Li Bai

Li Bai (701-762), courtesy name Taibai and Qinglian Jushi, was a romantic poet of the Tang Dynasty and was hailed as the "Immortal of Poetry" by later generations. His ancestral home is Longxi Chengji (to be tested). He was born in Suiye City in the Western Regions. He moved to Mianzhou, Jiannan Road with his father when he was 4 years old. Li Bai has more than a thousand poems and essays in existence, and the "Collection of Li Taibai" has been handed down to the world. He died of illness in 762 at the age of 61. His tomb is in Dangtu, Anhui today, and there are memorial halls in Jiangyou, Sichuan, and Anlu, Hubei.

Anecdotes and allusions

Origin of the name
The first theory: When Li Bai was seven years old, his father wanted to give his son a formal name. Li Bai's parents loved reading, and they wanted to train their son to be an elegant and refined person. The father usually likes to teach his children to read and write poems. When he was planning to name the name, he and his mother agreed to test his son's ability to write poems while walking in the courtyard.

My father looked at the verdant trees and flowers in the courtyard in spring, and recited a poem: "Spring brings warmth and flowers bloom, and it comes first to welcome spring." Mother continued: "The fire burns the leaves in the forest and the red clouds fall." Li Bai knew that his parents had recited the first three lines of the poem, so he deliberately left the last line in the hope that he could continue. He walked to the blooming plum tree, thought for a moment and said, "The plum blossoms are in full bloom and the tree is white."

"White" - doesn't it express the holiness and elegance of Li Hua? The father had an idea and decided to choose the two characters "Li" and "Bai" at the beginning and end of the wonderful sentence as the child's name, so he named his seven-year-old son "Li Bai".

The second theory: Li Yangbing's preface to "The Collection of Thatched Cottage" says: "Escaped to Shu, and was born Boyang by referring to the plum tree again. On the night when Jiang was frightened, Chang Geng fell into a dream. Therefore, he was named Bai, with the character Taibai." Fan Chuanzheng's "Tang Zuo Supplementary Collection of Hanlin Scholar Li Gongxin's Tombstone" writes: "When the prince was born, the former prince pointed to the sky (Li) branch to give him the surname, and the late wife dreamed of Chang Geng and told her auspiciousness. The name and character were taken from the image."

From the above documents, it is not difficult to see that Li Bai's name was given to the later born Li Bai after his father returned to Shu and restored his surname to Li. Li's mother became pregnant after dreaming of Taibai Venus, and gave birth to Li Bai in unbearable labor pains. Li Bai's name was derived from this dream.

Li Bai was born in AD 701, the first year of Chang'an in the Tang Dynasty, during the late period of Wu Zetian's reign. Li Bai's study content in his boyhood was very extensive. In addition to Confucian classics and ancient literary and historical masterpieces, he also browsed the books of hundreds of schools of thought. He has long believed that he likes Taoism and likes to live in seclusion in the mountains and forests, seek immortality and learn Taoism; at the same time, he also has political ambitions to make contributions. On the one hand, one has to be an otherworldly hermit and immortal, and on the other hand, one has to be the monarch's assistant and minister. This creates a contradiction between being born in the world and joining the world. However, actively participating in the WTO and caring about the country were the mainstream of his life's thoughts and the ideological basis that formed the progressive content of his works. Very few of the poems written by Li Bai in his youth in Shu have survived, but pieces such as "Visiting Dai Tianshan Taoist No Encounter" and "Mount Emei Moon Song" have shown outstanding talent.

Li Bai put down his pen
To the east of Yellow Crane Tower Park, there is a pavilion called "Bi Sheng Pavilion". The name of the pavilion is taken from an anecdote about "Cui Hao's poem Li Bai Shen Bi Pavilion". Cui Hao, a poet of the Tang Dynasty, climbed up to the Yellow Crane Tower to enjoy the scenery and wrote a masterpiece that has been passed down through the ages: "In the past, people have gone by the Yellow Crane, and the Yellow Crane Tower is empty here. The Yellow Crane is gone and never comes back, and the white clouds have been empty for thousands of years. There are Hanyang trees in Qingchuan, and luxuriant grass in Parrot Island. At sunset, Xiangguan Where is it? The Yanbo River makes people sad. "

Later, Li Bai also climbed up to the Yellow Crane Tower and looked at the Chutian. He was broad-minded and inspired by poetry. When he was about to write a poem, he saw Cui Hao's poem. He felt ashamed and had to say: "I smashed the Yellow Crane Tower with one punch. He kicked over the Parrot Island. There was no way to see the scenery in front of him, so Cui Hao wrote a poem on it and stopped writing. A young man, Ding Shiba, laughed at Li Bai: "The Yellow Crane Tower is still intact. You can't smash it to pieces." Li Bai wrote a poem to defend himself: "I did smash it to pieces. It was only because the Yellow Crane Immortal went to heaven to cry out to the Jade Emperor that he rebuilt the Yellow Crane Tower." Tower, let the Yellow Crane Immortal return to the tower. "

In fact, Li Bai loved the Yellow Crane Tower to the point that he couldn't be more excited. He shouted "A Qingyun guest, three times to climb the Yellow Crane Tower". Mountains, rivers and humanities rely on each other. Cui Hao wrote poems and Li Bai wrote. From then on, the name of Yellow Crane Tower became more prominent. Later, Li Bai also imitated "Yellow Crane Tower" and wrote "Climbing the Phoenix Terrace of Jinling": "The phoenix travels on the Phoenix Terrace, and the phoenix leaves the platform and the empty river flows by itself. The flowers and plants of the Wu Palace are buried in the quiet path, and the clothes of the Jin Dynasty become ancient hills. The three mountains are half-fallen, and outside the blue sky, one water is divided into white Luzhou. The floating clouds can always block the sun, and the absence of Chang'an makes people sad. "

Poetic Friends' Love

●Revisiting Jiangdong
Li Bai left Donglu and took a boat from Rencheng to Yangzhou along the canal. Since I was in a hurry to go to Kuaiji to meet Yuan Danqiu, I didn't stay much longer. When he arrived in Kuaiji, Li Bai first went to pay his respects to the deceased He Zhizhang. Soon, Confucius Chaofu also arrived in Kuaiji, so Li Bai, Yuan Danqiu and Confucius Chaofu visited historical sites such as Yu Cave and Orchid Pavilion, went boating on Jing Lake, traveled to Shanxi and other places, and of course lingered in the bustling city of Kuaiji. In Jinling, Li Bai met Cui Chengfu. Both were politically frustrated, and their sentiments were even more congenial. Every time you play, swim to your heart’s content, regardless of morning or evening. They went boating on the Qinhuai River and sang all night long, which astonished people on both sides of the Taiwan Strait and clapped their hands to cheer them on. Because the two had similar personalities and similar experiences, they had a closer understanding and deeper friendship than ordinary friends. Therefore, Li Bai tied Cui Chengfu's poems to his clothes and recited them whenever he missed him.

●Wang Lun’s love
During the Tianbao period of the Tang Dynasty, Wang Lun heard that the great poet Li Bai was staying at the home of his uncle Li Bingyang in Nanling, so he wrote a letter inviting Li Bai to visit his home. The letter said: "Sir, do you like to travel? There are ten miles of peach blossoms here. Sir, do you like to drink? There are thousands of hotels here." Li Bai likes to drink, and he heard about such beautiful scenery, so he happily accepted the invitation, but he did not see the grand scene mentioned in the letter. Wang Lun entertained Li Bai warmly and brought out wine brewed from Peach Blossom Pond water to drink with Li Bai. He told Li Bai with a smile: "Peach Blossom is the name of the pond ten miles away, and there is no peach blossom ten miles away. Wanjia, the owner of the hotel is named Wan, and there is not Wanjia Hotel." Li Bai laughed after hearing this and said Instead of feeling fooled, he was moved by Wang Lun's kindness. It happened to be the spring breeze when peach and plum blossoms were blooming, and the mountains were blooming red everywhere. In addition, the lake was deep blue, clear and crystal clear, and the green mountains were reflected. Wang Lun stayed with Li Bai for several days, treated him with fine wine every day, and gave him eight famous horses and ten official brocades as a farewell gift. Li Bai took a boat on the ancient ferry in Dongyuan to go to Wancun and climbed the dry road to Mount Lu. Wang Lun held a banquet in Gu'an Pavilion to bid farewell to Li Bai. He clapped his hands and stamped his feet and sang the folk song "Tai Ge" to see him off. Li Bai was deeply grateful for Wang Lun's kindness and wrote a poem "Gift to Wang Lun": Li Bai was about to travel in a boat when he suddenly heard the sound of people singing on the shore. The water in Peach Blossom Pond is a thousand feet deep, and it is not as deep as Wang Lun's love for me.

●Write a preface to Bai
Li Yangbing once had an unusual relationship with the great romantic poet Li Bai. During the reign of Emperor Suzong of the Tang Dynasty, Li Bai once joined the Yongwang Li Lin shogunate. Because Li Lin rebelled in Danyang and was defeated, Li Bai was implicated and sentenced to exile. Although he was later pardoned, he had no fixed place to live and was impoverished, so he wandered to Dangtu. Li Yangbing was the magistrate of Dangtu at the time and admired Li Bai's literary talents and character. After learning about Li Bai's experience, he resolutely settled Li Bai in Dangtu and took care of him in every aspect of his life. Li Bai died in Dangtu. Before his death, he entrusted Li Yangbing with his poetry. Li Yangbing lived up to the great trust and used exquisite calligraphy to re-transcribe the manuscripts and compile them into 20 volumes of "Thatched Cottage Collection", and also wrote a preface to the collection of poems. spread throughout the world. The reason why Li Bai's poems can be widely circulated is not only the high ideological and artistic quality of the poems themselves, but also the contribution of Li Yangbing's editing and compilation.

Certificate of life and death
As for Li Bai’s birthplace, the most reliable information about Li Bai’s life experience written by the Tang Dynasty people is, in addition to the prefaces written by Wei Hao and Li Yangbing respectively for Li Bai’s collection, and then the tablets and tablet prefaces written by Liu Quanbai and Fan Chuanzheng after Li Bai’s death. "Bai's family is in Longxi, Naifangxiang, because his family is in Mian. Since he was born in Shu, he has a beautiful country." (Wei Hao's "Preface to the Collection of Li Hanlin"); "When Shenlong fled back to Shu, he pointed to the plum tree again and was born Boyang; at night when Jiang was frightened, Chang Geng fell into a dream, so he was named Bai and used the character Taibai." (Li Yangbing's "Preface to the Collection of Thatched Cottage") ); "Your name is Bai, a native of Guanghan." (Liu Quanbai's "Li Junjie Ji of the Imperial Academy of the Tang Dynasty"); "At the beginning of the divine dragon, he lurked back to Guanghan. ... When the Duke was born, the former monarch named Tianzhi to give him his surname, and his grandmother dreamed of Chang Geng and told her good luck." (Fan Chuanzheng's "Preface to the Tombstone of Li Gong, a Hanlin Scholar from the Tang Dynasty"). Wei was called Mian, Li was called Shu, and Liu and Fan were called Guanghan. In fact, the locations are the same but there are some differences in details. Wei, Li, and Fan all stated that Li Bai was born in Shu and was a native of Mianzhou (called Guanghan in Chinese) in Shu. In the 1970s, Guo Moruo proposed the "broken leaves" theory. After the 1990s, with the in-depth study of Li Bai, academic circles generally accepted that Li Bai was born in Qinglian Township, Changlong County, Mianzhou (now Qinglian Town, Jiangyou City, Sichuan Province).

In the third year of the Anshi Rebellion (756), he participated in the shogunate of Yong Wang Li Lin. After the battle between King Yong and Suzong for the throne was defeated, Li Bai was implicated and exiled to Yelang (now Guizhou). On the way, he was pardoned and wrote "Early Departure from Baidi City". In his later years, he went to Li Yangbing, the magistrate of Shudangtu County, and soon died of illness. It is also said that he died of illness caused by drunkenness (see "Poetry of Li Hanlin" by Pi Rixiu). It is also said that he died suddenly due to drinking (see "Old Book of Tang"). It is also said that he got drunk and drowned by catching the moon in the river. This theory has been around since ancient times and is widely circulated.

The mystery of life experience
As for the family background and life experience of the poet Li Taibai, the Tang Dynasty was very secretive at that time. In particular, there is no historical record of his grandfather and great-grandfather. Li Bai himself seldom talked about his family background, and when he did mention it, he often only mentioned his distant ancestors, kept silent about his close relatives, and was evasive, so as to raise doubts. Despite this, some people still see clues in the dust of history. The first person to mention this was Yu Shao, the governor of Zizhou in the Tang Dynasty. He was the first to erect a monument in Li Bai's hometown. Cao Xuequan's "Records of Scenic Spots in Sichuan" at the end of the Ming Dynasty contains the content of the inscription: "The son of Bai Benzong, he first fled to Shu and lived in Shu in Mingming, Taibai was born in Yan." The next person to mention this was Du Tian from the Song Dynasty.

It was not until the present day that "China Youth Daily" published "The Mystery of Li Bai's Life Experience" on July 28, 1985, which quoted Taiwanese scholar Luo Xianglin as saying that Li Bai was after Li Jiancheng. In 1988, Han Weilu wrote an article "Explanation of Li Bai's "Fifth Generation as a Commoner" Should Be Li Jiancheng's Great-great-grandson" to prove that Li Bai was a member of the Tang clan and Li Jiancheng's great-great-grandson. Xu Benli, who held the same view, published "Li Bai is the fifth grandson of Li Yuan" in 1990. He also believed that Li Bai should be the twelfth grandson of King Zhao of Liangwu, the seventh grandson of Taizu Li Hu, the fifth grandson of great ancestor Li Yuan, and the great-great-grandson of Prince Jiancheng. Zhu Qiude's "On Li Bai's Clan Complex and Its Influence on Various Elements of Life" (Silk Road Journal, Issue 4, 1997) makes a comprehensive investigation and evaluation of Li Bai's life experience and various elements of his life, in order to get closer to the true nature of history.

Li Bai's researchers mainly cite Li Yangbing's "Preface to the Thatched Cottage Collection" and Fan Chuanzheng's "Tang Zuo Supplementary Preface to the Tombstone of Hanlin Scholar Li Gongxin". Li Yangbing's "Preface to the Thatched Cottage Collection" was written at the same time as Li Bai, and the details of his life experience were probably dictated by Li Bai. When Fan Chuanzheng was writing the "Preface", Li Bai's granddaughter accompanied Fan and presided over the move of his grandfather's tomb.

Zhu Qiude said in his article: "Li Bai's life tragedy as a son of a clan who fell into the common people is destined, and no one can save him. The blood of his ancestors flows through his body, which makes him eager to make a difference, but The sins suffered by his ancestors made him afraid to make a difference; making contributions but fearing to expose his background made his spirit and behavior at the opposite end of the spectrum between the heights of the temple and the distance of the world. His whole life was in this contradiction, and the legacy left by his ancestors. He lived in the shackles of material wealth and spirit. He was a man who danced in shackles, and the shackles were invisible to the world, only he knew it. Although most scholars after the 1990s agreed that Li Bai was born in Jiangyou, Sichuan, there is still controversy about Li Bai's exact birthplace. Generally speaking, scholars believe that there are three main places: Jiangyou, Mianyang, Sichuan, Chengji, Longxi, and Suiyecheng, Kyrgyzstan.

On August 24, 2009, the Anlu City Government sent a special letter to Jiangyou, hoping that the two places could "share Li Bai."

On August 28, 2009, the Jiangyou City Culture and Tourism Bureau sent a lawyer's letter to the Anlu City Government, hoping that the other party would immediately stop broadcasting or delete the promotional video containing the words "Li Bai's Hometown" within 10 days, and reserve the right to use legal means for further recourse. In the end, they won the case.

●Longxi Chengji
Li Bai's ancestral home is recorded in ancient books as early as "The Preface to the Thatched Cottage Collection" which says: "...The Duke was very ill, and he drafted tens of thousands of volumes, and the collection was not revised. He handed over the slips on the pillow, and left me with the preface... Li Bai, courtesy name Taibai. He was born in Chengji of Longxi and was the ninth generation grandson of King Hao of Liangwu. At the beginning, he fled back to Shu and was born in Boyang. Li Yangbing's "Preface" said: "Li Bai, named Taibai, was born in Chengji, Longxi, and was the ninth grandson of King Hao of Liangwu." The "Preface to the Collection of Li Hanlin" said: "Bai was originally from Longxi, because he was born in Mian." Fan Chuanzheng's "Tombstone Commentary" said: "The public name is Bai, and the courtesy name is Taibai. He was born in Chengji, Longxi. It is difficult to find the genealogy." : "Li Bai, courtesy name Taibai, was the ninth grandson of Emperor Xingsheng. First, he migrated to the Western Regions due to crimes in the late Sui Dynasty. He returned in the early days of Shenlong and lived in Longxi." "Preface to the Stele" says: "The public name is Bai, the courtesy name is Taibai, and he was born in Longxi Chengji. It is difficult to find the genealogy of the family. The sons and daughters of the prince searched the box and found dozens of lines of the deceased son Bo Qin. The paper was damaged and the characters were missing, so it was impossible to prepare it in detail. I made an appointment: At the end of the Sui Dynasty, there was a lot of trouble, and a house was scattered among the broken leaves. He was separated and his name changed. Since the dynasty of his homeland, he has been leaked to Guanghan. Because his father was a guest in the county, he named him Gao Yunlin and did not seek official status. "

In March 2010, Radar, a scholar from Gansu Province, wrote an article titled "Li Bai's "Hometown" is in Qin'an, Gansu Province". Immediately, local netizens signed signatures and other activities, which was quite lively.

●Kyrgyzstan
According to research by scholars such as Guo Moruo, there is another theory that Li Baisheng may have been born in Suiye City, which is now Kyrgyzstan. When he was five years old, he moved with his family to settle in Jiangyou County, Sichuan Province. Li Bai's "Book with Han Jingzhou": "I was originally a commoner in Longxi, and I lived in the land of Chu and Han." He said that his ancestral home was from Chengji, Longxi (now Qin'an County, Tianshui City, Gansu Province).

On October 29, 2009, Zhusayev Gubang, Commercial Counselor of the Embassy of Kyrgyzstan in China, visited Anlu. He said that Li Bai’s hometown is Tokmak City in Kyrgyzstan. He hoped that the two cities of Tokmok and Anlu could use Li Bai as a link to jointly shoulder the responsibility of promoting Li Bai’s culture and further expand cooperation in economy, trade and other aspects.

In fact, as early as October 2008, Kyrgyzstan’s Minister of Culture and Information Laev told the Chinese media that Suiye City, the birthplace of Li Bai, the greatest poet of the Tang Dynasty in China, is Tokmok City in Kyrgyzstan. They are negotiating with China to build a commemorative statue for Li Bai and promote economic cooperation in Li Bai culture between the two countries. Zhusayev Gubang's visit to Anlu shows that Kyrgyzstan has realized the economic value contained in Li Bai's hometown and is trying to get a share of the pie. Subsequently, the two places initialed a series of cultural and economic cooperation intentions. ▲

Family members

Family members
According to the "Old Book of Tang", Li Bai's father was named Li Ke and was appointed as a city captain. Mother, no record.

Spouse
Original wife: Mrs. Xu, the first wife, the granddaughter of Xu Yushi, the prime minister of Emperor Gaozong of the Tang Dynasty, and had a son and a daughter with Li Bai.
Stepmother: Zong, second wife, granddaughter of Zong Chuke, prime minister of Emperor Gaozong of Tang Dynasty. After the Anshi Rebellion broke out, Li Bai took the Zong family southward. Later, when Li Bai was imprisoned for the Li Lin case, Zong ran to rescue him.
Liu, who lived with Li Bai, later broke up.
A certain surname, a woman from Donglu, lived with Li Bai and gave birth to Li Poli.

Children
Li Boqin, nicknamed "Mingyue Nu", was born to his original wife, Mrs. Xu. He never entered an official career and died in the eighth year of Zhenyuan (792). They have a son and two daughters. The eldest son traveled when he was young and disappeared. The two girls were married to Chen Yun and Liu Quan, farmers in Dangtu respectively.
Li Poli was born to a woman when Li Bai was in Donglu.
Li Pingyang, born to his original wife, Mrs. Xu, died soon after getting married. ▲

Memorial for later generations

Cemetery
Li Bai’s tomb is located in the west of Gujia Natural Village, Taibai Administrative Village, at the west foot of Qingshan Mountain, Taibai Town, Dangtu County, Anhui Province. It is located at 118.30’52” east longitude and 31.29’35.4” north latitude. The tomb is 12.8 meters above sea level. The landform near the tomb is Jiangnan hills, which are high in the east and low in the west. To the east is the main peak of Qingshan Mountain, the second highest peak in Dangtu County with an altitude of 372 meters. Li Bai's tomb is located on the west foot of Qingshan Mountain, facing south. On May 25, 2006, Li Bai's Tomb, as an ancient tomb from the Tang Dynasty, was approved by the State Council to be included in the sixth batch of national key cultural relics protection units.

Memorial Hall
●Jiangyou Li Bai Memorial Hall
Jiangyou City Li Bai Memorial Hall is a celebrity museum built to commemorate the great poet Li Bai of the Tang Dynasty. It is located on the bank of the beautiful Changming River in Jiangyou City, covering an area of ​​more than 40,000 square meters. It was prepared in 1962 and officially opened in 1982. The museum collects more than 4,000 pieces of cultural relics such as editions of Li Bai's poetry collections and exquisite paintings and calligraphy by famous artists of the past dynasties. Among them, the handwritings of party and state leaders such as Deng Xiaoping, Jiang Zemin, Hu Yaobang, and Song Qingling, as well as the works of famous masters such as Qiu Ying, Zhu Zhishan, Zhang Daqian, Fu Baoshi, and Pan Tianshou, are all considered national treasures. In 2009, it was named the "National Patriotic Education Demonstration Base" by the Propaganda Department of the Central Committee of the Communist Party of China. After the 5·12" catastrophic earthquake, the Li Bai Memorial Hall was rebuilt on the basis of retaining the garden-style architectural style of the Tang Dynasty, and also expanded the display volume. The reconstructed Li Bai Memorial Hall has a more reasonable architectural layout and more complete functions than in the past. It is mainly composed of a commemorative display area, a cultural relic protection display area, a Li Bai cultural research and exchange area, a Li Bai cultural popularization area and a tourism consultation service area.

●Ma'anshan Li Bai Memorial Hall
Ma'anshan Li Bai Memorial Hall is located in Caishiji Scenic Area, Ma'anshan City, Anhui Province. It was established in 1959. , the memorial hall includes exhibition halls such as Taibai Tower, Li Bai Temple, Qingfeng Pavilion, Taibai Hall, Tongfeng Pavilion, Qijing Pavilion, Xianluzhai, Songyunju, Diecui Tower, Yinxiang Pavilion, and scenic spots such as Stele Gallery and Agarwood Garden, covering an area of ​​more than 10,000 square meters.

●Anlu Li Bai Memorial Hall
The Anlu Li Bai Memorial Hall is located in Baizhao Mountain, Anlu City, Hubei Province, a national 4A scenic spot. It is a triple-eaves verandah-style imitation Tang Dynasty building. The building is 32.5 meters high and has a construction area of ​​6,370 square meters. The seven-character name of the museum, "Anlu Li Bai Memorial Hall," was inscribed by Mr. Qi Gong. The exhibition area of ​​the Li Bai Memorial Hall covers a total of more than 8,000 square meters on four floors and is divided into three sections: Prosperity Li Bai, Anlu Li Bai, and Charming Li Bai. It contains more than 400 items of Tang Dynasty daily necessities, Li Bai's poems, and transcribed works of Li Bai's poems in the past dynasties.

●Jining Li Bai Memorial Hall
Jining Li Bai Memorial Hall, a key cultural relic protection unit in Shandong Province, is divided into upper and lower floors; in the middle of the first-floor hall, there is a portrait of Li Bai about four meters high and one meter wide, framed with three-color antique brocade. ▲

Main Achievements

Poetry

Overview
Li Bai’s achievements in Yuefu, Songxing and Quatrains are the highest. His song lines completely break all the inherent formats of poetry creation, with nothing to rely on, and various brushwork techniques, reaching a magical realm of unpredictable and swaying at will. Li Bai's quatrains are natural, lively, elegant and unrestrained, and can express endless emotions in concise and clear language. Among the poets of the prosperous Tang Dynasty, Wang Wei and Meng Haoran were good at the Five Jue, and Wang Changling and other Qi Jue wrote very well. Li Bai was the only one who was good at both the Five Jue and the Seven Jue and reached the same extreme level.

Li Bai’s poems are majestic and elegant, with extremely high artistic achievements. He eulogized the mountains, rivers and beautiful natural scenery of the motherland, with a majestic and unrestrained style, handsome and fresh, full of romantic spirit, and achieved the perfect unity of content and art. He was called "the Immortal" by He Zhizhang, and most of his poems mainly described landscapes and expressed inner emotions. Li Bai's poems have the artistic charm of "the pen falls in the storm, and the poem becomes weeping ghosts and gods", which is also the most distinctive artistic feature of his poems. Li Bai's poems are rich in self-expression and have a strong subjective lyrical color, and his emotional expression has an overwhelming momentum. He and Du Fu are called "Big Li Du" (Li Shangyin and Du Mu are called "Little Li Du").

Li Bai’s poems often combine imagination, exaggeration, metaphor, personification and other techniques to create a magical, magnificent and moving artistic conception. This is the reason why Li Bai’s romantic poems give people a heroic and unrestrained, elegant and fairylike feeling.

Li Bai’s poetry has had a profound impact on future generations. Famous poets such as Han Yu, Meng Jiao, and Li He in the mid-Tang Dynasty, Su Shi, Lu You, and Xin Qiji in the Song Dynasty, and Gao Qi, Yang Shen, and Gong Zizhen in the Ming and Qing Dynasties were all greatly influenced by Li Bai's poetry.

Style
Bold and unrestrained, fresh and elegant, rich in imagination, wonderful artistic conception, wonderful language, romanticism, and clear intention.

Li Bai lived in the prosperous Tang Dynasty. He had a heroic character and loved the mountains and rivers of his motherland. He traveled all over the north and south and wrote a large number of magnificent poems praising famous mountains and rivers. His poems are bold and unrestrained, fresh and elegant, rich in imagination, wonderful in artistic conception, and brisk in language. People call him the "Poetic Immortal". Li Bai's poetry not only has the typical romantic spirit, but also has the typical romantic artistic characteristics from image creation, material intake, genre selection and the use of various artistic techniques.

Li Bai succeeded in shaping himself in the poem, expressing himself strongly and highlighting the unique personality of the lyrical protagonist. Therefore, his poems have distinctive romantic characteristics. He likes to use majestic images to express himself, and expresses his emotions unabashedly and without restraint in his poems, expressing his joy, anger, sorrow, and joy. When dealing with powerful people, he "held a chrysanthemum in his hand and made fun of two thousand stones" (one of the two poems "Send Cui Shiyu after Drunk"); when he saw the hard work of the working people, his "heart burst into tears like rain". When the country was overturned and people's livelihood was in ruins, he "crossed the river and swore to flow, aiming to clear the Central Plains. He drew his sword and struck the front pillar, and it was difficult to repeat the tragic song" ("Nan Ben Shu Huai"), so impassioned; when drinking happily with friends, "the two drank together, and the flowers bloomed, one cup after another. I am drunk and sleepy, so you can go, Ming Dynasty intends to hold the harp" ("Drinking with a Quiet Man in the Mountains"), and so innocent and straightforward. In short, his poems vividly express his unrestrained character and suave image.

Boldness is the main feature of Li Bai's poetry. In addition to factors such as thought, personality, talents, emotions, experiences, and other factors, the artistic expression techniques and genre structure used in Li Bai's poems are also important reasons for the formation of his bold and elegant style. Being good at relying on imagination and expressing objectivity subjectively is an important feature of the romantic artistic technique of Li Bai's poetry. Almost every article contains imagination, and some even use a variety of imagination throughout the article. Real things, natural landscapes, myths and legends, historical allusions, and dreams and illusions have all become the medium of his imagination. Often with the help of imagination, transcending time and space, intertwining reality with dreams and fairyland, nature and human society, and recreating objective reality. The images he paints are not direct reflections of objective reality, but the externalization of his inner subjective world, the reality of art.

One of the romantic artistic techniques of Li Bai's poetry is to skillfully combine personification and metaphor, empathize with things, and compare things to people.

Another romantic artistic technique of Li Bai’s poetry is to seize a certain characteristic of things and add bold imagination and exaggeration based on the reality of life. His exaggeration is not only imaginative and strange, but also always combined with specific things. The exaggeration is so natural and invisible; so bold, yet true and believable, it plays the role of highlighting the image and strengthening the emotion. Sometimes he also combines bold exaggeration with sharp contrast to enhance the artistic effect by increasing the artistic contrast.

Li Bai’s best genres are seven-character songs and quatrains. Li Bai's seven-character song line adopts the structure of large opening and closing, jumping and swinging. The beginning of the poem is often abrupt, like a sudden surge, while the middle images of the poem change suddenly, often omitting transitional references, and there seems to be no trace to follow. The end of the poem often ends abruptly at the emotional climax.

Li Bai’s five or seven character quatrains more represent the fresh and bright style of his poetry. For example, "Early Departure from Baidi City", "Farewell to Meng Haoran in Guangling", "Quiet Night Thoughts", etc., the beauty is that "the eyes only focus on the foreground, the spoken language, but there are overtones and foreign tastes, which make people feel far away." ("Shuo Shi Yu", Part 1).

Language
Some of the language of Li Bai's poems are as fresh as spoken language, and some are bold and unrestrained, close to prose, but they are all unified in the natural beauty of "hibiscus comes out of clear water, and the carvings are naturally removed". This is related to his conscious pursuit of natural beauty. He inherited Chen Ziang's literary ideas and took it as his duty to restore the tradition of poetry and Sao. He once said, "Since the Liang and Chen Dynasties, beauty has been extremely thin, and Shen Xiu's prose has still relied on rhythm. Who will follow it but me?" (Meng Qi's "Essential Poems·Gao Yi") He advocated "innocence" and satirized the ugly girls who "become innocent" and learn to walk in Handan. The natural beauty of his poetic language is the result of his careful study of folk songs to understand their popular characteristics. They are as clear as words, popular and vivid.

Representative works
"About Drinking", "The Road to Shu is Difficult", "Sleepwalking Tianmu Says Farewell", "Thoughts on a Quiet Night", "Looking at Lushan Waterfall", "Xia Ke Xing", "Spring Thoughts", "Autumn Songs", etc.

Ci and Fu
There is still no unanimous conclusion on whether Li Bai composed Ci. However, there are about 20 works that are attributed to Li Bai today, regardless of their authenticity and whether they can be classified into Ci style, such as "Bodhisattva Man" and "Recalling Qin E".

In terms of its pioneering significance and artistic achievements, "Li Bai's Ci" enjoys an extremely high status in the history of Ci. This status is like the status of ancient Greek mythology in Western art. As an "unattainable" standard, Li Bai's poetry has become an eternal idol in people's minds. Li Bai made significant contributions to the formation of the textual model of Ci and the creation model of Ci.

In fact, since the "Flower Room Collection" in the late Tang and Five Dynasties, all anthologies and collections of Tang and Song poetry will not forget Li Bai in their specific operations, and at least mention it in the preface and postscript. As the first great lyricist in the history of literature, although he only has a few lyrics whose copyright is often doubted, no one has ever expressed any dissatisfaction or criticism against him. If the best poet in the world is selected, Li Bai will undoubtedly be elected as the "King of Ci" by unanimous vote.

Calligraphy
"Tie to the Balcony" is a four-character cursive poem written by Li Bai, and it is also his only authentic calligraphy handed down from generation to generation. Paper, length 28.5 cm, width 38.1 cm. There are 5 lines of cursive script, a total of 25 words. The inscription is "Taibai". It is introduced with the four characters "Qinglian Yihan" in regular script written by Hongli, Emperor Gaozong of the Qing Dynasty, and the seven characters "Li Taibai of the Tang Dynasty went to the balcony" inscribed on the upper right corner of the text in gold calligraphy by Zhao Ji, Emperor Huizong of the Song Dynasty. On the back are inscriptions and inscriptions by Zhao Ji, Huizong of the Song Dynasty, Zhang Yan, Du Ben, Ouyang Xuan, Wang Yuqing, Wei Su, Zou Lu of the Yuan Dynasty, and Emperor Qianlong of the Qing Dynasty. The seals on the front and back of the volume include "Zigu" and "Yizhai" by Zhao Mengjian of the Song Dynasty, "Qiuhe Book" by Jia Sidao, "Zhang Yan's Private Seal" and "Ouyang Xuan Seal" of the Yuan Dynasty, as well as the seals of Xiang Yuanbian of the Ming Dynasty, Qingbiao, Anqi, and Neifu of the Qing Dynasty, and Zhang Boju's modern seals.

Swordsmanship
Li Bai was not only brilliant in literary talent, but also very skilled in swordsmanship. He is "fifteen good at swordsmanship" and "has mastered swordsmanship by himself". His attainments are extraordinary. Li Bai's poems, Pei Min's swordsmanship, and Zhang Xu's cursive calligraphy are collectively called the Three Wonders of the Tang Dynasty. Although Li Bai's swordsmanship is not among the "Three Wonders", his swordsmanship is only lower than Pei Min, ranking second in the Tang Dynasty.
According to statistics, the word "sword" appears 107 times in Li Bai's poems in "Complete Poems of the Tang Dynasty". Excluding the place name "Jiange" 3 times and "Jianbi" 1 time, the word "sword" as a weapon still appears 103 times. " " belonging to the sword appeared once, "Wu Gou" once, "Wu Hong" once, "Zhan Lu" once, "Gan Jiang" once, "Mo Xie" once, "Qing Ping" twice, "Qiu Lian" twice, "Shuang Xue" twice, "Dagger" three times, and "Long Quan" four times. In total, the word "sword" appears 118 times (for statistics, "Wu Gou Shuang Xue Ming", "Kong Yu Zhan Lu Sword", "Sword Flower Autumn Lotus Light Comes Out of the Box", "Clumsy Wife Mo Xie Sword", "My Family Qingping Sword" are counted once respectively), distributed in 106 poems, accounting for about 10% of the total number of poems.

Tao Jing
Since he was a boy, Li Bai often went to Daitian Mountain to find Taoist priests from Taoist temples to talk about Tao Jing. Later, he lived in seclusion in Minshan Mountain with a hermit named Dong Yanzi, and studied with great concentration. They raised many exotic birds and became animal breeders in the mountains and forests where they lived. These beautiful and docile birds, because they are used to being raised, fly regularly to beg for food. They seem to understand people's language. With a call, they fly down from all directions and fall in front of the steps. They can even peck grains from people's hands without fear at all. This incident was rumored as an anecdote, and eventually the governor of Mianzhou went to the mountains to watch the birds eating. The governor saw that they could command the movements of birds and believed that they had Tao skills, so he wanted to recommend them to take the Tao exam. However, both of them politely refused. Zhao Rui, a famous political strategist at that time, was also Li Bai's teacher. In the fourth year of Kaiyuan (716), he wrote ten volumes of "The Long and Short Classics". Li Bai was only fifteen years old at that time. Zhao Rui's strategist-style work studied the similarities and differences of the Six Classics, analyzed the world situation, and emphasized the rise and fall of chaos, which aroused Li Bai's great interest. In the future, he was determined to make great achievements and loved to talk about the ways of kings and dominators. It was also influenced by this book.

Ideology
In the prosperous Tang Dynasty, the country was strong, and most scholars were eager to make contributions. Li Bai regarded himself as an unparalleled talent, and he believed in his achievements of "strengthening his intelligence and willing to serve as an assistant, so that the whole region would be settled and the sea county would be unified". He was determined to pursue the ideals of "talking and laughing about Li Yuan" and "finally settling down the country". He compares himself with the big roc, the celestial horse, and the majestic sword: "The big roc rises with the wind in one day and soars ninety thousand miles. If the wind stops and comes down, it can still win the water." ("Li Yong"). He hoped to be like Jiang Shang in assisting Mingjun and like Zhuge Liang in reviving the Han Dynasty. "Yin of Liang Fu", "Reading the Biography of Zhuge Wuhou", "Song of King Yong's Eastern Patrol", and "The Journey Is Difficult" (Part 2) all reflect his thoughts of this kind.

Li Bai felt that with his own talents, he could "make peace with the princes when he went out, and overlook the nest when he escaped" ("Preface to "Sending Yan Ziyuan to Yin Yinxian City Mountain"). He expressed strong contempt for those powerful and powerful people who enjoyed high official positions and generous salaries based on their family status, showing an arrogant and unyielding character. He despised the feudal hierarchy, was unwilling to flatter people, and disdained to live up to the world. The darkness of reality disillusioned him, and the shackles of the feudal ethical hierarchy suffocated him. He longed for the freedom and liberation of his personality, so he adopted a wild and uninhibited attitude towards life to break free from the shackles and strive for freedom. The way of expression is to drink and sing wildly, to seek immortals and learn Taoism. However, wine cannot relieve sorrow, and immortals are even more illusory, so he "enjoys traveling to famous mountains all his life" ("The Ballad of Mount Lu"), praising the beautiful nature as the sustenance of ideals and the embodiment of freedom. Emei, Huashan, Lushan, Taishan, Huangshan, etc. in his works are majestic and majestic, absorbing the wind and clouds, and converging with rivers; the rushing Yellow River and the surging Yangtze River in his works cleanse and sweep away everything, expressing the poet's unruly character and strong desire to break through the fetters.

This is Li Bai’s angry struggle against society and an important manifestation of his rebellious spirit. He opposed Xuanzong's ambition to achieve great results, go to war, and expose the generals who were not his, causing the people and soldiers to die in vain. Due to Xuanzong's arrogance, the power of the eunuchs was extremely powerful... Through the analysis of the political agenda and the on-site observation in Youyan, Li Bai used the sensitivity of a poet to understand the subtleties of the situation. Among the poets at that time, he and Du Fu were the first to reveal the disasters and generals. The "Anshi Rebellion" broke out, and his patriotic enthusiasm was sublimated, and he got rid of the contradiction of hiding the source. His rebellious character and rebellious spirit have profound patriotic connotations and are full of social significance and characteristics of the times. Chapters 3, 15, 24, and 39 of "Ancient Style" all make profound revelations and powerful criticisms of social reality.

Li Bai has both a noble and arrogant side and a secular side. His ideals and freedom can only be sought in the mountains, forests, fairyland, and drunken countryside. Therefore, in poems such as "About to Enter the Wine", "Yin on the River", and "Song of Xiangyang", he expresses the thoughts of life as a dream, carpe diem, and escaping from reality. This is also representative of the upright and aloof literati in feudal society.