asked to write this inscription. Later, the New Book of Tang was incorporated into the Geographical Chronicle, all of which are based on this article. "Xingzhou Jiangyun" is the best one written by Liu Zongyuan in the early days, the article "Park Mao Dian Shi" and "Profound Knowledge". The Xingzhou River mentioned in the inscription is the Jialing River. According to the Ming Yi Tongzhi, "The river is one mile north of Feng County, Hanzhong Province, and from Dashanguan in the west, passing through Liangdang County, merging with the Chuan River and starting with Zhouyu. The New Book of Tang Geography IV says: "Two hundred miles of the Shujialing River, burning boulders, crushing them, and feeding them into the state soldiers." ”
Liu Zongyuan's "Xingzhou River Transport Record" has a detailed and vivid description of the scene of the craftsmen opening the mountains and leading the river at that time, and its text reads: "From the stone to the boulder, the servant to the big wood, and the fire to the fire." Wo eats and destroys its fortitude and turns it into ashes. Under the skeleton, it is easy to decay the soil, but it is the reclamation, and it is the propaganda that it is reasonable. Follow the curve of the mountain to rest manpower, and go down the high ground to kill the turbulence. The work is complete, and the saltiness is as good as its prime. Therefore, he decided to go to the earth, channel Jiang Tao, Wan Fu Hu, and mo yu zhi. Thunder and clouds run, a hundred miles in an instant, both will be far away, and the flow will be peaceful. "Its atmosphere shook the mountains and rivers and shook people's hearts.
Qing Sun Chun's "Shan Xiao Ge Selected Tang Dynasty Liu Liu Zhou Complete Collection" volume three comments said: "The magic is in the section of the Daojiang River, written with sound and power, such as seeing WanFu raise his hand, the qi, the rushing waves, the great achievements, still on the paper, Xun is a master of painting water painting. "Liu Zongyuan wrote so beautifully when he was young, and later in the predicament, Nengshu was a unique work, which was in response to the creation of the times. This is just as Qing He Zhuo's Yimen Reading Secretary volume 36 said: "The Xingzhou Jiangyun Record has been high enough among the Tang people, and after Yongzhou, it has been outstanding. ”
Generally speaking of travel works, most of them are retroactively described in the "Notes on the Water Classics". This is a commentary made by the Northern Wei dynasty Li Daoyuan for the book "Water Classic" of the Three Kingdoms period. The Notes on the Water Classics is a geographical book dedicated to the ancient waterways of rivers. There are descriptions of terroirs and scenery in the book, as well as articles on zhiwei and zhengshi. "Notes on the Water Classics" is exquisitely used, most of which the author has personally experienced, so the text is written with a very texture, sometimes the feelings are vented, can not be themselves, let people read the swinging intestines.
One of the most famous " Notes on The Water of the River " describes the section of the Three Gorges " , saying : " From the three gorges of seven hundred miles, the two sides of the river are connected by mountains, and there is no gap." Heavy rocks, hidden in the sky, since midnight, do not see the moon. As for the Xiangling Tomb of Xia Shui, along the Barrier of The Cliff, or the king's order was urgently announced, sometimes the White Emperor was sent to The Twilight to Jiangling, in the meantime, although it rode on the royal wind, it was not sick. In the spring and winter, the green pool will be clear, the reflection will be clear, the cliffs are full of strange cypresses, the hanging spring waterfall, the flying gargle, the glory is lush, and there are many interesting. Every sunny and early frost, the forest is cold and cold, and there are often tall apes roaring, which is miserably caused, and the empty valley is heard, and the mourning is long gone. Therefore, the fisherman sang: "The Three Gorges of Padang is long, and the apes sing three tears." Unfortunately, the description of the landscape in the "Notes on the Water Classic" is a fragment, and it does not form an independent chapter.
Wu Jungong of the Southern Dynasty wrote scenes, and some of his articles on landscapes are very commendable, and they are representative works of the Moshan Fan Hydrology of the Southern and Northern Dynasties. The Book of Song Yuansi is a letter he wrote to a friend, and there is now a verse about the scenery: "The wind and smoke are quiet, the heavenly mountains are colorful, floating from the stream, anything." From Fuyang to Tonglu for a hundred miles, strange mountains and rivers, the world is unique. The water is all floating blue, thousands of feet to the bottom, swimming fish and fine stones, looking directly at the ground. The turbulence is fierce, and the waves are rushing. Sandwich high mountains, all grow cold trees. The negative trend is even on the top, competing with each other, competing for heights, and thousands of peaks. The spring water stirs stones and makes a cold sound; good birds sing each other, hissing into rhyme. The cicadas are endless, and the apes are endless. The Iris flying in the sky, looking at the peak of the heart; the economic worldly servant, peeping into the valley and forgetting the reaction. Horizontally covered, in the day and night, sparse strips intersect, sometimes seeing the sun. In just over 140 words, the scenery along the Fuchun River that describes the scenery of "strange mountains and rivers, unique in the world" is painted and painted. Swimming fish fine stones, visible to the eye, "direct vision without hindrance". Boats are moving, alpine cold trees, and the writing is extraordinary. The sound of springs and water, birdsong, apes, cicadas, a natural sound.
Such a beautiful scenery, people are melted by the mountains and waters. So that he forgets all the troubles of the world, and "peeps into the valley and forgets the reaction." Wu Jun's articles on scenery are very short, such as "Book with Gu Zhangshu", which is only eighty-six words. Like the people at that time, he wrote scenes in four words and sentences, and the articles paid attention to sound and exaggeration. Wu Jun and Li Daoyuan were contemporaries, although their writing styles and styles were different, but the two of them reflected each other and opened the source of landscape travels. Liu Zongyuan far surpassed his predecessors, and no one who came after him could pursue him, thus establishing his position in the history of literature.
2021.10.18 Xin Ugly Autumn, Yu saw LuShanfang. Huo Jianbo