Xie Lingyun was born in Chen County (now Taikang, Henan Province), in Shining, Huiji (now Shengzhou, Zhejiang Province), and grew up in Shidaotang, Du Ming, Qiantang (now Hangzhou). He was taken back to Jiankang (now Nanjing) by Qiantang at the age of fifteen, and lived in Wuyi Lane near Zhuque Bridge. People in the lane called him a "guest" and "Xie Ke". He was born in a noble family, and his grandfather Xie Xuan was a famous soldier in the Eastern Jin Dynasty. Together with his uncle and brother, he defeated the so-called million-strong army of Qianjian with 80,000 troops. He maintained the local public security situation in the Eastern Jin Dynasty and was named the Duke of Kangle County. His father is Lang's secretary and his mother is the niece of a famous calligrapher in the Eastern Jin Dynasty. There are many prominent officials among their ancestors, parents and relatives. Thanks to his distinguished family background and rich life, Xie Lingyun had a good opportunity to receive education since he was a child, but his arrogant and willful personality made him suffer greatly in the future. Due to the early death of his father, he 18 years old inherited the title of "Gong", and there are 2000 restaurants in the city, which are internationally known as "Xie Lekang".
Xie Lingyun's prose and achievements are incomparable to poetry. There are more than 10 pieces of Fu recorded in the ancient three generations, Qin, Han, Three Kingdoms and Six Dynasties, among which the most famous one is "Fu of Mountain Residence", with Xie Lingyun's own annotations, and the full text is contained in Song Lingyun Biography. From the literary point of view, the value is not very high, but the detailed description of the shining villa can be used as important materials for studying the manor system in the Eastern Jin Dynasty today. There are some descriptions of scenery in Lingbiao Fu and Shanju Fu, while the description of goddess in Jiang Fei Fu is quite ingenious.
Xie Lingyun believed it at an early age, turned to worship Buddha and returned with the famous monk Hui Yuan. Yuan Jia resigned from his post and returned to Shining. He also made friends with monks and studied Buddhism. His famous philosophical thesis "Debate of Sects" expounded epiphany and tried to reconcile Confucianism, Buddhism and Taoism. He has annotated the King Kong Prajna Sutra (selected works, Shan Li's Notes on the Inscription of Toutuo Temple); Together with monks Yan Hui and Guan Hui, he also revised the Great Nirvana Sutra translated by Dharmaksema. The polished scripture is much smoother and more beautiful than the original translation. It is called Nanben in the world and Kitamoto in the original translation.
Xie Lingyun is versatile. In addition to poetry creation, he is also familiar with works in history and calligraphy. Between Yuanjia and Yuanjia, the Book of Jin was written in letters, and the biography of Song Lingyun said that "the book was not finished because of the rough flow". Sui Shu Jing Ji records 36 volumes of the Book of Jin written by Xie Lingyun. According to Selected Works and Taiping Yulan, it should be regarded as a part of the whole ancient three generations, Qin, Han, Three Kingdoms and Six Dynasties. In addition to the Book of Jin, the Annals of Sui Shu Classics also recorded 14 kinds of Xie Lingyun's works. However, some people are afraid that it is only simple and complicated, and some are the previous poems and fu collections compiled by Xie Lingyun. The collected works of Xie Lingyun (Volume 19) (Liang Volume 20, Volume 1) have been lost since the Northern Song Dynasty. In the Ming Dynasty, Li Xianji and others sorted out Xie Lingyun's works from Selected Works, Yuefu Poems and similar books, which were printed and engraved by Jiao Bo as Xie Lekang Collection. Zhang Pu's Records of the Han, Wei and Six Dynasties contains two volumes of Xie Lekang. Yan Kejun's "Ancient Three Generations, Three Kingdoms and Six Dynasties" and Kai's "Poems of the Pre-Qin and Han Dynasties, Wei, Jin, Southern and Northern Dynasties" are all included. There are poems of thanks in the Yellow Festival. People's Literature Publishing House printed in the order of Tsinghua University's lecture notes 1958.
As the originator of landscape poetry, the appearance of landscape poetry not only made landscape an independent aesthetic object, added a theme to China's poetry, but also created a new poetic style in the Southern Dynasties. Following Tao Yuanming's pastoral poetry, landscape poetry marks the further communication and harmony between man and nature, and marks the emergence of a new natural aesthetic concept and aesthetic interest.
As early as the era of The Book of Songs, there were mountains and rivers in poetry, but they were often only used as a medium to set off scenes or compare happiness in life, rather than as independent aesthetic objects. It was not until the Jian 'an period at the end of Han Dynasty that Cao Cao's Looking at the Sea became the first complete landscape poem in the history of China's poetry. In the Western Jin Dynasty, Zuo Si's Poems of Seeking and Guo Pu's Poems of Wandering Immortals both described the beautiful scenery and the beautiful sounds of mountains and rivers. Although the number of such poems is small, they objectively provide artistic experience for later landscape poems. Like fairy poems and metaphysical poems, landscape poems are closely related to seclusion after Wei and Jin Dynasties. In the traditional concept of China scholar-officials, seclusion in mountains and rivers is always opposite to social career. Confucius' concept of "use it and do it, abandon it and hide it" (The Analects of Confucius) had a far-reaching influence on later literati. Since the Han Dynasty, hiding in caves has been regarded as a lofty way and a shortcut to career. During the Wei and Jin Dynasties, due to social unrest and political darkness, the wind of seclusion was rampant. Most of the scholar-bureaucrats take the mountains as their paradise, and they often combine their ideal life with the beautiful scenery of mountains and rivers. Therefore, the elements of landscape description are gradually increasing in poetry. During the Jin and Song Dynasties, especially after the southern crossing, the economy in the south of the Yangtze River developed greatly, and the material living conditions of the gentry landlord class were more superior. They build villas and live a leisurely life among beautiful mountains and rivers. As a living environment, landscape is naturally reflected in poetry. Liu Xie's "Wen Xin Diao Long Shi Ming" said: "In the early Song Dynasty, prose was sung because of the change of style, Zhuang and Lao retired, and mountains and rivers were graceful." The appearance of landscape poetry is closely related to the prevailing metaphysics and metaphysical poetry at that time. Metaphysics at that time combined "Ming Jiao" advocated by Confucianism with "Nature" advocated by Laozi and Zhuangzi, and guided the literati to seek the philosophy and interest of life from the landscape. The true metaphysician understands the truth that "the landscape is flat with the shape" (Zong Bing's Preface to Painting Landscape, see Famous Paintings of Past Dynasties, Volume 6). Therefore, in the process of the development of metaphysics, the consciousness of landscape aesthetics is also increasing. Borrowing the mystery of mountains and rivers became a general trend at that time. In metaphysical poems, metaphysics is often classified as mountains and rivers, or mountains and rivers are used to express emotions, so there are many quatrains describing natural mountains and rivers. It can be said that metaphysical poetry itself gave birth to landscape poetry. During the Jin and Song Dynasties, with the increasing aesthetic consciousness of natural landscape, landscape painting and its theory came into being. This undoubtedly promoted the emergence of landscape poetry. In addition, the maturity of five-character poems and the artistic experience of describing natural scenery in Jiangnan folk songs have also made literary preparations for the emergence of landscape poems.