The main purpose of Xie Lingyun's landscape poetry is to understand the mysteries, so there are obvious elements of xuanyan reasoning in the content of the poems. There is no doubt that Xie Lingyun's landscape poetry was influenced by Xuanyan poetry, which is closely related to the metaphysics of Wei and Jin.
The so-called Xuanyan poems, as the name suggests, are poems related to metaphysics in content. Such as "submerged and charming, Feihong sounded far away." ...... Holding the exercise is the only thing in the past, and there is no sign of boredom in the present. ("Climbing the Pond upstairs") is not boring, from the "I Ching Qiangua": "There is no boredom in the world." "It means that the wise man can avoid the world without trouble. The first sentence of the poem uses the words of gua in the I Ching to express the meaning of retreat. Generally speaking, the landscape poetry creation ideas of Xie and Meng were influenced by Buddhist culture. Meng Haoran's Buddhist poems are similar to Xie Lingyun's Xuanyan poems, both revealing the poet's understanding of the Dao.
However, Meng Haoran's landscape poems have a strong Buddhist cultural color.
First, the poet focuses on selecting images related to Buddhism. In Meng Haoran's Buddhist poems, there are many "bells" and "ape" images related to Buddhism, and the bells in Meng Haoran's poems almost accompany buddhist temples, such as "Taniguchi smells the bells, and Lin Duan knows the aroma." The distant bells bring a veil to the poet's scenes, making them mysterious and distant. At the same time, it also widens the distance between the scenery and the world, giving people a sense that this scene should only be seen in the sky and seen several times in the world. "Drink water afraid of apes, and see otters when they send fish." ("Early Fish Pond") The image of "ape" is mostly used by poets, and the meaning level of composition is also different. Here, the apes in Meng Haoran's poems mostly represent "heart apes", and the poet expresses his detachment with the "heart ape" of fear: if you want to be completely immersed in this detachment, you must first resist desire.
Secondly, Meng Haoran uses Buddhist language in his poems. There is a "retreat for a long time" in the "Title Ending Nancuiwei Temple Empty Room", and the Buddhist language "Meditation" comes from the "Lengyan Sutra". "Accompanying Bai Taiyou to Visit the Zen Residence of Cong Shangren" has "rope bed to see tiger sleep", allusions from the "Biography of the Continuing High Monk". In the "Inscription of Zen Master Nishiyama Lanruo", there is "Talking about emptiness versus the tree", and "talking about emptiness" is from the Vimalaya Sutra. There is a "half-empty pagoda" in the "Dengzong Holding Floating Chart", and the "pagoda" is from the Myofa Lotus Sutra.
In terms of poetic structure, Xie Lingyun landscape poems mostly present a three-part mode of "narrative - writing scenery - expressing feelings", and enlightenment is the ultimate goal of the poet, so time, place, events, and emotions are interspersed in the description of scenery, and finally fall on the mysterious principles of enlightenment. For example, Xie Lingyun's poem "Shibi Jingshe Returns to the Lake":
The climate changes in the dusk, and the mountains and rivers contain clear light. 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.
The lotus is stacked and the barnyard is dependent on each other. Cloak towards the south path, happy to the east.
The worries are light, and the meaning is not violated. Send a message to the guests, try this push.
The poet first writes about the viewing experience of the stone wall in one day through narrative, and returns home happily. The first four sentences depict a picture of the late return of the lake in the hue of The Skylight Lake, rendering the interest of Qinghui entertaining people and wanderers. Finally, the mysterious truth of enlightenment is revealed: only by thinking indifferently can we look down on such external things as fame and fortune, poor and honor and humiliation; the heart often feels comfortable and satisfied, the mind will not violate the most reasonable way of all things in the universe, and everything can be adapted to the situation and be at ease with the situation.
The structure of Meng Haoran's poetry is closely linked, and there are also scenes, narratives, and lyricism in the poems, but there are no obvious traces of separation. For example, Meng Haoran's poem "Searching for The Cham Shangren of Xiangshan":
Visit the famous mountain, the mountain is far away in the sky. The atmosphere is hundreds of miles, and the day begins to arrive.
The staff strategizes to find the deceased, unsaddles and suspends riding. The stone gate is very dangerous, and the fence turns to the forest.
The Dharma couples are happy to meet each other, and they can't sleep. Ordinary life mu zhen hidden, tired day to day to explore the spirit.
Noroku asagiri, mountain monk Twilight Temple. The pine spring is loud and the moss wall is ancient.
Taniguchi smelled the bells, and Lin Duan recognized the aroma. May the word be thrown into this mountain, and the two worlds be abandoned.
The first two sentences of the poem read, "Visit a famous mountain,...... The day begins. "I always wrote the poet's itinerary of a day trip to Xiangshan, and when he visited the deceased for a temporary ride, he portrayed the panorama of Xiangshan Mountain, located in the sky, confused and ethereal, and the sky was green, the two peaks were facing each other, deep and dangerous, the path in the bamboo forest was swirling deeply; in the morning, the wild old man climbed the Fragrant Mountain, and in the evening the mountain monk returned to the temple, everything was so quiet and idyllic, there was no earthly noise, and some were just the sound of the pine spring like music... Unexpected encounters with Daoist friends who worship the Dharma, in order to talk about Lao Zhuang, all this fulfills the poet's wish to admire the truth and visit the immortal monsters in his life. Finally, he expressed the hidden meaning of "abandoning the two lives" and throwing himself into The Fragrant Mountain. The narrative, scenery and lyricism in the poem are closely linked, and there is no trace of separation, which is more harmonious and natural than Xie's poem.
The language of Xie Lingyun's landscape poems is exquisitely crafted and the words are gorgeous. The language of Meng Haoran's landscape poems is simple and simple, the artistic conception is leisurely and vast, and the atmosphere is clear and profound, which has achieved the eternal artistic charm of his poetry. In Kyaoran's "Poetic Style", it is proposed that "poetry has two points: it must be full of strength and not bitterness, and it must be full of anger without anger." Yuan Ming also believes that it is appropriate to compose poetry, "the meaning is shallow, and the thinking is bitter and sweet." "The charm of Meng's poetry is derived from the unadorned words, which more naturally highlights the poet's intention. However, Meng Haoran did not pay attention to poetry, but the words he chose closely fit the characteristics of "Qing", "Quiet", "Quiet" and "Elegant" of the scenery. As the "Coral Hook Poetry" says: "Poetry is mainly based on meaning, and it is necessary to practice sentences in the passage, and practice words in the sentences, but to get the ears." With the charm of the high and deep involved in the absolute, with greeya jian heroic victory. The poem with sufficient rhyme in Meng Haoran's poem is "Wangdongting Lake Gift Zhang Cheng Xiang", a poem cloud: "The level of August Lake, the connotation is too clear." Vapor cloud Mengze, waves shake Yueyang City. If you want to help, you will be ashamed of the saints. Sit and watch the anglers, and envy the fish. Meng Shizhi's "rhyme height" has always been recognized, and Li Bai, Du Fu, Bai Juyi, Pi Rixiu, etc. have all commented on this. Although Meng Haoran's poetry is not as elaborate as Xie Lingyun in language, Meng Haoran's poetry is light and timeless, but it is also interesting.