| The mountain-water and pastoral poetry has a long history in our country. In Book of Songs and Songs of Chu, the depiction of the natural landscape and countryside life has appeared. But they are only the medium of metaphor or innitiation and the background of events or characters, don't become independent aesthetic objects. These songs can't be regarded as the true sense of the mountain-water and pastoral poetry. Until the late Eastern-Jin Dynasty and the Liu-Song Dynasty, the natural pastoral poetry of Tao Yuanming and pomposo mountain-water poetry of Xie Lingyun emerge largely, which mark the first climax in the history of the mountain-water and pastoral poetry. Under the inheritance and development of Wang Ji, Chen Ziang, Shen Quanqi, Song Zhiwen, er Zhang and so on, the landscape poetry and the pastoral poetry realize a perfect confluence in theme and spirit in the Tang Dynasty, which usher another creative climax. Wang Meng and Wei Liu are the most important poets who bring in the ultimate climax of the poetry. Their mountain-water and pastoral poetry stand for the greatest achievements in the Tang Dynasty. The different styles of their poetry reflect the flowage from the Sheng Tang Dynasty to the mid-Tang and map out the shift in Parnassus. Studying the similarities and differences of the two poem groups in the writing of the mountain-water and pastoral poetry, are very important for clarifying the evolution of landscape and pastoral poetry and the track of change in the poems of the Tang Dynasty. This paper will unfold the exposition from this point.Paper is divided into five parts:The exordium defines the subject matter of the mountain-water and pastoral poetry, and combs the track of the confluence of the landscape poetry and pastoral poetry. In this part, it also raises this research topic by arranging the current study in this subject.The first chapter discusses the common creative trend in the mountain-water and pastoral poetry of Wang Meng and Wei Liu by concentrating on the two aspects of the similar spirit and style. The similar spirit refers to the mental conflict on being an official or a hermit and the pursuit of an independent personality in their poetry. The similar style means they often use the five-words and present light features. Furthermore, this part seeks the root causes from the blend of Confucianism, Buddhism and Taoism, the aesthetic orientation and the cultural background enjoying Tao Yanming and Xie Lingyun.Chapter two, it explores deep-seated reason of the gradient from the changes in historical and cultural background from the Sheng Tang Dynasty to the mid-Tang. This mainly dues to the transition on social background, the scholars attitude and literary thought. The scholars attitude is manifested in the evolution from positive and optimistic to worry and anxiety, from the empty talk and pragmatic ambition to strengthen the country, from relaxed and harmonious to tension and thin..The third chapter illustrates the gradient focusing on the ideological content, artistic style and expressional way in the poetry of Wang Meng and Wei Liu with the historical and cultural changes. The gradient of ideological content is reflected in their poetry, which changes from idea to reality, from individual to society. The gradient of artistic skills is reflected in two aspects, the emotional tone and aesthetic style, which changes from "peace and pleasure" to "sad and resentment", from graceful and wind to high and danger. Correspondingly, the expressional style has some changes, from abla to Separation scenario, from indisposition to deliberation in the subject-object relations.Finally, this paper briefly explains the transition in Wang Wei and Wei Yingwu, which Wang Wei's poetry has shown up the features of the mid-Tang while Wei Yingwu's poem still remains a voice of the Sheng Tang. In addition, this part sums up the status and influence of Wang Meng and Wei Liu in the literary history of the mountain-water and pastoral poetry.
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