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Sheng Tang poets and famous artists, various styles of genres abound, wonderful. Among the landscape pastoral poets, headed by Wang Wei and Meng Haoran, Chu Guangxi is the third important landscape pastoral poet, which can be said to stand on three feet in the Sheng Tang Dynasty. His poems do not have the momentum of the wind and the sea, nor do they have sweet and sad emotions, but the thick and calm poetry style is also a beautiful scenery in the poetry world. Today, we will enjoy Chu Guangxi's ten masterpieces together and feel the charm of his landscape idyllic poetry and the elegance of chong and tranquility.
Tao Yuanming on the top, Fan Chengda on the bottom, this is the influence of the Chuguang Xi landscape idyll. In that year, Chu Guangxi was a relatively active poet, he and Wang Wei were friends with Mo Rebellion, and he and Meng Haoran shared the "Luoyang Dao", and traveled with Li Bai, Du Fu, and Cen Shan to test poetry, and had a high status and prestige. Chu Guangxi's landscape idylls are not only numerous, but also have their own distinctive characteristics, unique brushstrokes, and use poetry to show a fresh and different landscape idyllic scenery.
Chu Guangxi is good at five-character landscape poetry, and the poems are known for their "freshness", presenting a broad and cheerful mind, a spirited style and a vibrant appearance. Compared with his friend Wang Wei's landscape poems that focus on the realm of Zen enlightenment, Chu Guangxi pays more attention to the objective and true display of the beauty of nature, revealing a fresh and sweet charm, reflecting the aesthetic of "clean and suitable" and the realm of "real and living". Although Chu Guangxi's landscape poetry does not have The realm of Wang Wei's thoughts, he shows the most authentic side of nature in his own way.
Pastoral poetry is as plain and natural as landscape poetry, but Chu Guangxi's pastoral poems do not come from observation, but regard himself as a farmer and are in it, for which he writes landscape idylls give a sense of credibility. He is good at capturing labor scenes, showing idyllic scenery with simple brushstrokes, and creating an ordinary and vivid image of a farmer. In addition, his landscape idylls are not only concerned with description, using The technique of Bixing, pinning his frustration and imbalance in the poem, so that the characters have a thought soul rather than just a character image, which is the cleverness of Chu Guangxi's idyllic poetry, which directly affects Fan Chengda's pastoral poetry creation.
In addition, Chu Guangxi's idyllic poems provide a new form of artistic expression, and his depictions break the production concept of male cultivators and female weavers, truly reflecting the hard life of farmers, which are not available in the poems of Tao Yuanming, Wang Wei and Meng Haoran. It can be said that landscape poetry, Chu Guangxi is slightly inferior to Wang Wei and Meng Haoran, while pastoral poetry is higher than the latter two.
Looking at Chu Guangxi's poems, it is not difficult to find that many of the poems are five-character poems. It is said that scholars of the Ming and Qing dynasties claimed that the Tang Dynasty did not have five words, and opponents all fought back with Chu Guangxi's five words, which shows how influential his five-word poems were. Why does Chu Guangxi like the creation of five words? From the perspective of the style itself, the rhythm of the five-character poem is stable and slow, and the style is simple and plain, which is more suitable for poetry with pastoral themes.
The Song Dynasty Su Rui greatly admired Chu Guangxi, and from the perspective of their origins, career experiences, ideological backgrounds and personalities, they were extremely similar, and there were also coincidences in many of their poems. They were both born in the heyday of a dynasty; the environment was also quite similar, Chu Guangxi and Wang Wei were Mo Reverse, while Su Rui was influenced by Su Shi; they both chose to be indifferent; artistic thought advocated "wind and bone" and "Haoran Qi"; both made good use of Writing techniques such as Bixing Sustenance and Metaphorical Symbolism.
In short, Chu Guangxi's landscape idyll was unique in the Sheng Tang Dynasty and influenced many later generations of literati. Today, we will enjoy the ten masterpieces of Chu Guangxi, feel the style of the peak of the landscape idyll together, and experience the rich and idyllic charm behind the words.
Fishing Bay
[Tang] Chu Guangxi
Fishing in Green Bay spring, deep spring apricot blossom chaos.
The pond is clear and the water is shallow, and the lotus is moving and the fish are scattered.
Sunset waiting for lovers, WeiZhou green poplar shore.
The Tian family is the thing
Mulberry garnets are dipped in the water, and the evening breeze may wish to be ploughed.
The high machine weaves silkworms, and the lower saka is hungry for his wife.
The apricot-colored sheep cheese is ripe, and the wheat is cool and floating and the pheasant medium is low.
When you are born, you are happy to die by fate, and things are not lost in the Emperor Tianzhi.
Send the people back to Wu
Los Angeles Ben Tianyi, Luoshui is Tianchi.
The king has done his deeds, and the Dharma has returned to the ceremony.
The void room is full of fragrant flowers, and the Kiyokawa willows are weeping.
Return by idle way, far away who knows.
Send week 11
Autumn winds fall on the trees, and frost falls under the grass.
Ask the son how it is, and say to himself the emperor.
He who has no relatives will love him, and he will want to save time.
Shake hands and don't drive, return to the long road of sorrow.
Guan Shan Yue
A goose passed through the camp, and the frost covered the ancient city.
Where the beard is, the sound of the side starts in the middle of the night.
Dedication to Wang Weiyi
Into the Allah words, there is a horse to ride.
But there is Huaqing Palace, no need for the Divine Platform.
The solemnity is long and idle, and the door is quiet and no one opens.
Weiqiao North Pavilion
Parking in Weiyang Twilight, looking into Qinjing.
I don't see the bird road, like the sound of a song blowing.
The soul of the country waded through the river, and the road pointed to Pucheng.
Unique old building moon, today to the pavilion on the Ming.
Stone Urn Temple
Yaoshan rises from Zhenyu and faces the flower forest in the west.
See the palace small below, and look deep on the porch.
The garden flowers fall into the pool water, and the sky smells the pine sound.
The gentleman knows me again, and burns incense to melt the heart.
Longtou water farewell
Send each other to the head of longshan, and the water flow from east to west.
Never bold, today for the king's sorrow.
Dark snow lost the road, cold clouds hidden building.
Only the shadows are shining, and they are going to go away for a long time.
Title Maoshan Huayang Cave
The mouth of Huayang Cave is cloudy, and the drizzle is wet.
The jade reeds are all over the immortal altar, and it should be the Mao family brothers.