A Study Of Jiangnan Landscape Poems In The Prosperous Tang Dynasty From The Perspective Of Literary Geography

The creation of landscape poems in the prosperous Tang Dynasty has been fruitful,involving vast areas such as Guanzhong,Central Plains,and Bashu.And the frequency of occurrence of Jiangnan landscapes is particularly remarkable.According to Chen Yixin’s "Annotated Complete Poems of the Tang Dynasty",a total of 365 poems on Jiangnan landscape in the prosperous Tang Dynasty are counted,which shows the abundance of their number.There is a close relationship between Jiangnan landscape poetry and geography in the prosperous Tang Dynasty.While depicting the state of mountains and waters,these poems reflect the local culture and present a variety of artistic styles.Their rationality and space are also rich and colorful.From the perspective of literary geography,it is obviously helpful to have a deeper understanding of the characteristics of these works and better grasp their cultural connotation and artistic value.The introduction defines several important concepts of this paper.Such as "Literary Geography","prosperous Tang Dynasty","Jiangnan" and "landscape poetry".And it expounds the significance of this topic and related research overview.Besides,this part introduces the research content and research methods of this paper.In the first chapter,the authors’ birthplaces and creation locations of Jiangnan landscape poetry in the prosperous Tang Dynasty are investigated.Based on the statistics of the native places of Jiangnan landscape poets in the prosperous Tang Dynasty,it is found that the number of Jiangnan landscape poems created by native poets is far less than that by foreign poets.The reason is that the number of Jiangnan poets in the prosperous Tang Dynasty is small,some writers have been living in the north for a long time,and the poets’ aesthetic fatigue to their hometown scenery should be related to the small number of Jiangnan landscape poems left by local poets.The wandering style of literati in the prosperous Tang Dynasty,Jiangnan was once a place for frustrated literati.The scenery of different places brought fresh feeling to foreign poets,which should be related to the creation of Jiangnan landscape poems by foreign poets.The location of Jiangnan landscape poems in the prosperous Tang Dynasty was not evenly distributed.According to statistics,Yuezhou,Xuanzhou and other places left the most poems,followed by Hangzhou and Tanzhou,and Shaozhou,Fuzhou and other places had no poems.The states that produce more Jiangnan landscape poems have well-known rivers,lakes,mountains and rivers,convenient transportation,long history,places of banishment,places where relatives and friends live or roam,which have something in common with the fact that they have been written into Jiangnan landscape poems for many times.Inconvenient transportation and cultural backwardness are closely related to the fact that the number of poems in 17 states such as Zhangzhou and Lianzhou is zero.The second chapter discusses the famous mountains and rivers in Jiangnan landscape poetry in the prosperous Tang Dynasty.In the poems of the Tang Dynasty,Lushan Mountain and Dongting Lake are mostly described,followed by Jinling and Jingkou,Hangzhou and Yongjia,Qiupu and Dangtu.The scenery of Lushan Mountain,which is surrounded by rivers and lakes,and magnificent and beautiful,has attracted a large number of Tang poets to come and write poems.Xianglu peak,waterfall and Poyang Lake all appear in Jiangnan landscape poems.Lushan Mountain is endowed with poetic and picturesque flavor because of the poet’s footprints and works,and the influence of these poems has become the most important of Lushan landscape poems in the past dynasties.The name of Dongting is original.In the Tang Dynasty,Zhang Shuo,Meng Haoran,Du Fu and other Jiangnan landscape poets all described the scenery of Dongting in their poems.The vast water potential of Dongting Lake,the vast surface of the lake,the scenery of lakes outside,mountains in the lake,and buildings beside the lake are displayed from many angles in the poems,which are unforgettable.The history of the Six Dynasties has painted a layer of sad color on the landscape of Jinling.But on the natural level,the landscape of Jinling is still as beautiful and elegant.Therefore,in the landscape poetry of Jiangnan,Jinling has both the desolate side and the bright and fresh side.The magnificent scenery of Jingkou,the busy Xijin ferry and the glorious history of Beifu soldiers are all written into the Jiangnan landscape poetry.Therefore,Jingkou has transcended the natural geography and become a place rich in cultural connotation.The Qiantang tide in Hangzhou is magnificent and famous all over the world.In the prosperous Tang Dynasty,Li Bai,Meng Haoran and other poets described this scene in their poems.At the same time,the quiet and vulgar scenery of Lingyin Temple and Tianzhu temple was also favored by the poets of the prosperous Tang Dynasty.Cui Hao,Tao Han and Li Bai all left their works.Yongjia’s entry into the literary world began with Xie Lingyun.Meng Haoran and Zhang Zirong in the prosperous Tang Dynasty not only depicted the elegant scenery of Yongjia with mountains and sea,but also integrated their friendship.The sceneries of Qiupu and Dangtu are mainly reflected in Li Bai’s poems.The beautiful water and green hills of Qiupu,the custom of picking water and the affection of young men and women are all expressed in the "Seventeen Songs of Qiupu".The Hengjiang river with dangerous waves and the Gushu river with soft beauty and tranquility are all the scenes of Dangtu,which are described in Taibai’s poems.The third chapter explores the relationship between the ideological interest and local culture of Jiangnan landscape poetry in the prosperous Tang Dynasty.The places involved in Jiangnan landscape poetry in the prosperous Tang Dynasty have their own geographical characteristics and local culture,which affected the poets’ aesthetic orientation and emotional attitude.So that the ideological connotation of the poetry has carried local cultural flavors.Lushan has both Buddhist and Taoist cultures.The Buddhist culture of Lushan has been greatly developed through the efforts of Huiyuan,the imperial court and the literati.The works of Meng Haoran and Wang Changling in the prosperous Tang Dynasty not only depict the scenery of Lushan,but also involve the Buddhist culture of Lushan.The Taoist culture of Lushan Mountain also has a deep origin.There are not only famous Taoists,such as Lu Xiujing and Li Tengkong,but also famous Taoist temples such as Taiping Palace and Papaya Cave.Li Bai’s Lushan poetry is the most outstanding in showing the Taoist culture of Lushan Mountain.Its poetic mood is ethereal and pure,and reveals the poet’s desire to become an immortal.Wufeng,Xiangfei myth and Banzhu legend derived from Xiangfei are the manifestations of ghost worship of Chu culture in Dongting area.The mystery,fairy breath and sadness in Dongting landscape poetry should be affected by this.The landscape cultural tradition of Jiangzuo was established and developed by Xie Lingyun,Bao Zhao and others.Wu Yue’s landscape was well-known for their works.Poets such as Qi Wuqian and He Zhizhang inherited the Jiangzuo landscape culture and tradition and carried it forward.The beauty of mountains and rivers is further demonstrated in his writings.The quiet and sad tone of Xuanzhou’s landscape comes from Xie Tiao,but he also enjoyed the landscape in Xuanzhou sometimes.The poems of Li Bai and Tan Yan in the prosperous Tang Dynasty were influenced by the quiet side,while Zhang Xu’s works showed the pleasant landscape side.The fourth chapter analyzes the spatial construction of Jiangnan landscape poetry in the prosperous Tang Dynasty.Jiangnan landscape poetry in the prosperous Tang Dynasty has rich and diverse geographical space,and the spatial structure is eclectic.In terms of space-time combination,Lushan,Dongting Lake,Wuyue landscape,Xuanzhou landscape and spring,summer,autumn,winter,morning and dusk,day and night,present different combinations.There are four ways of space conversion,that is,the shift of sight,the movement,the extension of feelings,and combination conversion.The conclusion summarizes the article.Jiangnan landscape poetry in the prosperous Tang Dynasty has a distinctive regional color,which is reflected in the description of landscape,the expression of ideological interest and the construction of text geographical space.This paper attempts to present the geographical and spatial characteristics of these works through the literary geography of Jiangnan landscape poetry in the prosperous Tang Dynasty,hoping to expand the research vision of landscape poetry in the prosperous Tang Dynasty and provide some useful reference for the geographical research of Tang poetry.