The images in Tao Yuanming's pastoral poems contain the connotation of beauty. It contains the wonderful scenery of the poet "the place where the soul wants to build is never owned by the world" (Yunnan Day: The Picture of Jie 'an Temple). Tao Yuanming takes the rural scenery as the whole image, which flows out "the image in the image" and "the image outside the image", and derives a poetic artistic space. Blend color into the overall image. For example, the third song of "Returning to the Garden" wrote: "When planting beans in Nanshan, the grass is full of bean seedlings. Get up early in the morning to get rid of weeds, and come back with hoes in the moonlight at night. The narrow path covered with vegetation, the night dew wet my clothes. The clothes are not covered, but the wish is not violated. " The scenery in the poem presents a dripping green tone. This overall tone is used to imply pastoral scenery, and green calls to set off pastoral scenery. The image of "beans, Nanshan, vegetation, seedlings, roads and clothes" is outlined in the overall pastoral scenery, and even the workers returning from hoes are stained with dripping green. This is "the image in the image". Through the appearance of poetry, we can observe the inner image of the scenery. So these scenes are connected into a vein of scenery, full of green eyes, and a laborer returns with moonlight and walks on the road covered with water mist. This is not an ordinary moonlit night and field, but a blurred and fantastic world conceived by the poet's "independent mind". There is a rhythm that transcends natural time and space, transcends images and crosses illusory images, so that we can appreciate the "charm" of poetic images. Cut into the overall image with emotion. The "image outside the image" and "scenery outside the scene" mentioned by Si Kongtu are explained in this way. The first image and scene refers to the realistic realm depicted in artistic works, and the second image and scene refers to the virtual realm that exists outside the real world and is presented in imagination with the help of metaphors, hints and symbols in the real world. Tao Yuanming derived "the image outside the image" and "the scenery outside the scene" on the background of the idyllic scenery, such as the poem "Returning to the Garden": "I don't have a suitable rhyme, so I naturally love the autumn mountains. Mistaken into the dust net and walked for thirty years. Birds fall in love with the old forest, fish in the pond miss their hometown, and the southern land is reclaimed and returned to the garden. There are more than ten acres of square houses, eight or nine thatched huts, the back eaves of elm trees and Liu Yin, the warm and distant village of Luo tang qian in Li Tao, the smoke from the yiyi market, the barking of dogs in deep alleys, the crowing of mulberry trees, and empty rooms. After staying in the cage for a long time, I will return to nature. " This poem is full of love for nature, simplicity and tranquility. Showing love for pure rural scenery. This poem cuts into the image of the whole pastoral scenery with this feeling. The whole image is implied by this emotion, which describes the images of "square houses, caged birds, pond fish, grass houses, elm willows, peaches and plums, dogs, chickens, cigarettes, villages, alleys and mulberry trees", which is the real situation directly described in the poem, the image revealed in the pastoral scenery and the image among elephants. But as long as you recite carefully and open your mind's eyes to see, these images are both scenery and sadness. The picture composed of the whole image is the subjective lens of the poet standing in the countryside. The poet farmed in the plain countryside and enjoyed himself in the hut. Elm willow covered the back eaves, peaches and plums spread their leaves in front of the hall, kitchen smoke drifted faintly in the distant village, and dogs barked from time to time. In this realm, the appreciator realizes the poet's pure and profound heart lake and abandons the indifferent and ethereal state of mind, which is an "image beyond the image" expressed by implication and symbol. These are not in the real situation of the work, but they do exist in the poem and in the visible real situation. It's the moon in the water, the flower in the mirror. It is this combination of form and spirit that makes this poem meaningful. Taking the pastoral scenery as the whole image, the "image in the image" and "image outside the image" derived from it are important features of Tao Yuanming's pastoral poems.