Li Bai spent most of his life wandering in seclusion. He said, "I am a madman in Chu. He sang a crazy song and argued with Confucius. ..... all five sacred mountains, there is no idea of distance, according to a constant habit in my life. " (Lu Shan Ge Yu Shi Lu Xuzhou) He doesn't admire Confucian saints, but wants to be a Taoist believer in order to live forever and travel in seclusion, so he "loves to visit famous mountains and follow them far away" (Peng Chi meets a hermit on the bank of Jinling River). However, he is a brilliant poet, arrogant and uninhibited, and despises dignitaries. "Xing Han put pen to paper and shook the five mountains, and his poems became the smile of Ling Cangzhou" (Shanghe). Therefore, among his many earth-shattering poems, there are also many landscape chapters, which have pushed landscape poetry to a new height and opened up a new realm.

"Zhuang Lao excused himself, and the landscape is really beautiful" ("Wen Xin Diao Long Shi Ming"). When Emperor Wudi of Buyi became emperor, everyone's door in Xie Wang was hit. The poet Xie Lingyun roamed the mountains and rivers angrily, but realized that the beauty of nature's mountains and rivers is concrete. He said: "The husband's food and clothing is the capital of life; Mountain suitability. " Just like life needs food and clothing, natural landscape is an object and environment suitable for people to rest and enjoy. Conceptually, he got rid of the moralization of Han Dynasty and the mystification of Wei and Jin Dynasties. He discovered the gorgeous natural beauty of mountains and rivers in eastern Zhejiang and wrote a lot of poems with the theme of enjoying mountains and rivers. Therefore, although his landscape poems have obvious shortcomings, they have liberated the natural landscape from the shackles of ancient deification, ethics and metaphysics, making it a natural work of art, radiant, humanized and appreciated by people. Since then, the wanderer in the poem has added a new activity, namely official tour; The hermit in the poem also has a new pleasure, that is, seclusion. However, the North and the South are divided and opposed, and the political situation is turbulent and changeable. There are few people who are proud of official travel, and there are really few people who live in seclusion. Poets are not broad-minded, have low ambitions, narrow their horizons and narrow their tastes. Therefore, regardless of official travel or seclusion, the ideological realm of landscape poetry is limited, but the artistic expression is exquisite and delicate, and many vivid famous sentences have appeared. Its representative poet is Xie Tiao, whom Li Baishen admires: "I have been meditating for a long time under the moon, and I have never seen you since ancient times." . Explaining 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.

With the unification of the Sui Dynasty and the prosperity of the Tang Dynasty, the poet experienced wait-and-see wandering, increased his optimism about life, broadened his outlook for the future, broadened his horizons in official tours and expressed his passion in the mountains and rivers. The ideological realm of landscape poetry is gradually lofty and broad, and the artistic expression tends to be similar from form to spirit, while the landscape image in the poem also changes from slender to majestic, from appreciating the natural form to expressing the poet himself. Wang Bo's "Biography of the Letter of Appointment" expresses the farewell friendship of friends on official tours, which rises with the mountains and rivers: "By this way, the wall of Sanqin District is surrounded, and the five rivers are separated by a fog." Although this future prospect is confused, it is open-minded and tragic. However, in Du Fu's "Looking at the Early Spring Tour in Lucheng in Jinling", the poet who traveled from the Central Plains to Jiangnan as a virtuous man felt the freshness of the phenological scenery in early spring in Jiangnan: "White clouds and red clouds dawn from the sea, and spring is in the wild. I saw an oriole flying in the warm air, and a green water plant was reflected by the sun. " Filled with warm and beautiful spring, it reveals the poet's optimistic mood. In the early years of the prosperous Tang Dynasty, about the early years of Emperor Xuanzong of the Tang Dynasty, Wang Wan's "The next berth on the Beibao Mountain" appeared: "Until the low tide, the two sides widened, and there was no wind to stir my sails alone. ... the night now gives way to the ocean of the sun, and the old year melts in freshness. " The eyes of official travel poets show a magnificent atmosphere and bright future, keenly foresee the arrival of a moderns, and show the poet's optimistic confidence and comfortable feeling of peace and prosperity. Therefore, at that time, Wenzong Zhang said that this poem was highly respected. "Every time you write a government hall, you can make it a model" (Yin Lan's He Yueling Photo Album). In Ming Dynasty, Hu Yinglin was rated as "describing the scenery, which is wonderful throughout the ages", showing the "sharp boundary" of the early Tang Dynasty and the prosperous Tang Dynasty (poems were compiled internally). This is a brand-new feature of landscape poems describing the life of official travel, and it is a height reached by Li Bai's poetry circle in his youth.

At the same time, a new kind of hermit appeared. They are interested in helping the world, but they don't admire Rong Lu. They are arrogant, unwilling to take exams, showing that they are improper officials but do not avoid the world, and they do not refuse to be officials but are not attached to power and bound. This earned them lofty expectations and a reputation as hermits, but in fact they are great celebrities. They are not passive and secluded, but often travel across oceans, with a wide network of contacts and diverse religions, regardless of rank. Their seclusion is very different from that of the Southern Dynasties. The vast world is like their hearts, and the clear scenery can be used as a sustenance. They sang loudly in the famous mountains and rivers, all corners of the country, and poured out their hearts under the bright moon and cool breeze. Meng Haoran, a landscape poet in Kaiyuan period, is the representative of this kind of hermit and celebrity. Although he once retired to Lumen Mountain and sang "Hut Gate, Pine and cypress Path, Lonely and Quiet, Only Youren Come and Go" ("Song of Returning to Lumen at Night"), he even generously sang: "The lake here in August is in harmony with the sky. Clouds and clouds are in the valley, and Yueyang City is also trapped. " (A Letter from Dongting Lake to Premier Zhang) Water and sky are connected, and the waves are rough, which shows the poet's mind and momentum. He also has a kind lyric: "how vast the world is, how close the trees are to heaven, and how close the moon is to the water!" Travel is a relief to the open world and the moonlight on the river. The young Li Bai admired the famous Mencius very much: "When the ruddy youth gave up the importance of hats and chariots, you chose pine trees and 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. It can be seen that the reclusive landscape poems at this time also present brand-new characteristics. Comparatively speaking, this kind of landscape poetry has a more profound influence on Li Bai.

Li Bai, who grew up in the prosperous era of Kaiyuan, did not become an official because of family and social reasons. He grew up in a secluded environment in the mountains, reading "fantastic books" of Taoism and hundreds of schools, loving ci and fu, learning fencing, and being influenced by Taoism. In short, he received a weird and perverse ideological education, cultivated an ideal and fantasy of a peaceful society that is essentially a fairy world, and formed a proud character and rebellious spirit that was not bound by feudal ethics. This doomed him not to take the right path, but to take the unique road of hermit, chivalrous man, celebrity and become a man with lofty ideals. As a result, although he was ordered to go to Beijing by Emperor Xuanzong of the Tang Dynasty and was enshrined by the Hanlin for more than two years, he was famous all over the world, but he had to resign and become a monk. Although Li Lin, the emperor of Yongli, invited him to go down Lushan Mountain and join the military curtain, it seemed that he could realize his patriotic ambition, but he was caught in a battle for imperial power. ? When I was imprisoned, I exiled Yelang and almost died. Political setbacks hit a wall, so that he dedicated his childlike innocence to his compatriots and simple and kind lower class people, and poured out his heart to selfless and unpredictable nature. So, he sent his love to the cool breeze and bright moon, roaming famous mountains and rivers, leaving many famous landscapes.

The outstanding feature of Li Bai's landscape poems is the idealization, fantasy and personalization of natural landscape images. In the poems of Wang Wan and Meng Haoran, although the landscape has expressed the poet's self, in the poet's consciousness, the subjective and objective boundary between man and landscape is still clear, and the landscape image is not integrated into the poet's self-image, but only as an objective object to express or entrust the poet's feelings. In Li Bai's idea, the relationship between man and nature has changed. He said in Sunrise that the movement of the sun "has no beginning and no end, and people have no energy, so they can linger with it for a long time? Spring breeze grass does not thank glory, wood does not complain about autumn, who wields a whip to open four blessings? Everything has ups and downs, which is natural. " "I will include a big piece, I will be noble and have the same theme." 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.

After Li Bai went to Beijing in the first year of Tianbao (742), he showed him Shu Dao Nan (see Skill Poetry), which was not long ago. The theme of this landscape poem, which was renovated from the old Yuefu, is very simple, that is, "it is hard to go goes to the sky". However, the theme is complex. On the surface, it is to inherit the old topic and persuade the wanderers who seek happiness not to venture into Sichuan. In fact, it is to express between the lines and sing the fearless pride of daring to board the Shu Road. In other words, Shu Dao is the fear of ordinary travelers, but it is the infinite scenery journey of heroes. There are three images in the poem: Shu Dao, the wanderer and the poet himself. For the wanderer, advise him to think twice: first, we wonder if this westward path will never end? Are you ready for a long trip? Second, "Why do people from afar come here?" ? What is the purpose of going to Sichuan? The third is "Although the Silk City is delicious, I'd rather go home soon". If you don't have lofty ideals and just want happiness, you might as well go home early. For the mountains and rivers of Shu Road, he devoted his heroic feelings and showed them with extreme exaggeration and extraordinary imagination. It paid a heroic sacrifice for opening up this high mountain plank road connecting Qin Zhong and Zhong Shu. This is "high, as on a tall banner, six dragons drive the sun, while the river below whips its twisted route, so the height will be difficult even for a yellow crane, so the poor monkey only has claws to use", which is sublime and thrilling. It is the symbol of the poet's unique life path and the embodiment of his ideal career. Climbing on the road, touching the stars high above, lonely and terrible, once in trouble, "sharp teeth, killing people like hemp" tiger and snake always threaten. This further highlights the image characteristics of Shu Dao and shows the poet's mind and feelings. Those who dare to climb the Shu Road must have fearless will, perseverance and spirit, which is by no means something that ordinary people can do. The poet's self-image is not only revealed in the compassion of persuading wanderers, but also integrated into the high-risk and magnificent image of Shu Dao.

Li Bai has many short and pithy landscape laws, with different specific images and different techniques. The seemingly idealized, fantasized and personalized features are not obvious, but they are actually the same. For example, Qingxi Xing wrote Qingxi Qing: "In the pedestrian mirror, in the bird screen. Cry to the late orangutan and wander away sadly. " The first two sentences seem to be just subtle rhetoric of mirror and water, screen and mountain, but the poet's original intention is to take water as the mirror, mountain as the screen, and Qingshui Xiushan as his home. So the last two sentences say that apes make wanderers sad, but in other words, it shows that the fallen fairy is at ease, because the landscape is his home and ideal, just like a fairyland. Another example is "Sitting alone in Jingting Mountain": "Birds are high, and lonely clouds go to leisure alone. Seeing each other tirelessly, I only respect Tingshan. " The bird flew away, and a white cloud left leisurely. Only the poet and Jingting Mountain stayed with him all the time, so they never tire of looking at each other. This is as clear as the truth, and the effect is the same as extreme exaggeration. Mountain personification, people in one mountain, yet I feel the harmonious heart-beat of the Sacred Unicorn, is an illusion, but it also conforms to his concept of "overall harmony". As for his masterpiece "Looking at Tianmen Mountain", "The green hills on both sides of the strait are opposite, and the sails come from the sun alone"; In "Arriving in Baidicheng Early", "The apes on both sides of the strait can't stop crying, and the canoe has passed Chung Shan Man". Both anthropomorphism and contrast confuse nature and self conceptually, treat everything as the same kind, or be excited together, or think it is difficult to stop, and idealize, fantasize and personalize the landscape image.

Li Baiyou directly wrote some landscape poems yearning for fairyland and interacting with immortals, which is an ideal pursuit, a manifestation of wild dreams and an extraordinary performance of fallen immortals. However, after Tianbao, the national politics was chaotic and he was personally frustrated. With the growth of age and experience, he became more resentful of the dignitaries on the ground and dreamy of the immortals in the sky, so he traveled extensively in famous mountains with beautiful dreams. This change is typical when climbing Tianmu Mountain in a dream. It's about visiting Tianmu Mountain Wonderland and waking up at night. At the beginning of the poem, it is concluded that Penglai Fairy Island on the sea is not credible, but it is high in Tianmu Mountain. So I dreamed of "flying over Jinghu Moon" at night and went to Tunxi to mourn Xie Lingyun's body. Then, I climbed to the top of the mountain, stepped on Xie Qigong, climbed a blue ladder and enjoyed the magnificent scenery of Haifeng. In the mist, suddenly, "the cave is in the stone gate, and the sinkhole is leaking", but it came to the magnificent fairy world, dressed in clothes, fighting sloppy drums, driving the phoenix, and immortals in groups. But at this moment, the dream woke up, Tianmu Wonderland disappeared, and there was only the poet himself between the pillows. So he said with deep feelings: "This is the consistent way of human happiness, and everything will always flow to the East like water!" Life is a dream, and everything in the world is a flowing river, which cannot be delayed or cherished. So he will ride a deer to the famous mountains to find the wonderful fairyland in his dream. And loudly announced: "Oh, how can I bow and scrape to those high-ranking officials whose sincere faces will never be seen!" " He wants to break with the world ruled by powerful people. Here, the bound poets in the real world fly freely to the ideal fairyland in their dreams, and the objective natural landscape becomes a fairy tale world in their dreams. The ideal is expressed in the form of fantasy, which clearly shows the poet's character of resisting the rule of powerful people. Obviously, the magical beauty of Qu Yuan's nine songs, the elegance of Guo Pu's wandering immortals, the beauty of landscape poems in the Southern Dynasties and the magnificence of landscape poems in the early Tang Dynasty have merged into a new realm and presented a new height here.

The fallen immortal who is crazy about dreamy scenery finally wakes up in the cold political reality. In his later years, he came back from Yelang's exile and met an old friend in Jiangxia. He was filled with indignation: "There are many Buddhist monks, but the mountains and rivers are not satisfactory! Otherwise, you can sing drums and play the surging stream, and ask Jiangnan's daughter to sing. I smashed the Yellow Crane Tower for you, and you smashed Nautilus Island for me. Chibi is like a dream, singing and dancing. " (Jiang Xia presented Wei Nanling's "Ice") The water of meaning, the immortal who ascended to heaven, the extravagant life and heroic struggle, all the goals that the poet once yearned for and pursued were shattered, and all the wild ideals were disillusioned, so he simply indulged in secular song and dance enjoyment. On the other hand, it can be seen from this arrogant and unruly genius poet's wild songs of grief and indignation in his later years that he has always cherished the heroic ambition of saving the world and has never given up his lofty ideals, so most of his landscape poems are unrestrained and charming, blending in with landscape images, showing new features and achievements of idealization, fantasy and personalization.