In his youth, although Su Shi also wrote some similar to his predecessors, but after Wang Anshi's change of law, his poetic style has changed, and the landscape poems, mainly referring to his 1071 "fill in the outside" as a Hangzhou magistrate, especially when he was repeatedly relegated to the landscape poems. These poems are either rich in Zen, or a combination of Confucianism, Buddhism and Taoism, and use the Zen way of thinking to express his taste and feelings about life. As a poet, Su Shi not only reached the realm of "all the images into my mud beads", but also projected his whole body and mind into the landscape and nature, and achieved the realm of unity of mind and object of "Ta Ran left his body". He used the way of "wisdom crossing" to "return to the light" in himself, so that his mind rose to a new level. These poems can be roughly divided into four categories:
(a), borrowing nature to say Zen, that is, from the static and dynamic natural landscapes in the realization of Zen, in the specific form of expression, the description of natural scenery and the realization of Zen verses are often separated. For example, "Hundred Steps to Flood" (Collected Poems, Vol. 17, p. 891):
The long flood bucket falls into a jumping wave, and the light boat goes down to the south like a shuttle. The sailor called out to the eider and geese to rise, and the rocks were in a line of struggle to polish them. The rabbit is like a falcon falling, the horse betting on the slope of a thousand feet. The broken strings and arrows are out of the hand, the flying electricity is over the gap and the beads are turned over. The winds of the four mountains swept by the ears, but the stream of foam gave birth to a thousand whirlpools. Though I am happy in the ruggedness, it is no different from Shui Bo's boast of the Autumn River. My life passes by day and night, and I sit and realize that one thought is more than Shilla. In my drunken dreams, I do not believe that thorns and thistles bury the bronze camel. When I realized that I had lost a thousand years of my life, I looked back at the water and saw that it was a serpent. Look at the pale stone on the shore, the ancient Penny Eye like a bee's nest. But this mind should not dwell on anything, even though the creation is sailing like me! The boat back to the horse each return to go, querulous words querulous division of the heck.
The "Hundred Steps to Hong" first uses the technique of metaphor to dramatize the rapidity of the water to symbolize the shortness of life. The last fourteen lines of the poem are about Zen, especially the line "You see the moss on the shore, the eyes of the ancient artemisia are like a honeycomb", which vividly and eloquently illustrates the Zen principle that the boatman has passed away while the flowing water is still the same and points out that as long as the heart is not in the right place, the law of creation mentioned above cannot be the shackle of life. This kind of poem has a shallow level in the direction of natural wisdom, but it has basically left the traditional mode of sentimentalizing the scenery.
(2), from nature in the realization of Zen, that is, in addition to the eyes to see and ears to hear, especially focusing on the feelings of the heart, manifested in the poem less in the form of discussion, often in the form of images to show, to the line of Qiong, Dan between ...... (Poetry, Volume 41, page 2246) as a prominent representative: "Surrounded by an island, with a hundred holes coiled in it, I traveled to the northwest corner, as if I were half a bow of the moon. When I return to this life, I look around me and see that I have no way out. I can see the great Yinghai Sea, and I can sit and swim in the sky. In the vastness of Taicang, who is the male and female of a meter? The winds of heaven are always blowing. Thousands of mountains moved their scales and armor, and ten thousand valleys were filled with the sound of music and bells. I know that I am not a group of immortals, but I am glad that I will be back soon. I am glad that I have a date for my return, and I will raise my wine to Qingtong." The whole poem is divided into three realms according to the order of spiritual enlightenment: first, he is obsessed with his livelihood and is not yet through, then he is in harmony with God and heaven and repents, and finally, he has an aesthetic experience of his own enlightenment. He y praised his own "wonderful voice", which was a combination of heavenly sound and poetic language, because it built a bridge to eternity in an aesthetic way. The West Lake Poem (Volume 48, page 2654 of Collected Poems) is also typical: "After all, the West Lake is in the middle of June, and the scenery is not the same as that of the four seasons. Lotus leaves from the sky are infinitely blue, and lotus blossoms reflect the sun in a different color." This is a two-way intersection of examining nature through the eyes of Zen and realizing Zen from nature. The poem if only the last two lines, the beauty is beautiful, but for the dead scene, while the first two lines seem to be idle, but actually for the poem of the knot, it activates the whole picture, under the epiphany, people's aesthetic feeling rises to the level of a fresh spirit. This type of poem is already a step deeper than the first type.
(3), Zen and nature are one, and the heart is one. In this level, it is often difficult to distinguish which is the landscape nature, which is the poetry of Zen, and the two are in harmony. Landscape nature, Zen poetry, mutual integration, mutual development. Landscape nature has completely become the externalization of the mind, and the mood of the landscape nature as a form, ultimately pointing to the human mind. For example, in "Five Poems from the Drunken Script of Wanghulou on June 27th (Selected Two)" (Collected Poems, Volume 7, page 339):
Black clouds turn over the ink and do not cover the mountains, white rain jumps beads and enters the boat. The wind is blowing away, and the water under the lake is like the sky.
Fish and turtles are released from the lake, and lotus flowers bloom everywhere. The water pillows can make the mountains look up and down, and the windy boat can solve the problem of wandering with the moon.
The first song is a metaphor for the process of change in the mind through the process of change in nature. In fact, this is a metaphor for the process of change in the mind through the process of change in nature, and the process of manifestation of Zen and the process of change in nature are born out of each other and merged into one. The second song is about "fish and turtles pursuing people" and "lotus flowers" without a master, which is actually ignoring the existence of external objective things and returning to the mind's original position. As for "the water pillow can make the mountain pitching, the wind boat solution and the moon wandering", not Confucianism, but "my heart is light and not tired, when the situation is peaceful" ("out of the gorges", "Poetry" Volume 1, page 44) of the freedom of the mind of the heavenly and mobile high. It is not only the inevitable result of the first couplet, but also a deepening of the image of the first couplet, which not only connects it with the Zen case of "wind or streamers", but also makes people feel the "decisive role" of the human mind on the nature of mountains and waters. Another example is "Drinking the Rain after the First Clearing on the Lake" (Collected Poems, Vol. 9, p. 430):
The water is brimming with water, and the rain is also strange. I want to compare the West Lake with Xizi, and the light make-up and thick colors are always suitable.
This is by no means an ordinary landscape poem, but with a Zen heart that is always present in nature, it is suitable for everywhere, and it can be used for everything, and it achieves the realm of unity of mind and matter, which is the transformation of the body into a physical object. In this poem, it is difficult to distinguish which is the landscape nature, which is the mood mood, in fact, there is no need to distinguish, because the landscape nature, poetic Zen, mood mood of the three in the depth of the unity of the aesthetic, the landscape nature has long been not the objective existence of the external, and not the carrier of the emotions, but the ladder voyage of the superhuman.
It can be said that Su Shi's poem is to realize the transcendental grasp of nature through Zen theory. To the poem of Zen, the poet has a clear understanding, he said: "temporarily borrow a good poem to eliminate eternal night, every good place always Zen." ("Night straight jade hall, ......", "Poetry" Volume 30, page 1616) But he never submerged in Buddhism, never entered the "thousand rivers have water, thousand rivers and moon, ten thousand miles without clouds, ten thousand miles of the sky" Zen realm, he y realize the Taoist "Qi Yi He y realized Taoism's "unity of all things" and went from Taoism to Zen, but he never got rid of the stigma of Confucianism and showed more tendency of "unity of the three religions". An interesting combination of the three can be seen in a short poem: "The new bath makes my body feel lighter, the new bath makes my hair feel thinner. The wind is blowing under the waterfall, but I go back to my home after singing. Looking up at the river and the mountains, looking down at the moon in my clothes. I have a promise I dare to violate." (Six Songs of Tao Returning to the Garden, Poetry Collection, Volume 39, page 2103) Throughout the poem, Lao Zhuang's idea of seclusion overflows from word to word, while the fifth and sixth lines have the implication of "instant eternity" in Zen Buddhism when savoring nature. The first four lines of the poem are based on the Analects of Confucius (6.1 Advanced), which says, "The wind and the rain dance together in the summer, and the singing returns." But this is by no means a mechanical patchwork of the three, but rather, it captures their essence and transcends them in multiple ways. Buddhism goes toward inner denial of life, Confucianism goes toward social neglect of life, and Taoism goes toward natural simplification of life. Su Shi, on the other hand, took Buddhism's approach to the heart as a means of exploring life, Taoism's approach to nature as an opportunity to enrich life, and Confucianism's approach to society as a "worldly and middle-aged relic" approach, abandoning its "use it to do, give it up to hide" aspect, and making the individual personality independent of the rest of society. He rejected the "use it and do it, give it up and hide it" aspect of his approach to society, and made the individual personality independent of society, fully valuing the individual life of human beings. The transcendence of the above three is centered only on the center of the heart, pointing to a persistent and transcendent aesthetic life.
From the above analysis, it can be seen that no matter which type of landscape poetry, the landscape nature is not taken as a symbol of ethics and morality, nor as a support for subjective emotions, but as a medium for the poet to seek the heart. Su Shi did not like any of the previous generation of poets, or writing, or lyrical, and even not the pursuit of scenarios and moods, but only to Zen vision to look at nature, from nature out of the acquisition of the freedom to grasp nature. He said in the "transcendental platform" (Collected Works, Vol. 11, p. 351): "He swims in things, but not outside the things," then "things have to cover it," "things are not big and small, and from within the view, there is no Not high and big." His attitude toward external objects is "to swim outside of things". The "things" here refer to both the external objects that satisfy human physiological needs and the external objects that satisfy human aesthetic needs. Since he has gained a condescending perspective, he can effortlessly grasp the whole of the external world without becoming addicted to it. He "swims outside things," not being stagnant, but by no means detached from things, as he says in Bao Yi Tang Jie (Collected Works, Vol. 11, p. 356), which is complementary to this. He says: "A gentleman can be attached to things, but not to them. If one is intent on things, though small things are enough for happiness, though special things are not enough for sickness; if one is attentive to things, though small things are enough for sickness, though special things are not enough for happiness." "To be mindful of things" is to have things used for me, with me in the lead, and "to be attentive to things" is to have things used for me, with things in the lead. The two choices will lead to two different orientations, and Su Shi chose the former. Whether it is a "micro-object" or a "special object", he drove it to the rafters with his poetic brush, making it "enough for pleasure", so that he could develop in the process of pursuing external objects. His "swimming in things outside" and "moral in things", is out of the nature of the two wings, he used to realize the sublimation of nature and transcendence, and in a higher level of return and return.