A Study of Li Bai's Landscape Poems Li summarized as "I love to visit famous mountains, and I travel with them". Li Bai has traveled to many places all his life, and cultivated his love for nature and a beautiful vision for the future in the vast world of the motherland. He wrote many landscape poems in his life. Li Bai is not famous for his landscape poems. Li Bai's landscape poems are famous for their grandeur, boldness, atmosphere and desolation, which broke through the pattern of traditional landscape poems in China. The outstanding feature of Li Bai's landscape poems is the idealization, fantasy and personalization of natural landscape images. Li Bai's aesthetics of natural landscape is full of humanity, history, geography and strong self-cultural consciousness, which makes the beauty of humanity and the beauty of nature blend with each other. Li Bai's landscape poems chose the route of "feeling things", getting rid of metaphysics, returning to emotion and blending scenes, which promoted people's aesthetic feeling of natural landscapes to an unprecedented cultural height and made outstanding contributions to the maturity of landscape poems. Key words: Li Bai's landscape poems are "coquettish in the prosperous Tang Dynasty, elegant in peerless style, plus one death and one fairy". Li Bai's poems and songs have special connotations and charms in the Tang Dynasty and beyond. Speaking of his landscape poems, they account for a large proportion in his poetry works. Li Bai loves mountains and rivers, but he is intoxicated with them. He is extremely happy. "According to a constant habit in my life," he even reached the degree of obsession that "I love this heart and can't return to the world." There are more than 100 landscape poems by Li Bai, some of which inherit the romantic tradition of Zhuangzi's prose. Learn from Tao Liangyuan's garden poems and integrate feelings into the landscape; There are mountain poems that have been hit by the lingering wind, and the artistic conception structure is getting better and better. Li Bai's admiration and worship can be seen from Xie Caotang is still here, I am wearing Xie's earliest spiked shoes, the bones of a great writer are your brushes, and I was a Xiao Xie who grew up beside you in heaven. In addition, there are poems written by landscape poets in the early Tang Dynasty, such as Wang Meng, and poems about the idea of traveling in the mountains and playing in the sea. This shows that Li Bai's landscape poems are colorful and beautiful. Li Bai spent most of his life wandering in seclusion. He said, "All five holy mountains, regardless of distance, are based on a constant habit in my life." (Lu Shan Ge Yu Shi Lu Xuzhou) He "loves to visit famous mountains and follow them far away" ("A hermit meets a pond by Jinling River"). Li Bai has been to many places in his life, such as Sichuan, Shandong, Shanxi, Henan, Zhejiang, Jiangsu and the Yellow River and Yangtze River basins. Li Bai visited many places of interest in Sichuan around the age of 20. Landscape poems describe the magnificent mountains and rivers in Sichuan and cultivate his magnificent mind, heroic personality and thoughts and feelings of loving the nature of the motherland. After Li Bai was 25 years old, he wandered out of Shu, and in the vast world of the motherland, he cultivated his love for nature and his beautiful vision for the future. After being "given gold to the mountains" by Xuanzong, Li Bai once again wandered around Qilu, Jiangsu, Zhejiang and Zhao Yan, and praising the great rivers and mountains of the motherland was the main content of Li Bai's landscape poems in this period. Li Bai wandered in Xuancheng and Liyang, but he was pardoned halfway. At this time, the landscape poems linked immortals, landscapes and reality, reflecting Li Bai's profound inner contradictions. So he created many landscape poems, and pushed them to a new height and opened up a new realm. First, the relationship between Li Bai and landscape poetry Li Bai is an alternative among China landscape poets. He has an imposing manner, full of energy, elegant and free and easy. This personality factor makes Li Bai's landscape poems seem to have no fixed form and law in expression, and it is difficult to grasp the style and artistic conception of Li Bai's landscape poems. But just like watching Van Gogh's paintings, Li Bai's landscape is Li Bai's landscape. In fact, Li Bai really dominates the form and law of landscape poetry. Li Bai wrote not the details of the landscape, but the momentum of the landscape. In his words, it is the momentum of "how the water of the Yellow River moves to the sky, rushes into the sea and never returns", which is also his own momentum. It is his own motivation that drives him to write landscapes. Only his unrestrained personality can publicize the inner momentum of mountains and rivers. To publicize the momentum of the landscape is to publicize Li Bai's own personality and vitality, that is, to extend his personality and vitality into the landscape. Second, the reason why Li Bai wrote landscape poems is first reflected in his love for the mountains and rivers of the motherland and nature. Li Bai loves the rivers and mountains of the motherland, so he can forget his sadness and write with great enthusiasm. Secondly, it is because Li Bai is influenced by Taoism. The natural thought of Taoism gave him a simple materialistic outlook on life. People's life and death have ups and downs, just like all things, "there are ups and downs, and it is only natural." There is no need to be grateful or complain, because they are all part of vitality, belonging to nature and sharing nature. So he wants to embrace nature and blend in with it. In Q&A in the Mountain, he said mysteriously, "Why do you live in Bishan? Laugh without answering your heart. Peach blossoms have all flowed away, and there is no heaven and earth. " The secular will not understand him, and he does not belong to the secular. His mysterious Peach Blossom Garden, which leads from Bishan to his dream fairy world, lives in the "street area" and is in chaos with nature. With the deepening of his social life and political experience, this Taoist thought and its concept made him love natural landscapes more and more, and made the landscape images in his landscape poems not only express themselves, but also melt into them, making them idealized, fantasized and personalized. Third, it is because of the influence of Xie. Li Baishen thought that Xie Tiao: "The moon has been thoughtful for a long time, and the eyes have been thin since ancient times. Explain that' Chengjiang is as pure as practice' makes people remember Xie Xuanhui for a long time. " It can be seen that Li Bai's landscape poems accepted the artistic nourishment of Xie Lingyun and Xie Tiao, and inherited and developed the artistic tradition of Xie's landscape poems. There is also influenced by Meng Haoran. Meng Haoran, a landscape poet in Kaiyuan period, is the representative of this kind of hermit and celebrity. Although Li Bai, a young man, retired to Lumen Mountain, he deeply admired Mencius' famous saying: "Beauty abandons crown car and chooses pine clouds;" Now whitehead. Drunk with the moon, the sage of dreams, the temptation of flowers, the monarch is the emperor. " (A Word to Meng Haoran) Praise him for not admiring Rong Lu and not serving the king. The most important thing is to be influenced by the times. In the Tang Dynasty, people broadened their horizons in official tours and expressed their passion in mountains and rivers. Li Bai is no exception. He has written many famous works through the ages. Third, the artistic characteristics of Li Bai's landscape poems As a romantic poet, Li Bai is great and the most typical. He said that his poem was "Xing Han put pen to paper to shake the five mountains, and the poem became a small Aoling Cangzhou". Du Fu praised his poems, saying, "Putting pen to paper scares the wind and rain, and poets make gods cry." This unparalleled artistic charm is indeed the most distinctive feature of his poems. First, aim high. First of all, Li Bai's landscape poems describe a wide range of subjects, including landscape vegetation, insects, fish, birds and beasts, and human scenery. Secondly, it refers to the breadth of time, the length of time and the height of space, that is, the so-called "thinking silently, thinking for a thousand years, moving silently, seeing Wan Li, climbing mountains with emotion ... looking at the sea is meaningful." Li Bai's writing of landscapes often dates back to the beginning of ancient history. For example, in the poem "Difficult Travel in Shu", the poet started from the ancient isolation between Qin and Shu: "Silkworm people have been in the vast expanse of smoke, and 48,000 years have passed, which has nothing to do with Qin Sai. And Dabaishan, to the west, still has only one bird path, all the way to the peak of Emei. " Then he wrote that the king of Shu sent five mountains to cut mountains, and the strong man gave his life to build a ladder plank road connecting Qin and Shu: "It was broken by the earthquake, and if the brave man died, the stairs and stones would be stacked." The scenes such as Dongting, Xiaoxiang, Jiuyi Mountain and Cangwu in Farewell are also related to ancient figures such as,, Yao, Shun and Yu. Empty spirit means that Li Bai is good at observing and describing scenery from different angles in various ways. For example, "I climbed to the top. I look around the world, and the great river is gone forever. Huang Yun has been blown by the wind for hundreds of miles, and a snow peak is surrounded by a vortex of nine streams. " (A song of Lushan Mountain is a reminder of Xuzhou), "Xiyue Mountain is magnificent, and the Yellow River is like a silk sky" ("Xiyue Yuntai Song sends Dan Qiu Zi"), "A straight line goes up to the sky, with its peak reaching the sky, reaching the top of five holy peaks, and casting a shadow over China" ("Climbing Mount Tianmu in a Dream"), "There is a Taibai peak in the west, climbing in the sunset, raising your hand near the moon, and there is no mountain front." ("Climbing the Taibai Peak") "It's too white and pale, and the stars are in the forest. If you go three hundred miles to heaven, you will die. " (The Fifth Part of Antique), "Water descends from the sky" (Three Poems for Cui Qiupu), "Sailing alone in the sky, the sky only flows along the Yangtze River" (The Yellow Crane Tower sends Meng Haoran off on the way to Yangzhou), and so on. These poems, like distant landscape paintings, have the characteristics of grand composition, broad vision and far-reaching realm. This is not only a magnificent portrayal of nature, but also reflects the poet's open mind. Second, the image is flying. This means that although Li Bai's landscape also has a quiet and beautiful side, such as "clear water produces hibiscus, which is naturally carved" ("After leaving chaos, a book is given to Jiang as a satrap and easy to kill"), it is not the mainstream, because he is romantic in thought and free and easy in character, just like a unconstrained style. Therefore, after the image scene is externalized, its landscape images tend to fly, such as "the water is like an arrow, and when the boat goes, it will fly" ("Ba Nv Ci"), "Flying straight down thousands of feet, it is suspected that the Milky Way has fallen for nine days." "Hang flow three hundred zhangs, jet gully dozens. Inflammation is like flying electricity, hidden in Bai Hong. " ("Looking at Lushan Waterfall" two songs) "The geese lead the heart to worry, and the mountains hold the moon." ("Climbing Yueyang Tower with Summer Twelve") "Looking at Queshan from a distance seems to be a gift." ("Three Poems of Boating Queshan Lake with Ancestor Jinan"). Third, the combination of reality and reality has a strong sense of painting. The combination of reality and fiction is the structural feature of artistic conception creation. Mei, a poet in the Song Dynasty, said, "This is a difficult scene to write. For example, at the moment, there are endless meanings, which are seen outside the text and then to the extreme. " What he said is artistic conception. Mr. Wang Guowei, a close friend, also said: "Everyone's works will be refreshing, the scenery will be eye-catching, and the words will be blurted out without affectation." What you see is true, and what you know is deep. "He thinks this is" artistic conception ". These are just right to comment on Li Bai's poems. As far as his landscape poems are concerned, most of the scenery in front of Li Bai is in harmony with his imagination, which truly reaches the point where the scene is in harmony with the mind and matter. Combined with the above, we can think that the artistic conception is the unity of "as in front of us" and "beyond words" in structure. Therefore, at this level, artistic conception can be divided into real realm and imaginary realm, and then we will look at Li Bai's landscape poems. He took the imaginary "unspeakable" and the real "as if in front of us" to the extreme. For example, It's Hard to Go is the best illustration. Ice jam in the Yellow River, snow in Taihang Mountain, Bixi fishing and Yun Fan sailing to help the sea seem real, but in fact they all come from abstract emotions and ideas in their hearts, which are natural manifestations of virtual reality. The real world and the virtual world are interdependent. You have me and I have you. * * * together constitute a beautiful world. Let's talk about painting. Li Bai's attainments here are similar to those of Wang Meng. However, it should be pointed out that Li Bai's superb artistic conception shows a strong painterly nature, which makes some of his landscape poems look like freehand paintings with both form and spirit, and the techniques of these paintings are perfect, returning to nature without traces of carving. This is the highest realm of China's poetry and painting. Li Bai's famous landscape poems "Difficult Road to Shu" and "Difficult to Climb Mount Tianmu" can all be used as examples. "Difficult Road in Shu" is a magnificent landscape map of Shu. After reading this poem, we all feel that he is full of passion and contains many generous and tragic feelings when describing the difficult reality of poverty in Shu Road. At the same time, the author gallops imagination, describes lyrical scenes, and creates the "image outside the image" and "scenery outside the scene" of Shushan, which makes its virtual realm so rich and controversial. In the past dynasties, "the solution of this poem is like a lawsuit" ("Tang and Song Poetry Wine"). Furthermore, on the basis of this artistic conception, the painting of grief and indignation immediately came into view, or Yun felt that his career was bumpy; Or expose the shortcomings of the times and satirize Xuanzong's prosperity; Or think that it is to persuade friends who have already entered Shu, and so on. Fourthly, the language features of Li Bai's landscape poems are natural and clear, which is the basic feature of Li Bai's landscape poems. The so-called "clear water produces hibiscus, natural carving." His simple, beautiful, pure and natural language, influenced by Yuefu folk songs, comes more from the vivid language of life. "The strong wind blows my heart, and the trees in Xianyang hang in the west" ("Jin Xiang sends Wei Ba to Xijing") was born out of the Song of Xizhou written by Yuefu in the Southern Dynasties: "The south wind knows my desire and dreams of Xizhou". And "the breeze and the bright moon don't need a dollar to buy, and Yushan wants to push others", which is even more open-minded when said casually. His diverse language is always frank, natural, fresh and beautiful, which is reflected in the beauty of nature. The language of Li Bai's landscape poems is completely personalized. When Li Bai wrote different styles of landscapes, he used different styles of languages. He has many famous landscape quatrains, and his language is fresh and fluent, such as: "Dongting looks at the Chu River in the west and there is no cloud in the south. Poems like "When the sun sets, Changsha is far away in autumn, and I don't know where to hang the Xiang Army" ("Five poems by assistant minister, to Dongting Lake by Jiashe") can truthfully draw the true colors of beautiful mountains and rivers because of the poet's beautiful and natural language. Li Bai cherishes the natural beauty of language and opposes the elegant style of excessive carving. "Li Bai's landscape poems can be said to be the highest achievement of China's ancient landscape poems." His main purpose is to describe the great rivers and mountains in China, show the infinite beauty of nature, and express his subjective feelings in the scene. Li Bai regards the magnificent rivers and mountains of the motherland as the main body and the aesthetic object, and writes the peak works of predecessors and contemporaries with new perspectives, new colors, new voices and new momentum. Li Bai's landscape poems are representative works of Li Bai's poetic achievements, which not only reflect the poet's ontological consciousness in ideological content and artistic techniques, but also involve many issues such as the times, society and people's livelihood, and have certain social and historical significance. In a word, Li Bai's landscape poems are not only about landscapes, but also difficult to break away from the stereotype of social life. References 1, Complete Poems of Tang Dynasty, Shanghai Ancient Books Publishing House, 1986. 2. Zhang, The Champion of China's Ancient Landscape Poems-On Li Bai's Landscape Poems, Qilu Academic Journal, No.05, 1992. 3. Notes on the Collation and Interpretation of Li Bai's Complete Works by Zhan E, Baihua Literature and Art Publishing House, 1996 edition. 4. Anqi's Notes on the Chronology of Li Bai's Complete Works, Bashu Bookstore, 1990 edition. 5. Research on Yang Haibo's Li Bai Thought, Shanghai Lin Xue Publishing House, 1997. 6. Matsuura Yujiu's Study on Lyric Art of Li Bai's Poetry, Shanghai Ancient Books Publishing House, 1996. 7. Pei Fei's Collection of Li Bai, Zhonghua Book Company, 1994.

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