Tao Yuanming's "Peach Blossom Garden" has been passed down through the ages, leaving a spiritual habitat for future generations. Japanese writer Yasunari Kawabata also likes to describe natural scenery, giving people a sense of fairyland. This study starts with Peach Blossom Spring and Snow Country, and discusses their similarities in the view of nature and nothingness. The research shows that both Tao Yuanming and Kawabata Yasunari advocate nature, emphasize the unity of things and me, and are deeply influenced by the concept of nothingness, which is absolute and eternal. However, influenced by the traditional Japanese mourning thought, Yasunari Kawabata showed sadness and negativity, while Tao Yuanming showed peace and indifference.

Keywords: Tao Yuanming; Yasunari Kawabata; View of nature; non-existent

1, Introduction

Tao Yuanming's "Peach Blossom Garden" has been passed down through the ages, and that peaceful and peaceful paradise has left countless reverie and yearning for future generations. The significance of Tao Yuanming's Peach Blossom Garden lies in providing a spiritual home and poetic dwelling place for himself and future generations. Kawabata Yasunari's Snow Country is immersed in the beautiful scenery in the article, as if seeing a fairyland and another beautiful peach blossom garden. Both Kawabata Yasunari and Tao Yuanming are keen on Xanadu and describing the natural scenery of mountains and rivers far away from the noise of the city. Peach Blossom Garden is not only the embodiment of their view of nature, but also their view of philosophy, an exploration of nothingness and life and death, and a reflection on the ultimate meaning of life. Judging from the works, there are some similarities between them in their views on nature and philosophy.

This paper aims to explore the similarities and differences of their views on nature and nothingness, and deeply understand the ideological connotation of literary works.

2. Kawabata Yasunari and Tao Yuanming's view of nature.

Tao Yuanming's poems are full of pastoral flavor, which is the pastoral landscape involved. Kawabata Yasunari puts the characters in the novel in the position of being embraced by nature and integrated with nature. Both of them embody the natural view of the unity of things and me and the unity of man and nature. However, influenced by Regret for the Past, Kawabata Yasunari not only got aesthetic comfort from Taoyuan, but also expressed inexplicable sadness and depression. Tao Yuanming's pastoral poems bridge the gap between nature and philosophy, and achieve a reconciliation, peace and indifference between the hardships of life and the pleasure of pastoral.

It is not difficult to see that beauty and sadness are very prominent features in Kawabata Yasunari's description of natural scenery. This is inseparable from the traditional Japanese thought of mourning things. We are no strangers to "bereavement". As a master of Japanese traditional literature, Yasunari Kawabata's aesthetic taste has more inherited the spirit of mourning for beauty in Japanese traditional art, and he often emphasizes that "the mourning of things in Heian Dynasty has become the origin of Japanese beauty" and that "mourning is connected with beauty". It can be said that "mourning for things" occupies the most important position among his aesthetic objects.

Tao Yuanming's pastoral poems originated from rural life, and he integrated his personal feelings about rural life into his poems. Even ordinary straw houses, green trees and villages reveal vitality and rich flavor of life, just like a beautiful picture scroll, which makes people feel relaxed and yearning.

In Tao Yuanming's pastoral poems, feelings, beautiful scenery and philosophy blend together, and birds, plants and mountains are full of deep thoughts and feelings. Moreover, poets are good at expressing their feelings through scenery, relying on things to support their aspirations, and closely combining emotions with philosophy and scenery, so that people can obtain aesthetic pleasure and get enlightenment from it. Reasoning is not only not boring, but also gives people a novel and natural feeling, which is refreshing to read.

3. The nothingness of Yasunari Kawabata and Tao Yuanming.

1968, Kawabata Yasunari won the Nobel Prize in Literature. At the award ceremony, he delivered a commemorative speech entitled "I am in beautiful Japan", analyzed the origin and development of Japanese literature, and discussed the Japanese view of nature and religion. He also said: "People feel that a flower is more beautiful than a hundred flowers." It can be said that the gap and space left by a flower mentioned by Kawabata Yasunari here is closely related to China's ancient theory of reality and falsehood.

As we all know, Japanese ancient literature developed under the influence of China literature. China and Japan are neighbors separated only by a strip of water. This special geographical and social condition makes the two countries form a closely related cultural circle. Many Japanese writers are deeply influenced by China culture, and Yasunari Kawabata is no exception. The concept of nothingness is an important content of the inheritance and development of Laozi and Zhuangzi in Wei and Jin Dynasties. As a representative of celebrities in Wei and Jin Dynasties, Tao Yuanming also showed a deep understanding of nihility.

Kawabata Yasunari not only discussed "virtual reality" in theory, but also applied it to his own works. He not only used it to shape characters and describe natural scenery, but also promoted it to the spiritual and philosophical level. It can be said that virtual reality theory has influenced Kawabata Yasunari's outlook on life and world.

In Kawabata Yasunari's works, even the same person in different periods will give people a feeling of contrast between reality and reality.

"After the train started, the window of the waiting room suddenly lit up, and the pony's face sparkled in the light and disappeared again. This face is as red as reflected in the mirror on a snowy morning. In Shimamura's view, this is another color between dream and reality. "

The theory of virtual reality is not only manifested in artistic skills, but also in spiritual essence. Kawabata Yasunari advocates nothingness. He believes that nothingness is the essence of spirit, the source of all life, and the broadest and richest definition. The ultimate meaning of nothingness is embodied in the concept of life and death, not a complete denial of life. Kawabata Yasunari believes in reincarnation, that is, "life and death are immortal." In his eyes, death has not completely disappeared, but exists in another form.

"A woman's body is in a horizontal position in the air. Shimamura's heart suddenly shook, and he didn't seem to rush to danger and fear at once, as if he were an illusion of an unrealistic world. " "I don't know why, Shimamura always feels that the leaves are not dead. Her inner life is turning into something else. "

Therefore, in Kawabata Yasunari's pen, fire can be described as romantic, without a trace of blood. Brilliant Milky Way and flying sparks are intertwined, forming a beautiful picture. Yasunari Kawabata thinks Ye's death is beautiful, because he thinks Ye's death is not a complete death, but "her inner life is transforming into something else." The death of Ye is a liberation of the imprisoned body, a sublimation of the soul and a manifestation of beauty.

Tao Yuanming has expressed this view of "death" in his works more than once.

"Relatives or sorrow, others have songs. What is the way to die? "

("Elegy")

There's nothing to say when he's dead. His body has been entrusted to the eternal hills. Shi Tao's thinking about the ultimate meaning of life is not only an idyllic one, but also a questioning of the living.

"Life is rootless, floating on the dust like a stranger. Life blowing in the wind, the body has gone through hardships, and it is not what it used to be. When the world is brothers, why do brothers of their own brothers want to date each other? When you meet a pleasure, you should be happy, and you should invite your neighbors to drink. Once the youth is gone, it will never come again, and you will never see the arrival of the next day. It is necessary to encourage in time, and time waits for no one. " ("Miscellaneous Poems")

Although my fate is unpredictable and my life is uncertain, I still persistently seek friendship, joy and hope in my life. This is probably the meaning of life.

4. Conclusion

This paper takes Yasunari Kawabata's Snow Country and Tao Yuanming's Peach Blossom Garden as the research objects, trying to appreciate their representative works from the perspective of nature and nothingness, and analyzing their similarities in nature and nothingness. It can be seen that both Tao Yuanming and Kawabata Yasunari advocate nature, and both of them embody the natural view of the integration of things and me and the integration of man and nature. At the same time, they are deeply influenced by the concept of nothingness and think that "nothing" is absolute and eternal. Kawabata Yasunari advocates nothingness. He believes that nothingness is the essence of spirit, the source of all life, and the broadest and richest definition. The ultimate meaning of nothingness is embodied in the concept of life and death, not a complete denial of life. Kawabata Yasunari believes in reincarnation, that is, "life and death are immortal." In his eyes, death has not completely disappeared, but exists in another form. "Nothing" is the core of metaphysics in Wei and Jin Dynasties. As a famous figure in Wei and Jin Dynasties, Tao Yuanming was deeply influenced by him. The concept of nothingness fundamentally affects people's view of life and death. Tao's thinking about the ultimate meaning of life is not only pastoral, but also questioning the living.