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A longma (lower left corner) on a rubbing from the Wu Liang shrines' reliefs. Longma or "dragon horse" connects with other creatures in Chinese folklore.While longma sometimes applies to the Qilin, [13] the closest relative is the legendary tianma 天馬 "heavenly horse" or the "Chinese Pegasus", which was metaphorically identified with the hanxuema 汗血馬 "blood-sweating horse" or Ferghana ...
Shanshui poetry or Shanshui shi (traditional Chinese: 山水詩; simplified Chinese: 山水诗; pinyin: shānshuǐshī; lit. "mountains and rivers poetry") refers to the movement in poetry, influenced by the shan shui (landscape) painting style, which became known as Shanshui poetry, or "landscape poetry". Sometimes, the poems were designed to ...
Philosophical interest in nature, or in mystical connotations of naturalism, could also have contributed to the rise of landscape painting. The art of shan shui, like many other styles of Chinese painting has a strong reference to Taoism/Daoism imagery and motifs, [5] as symbolisms of Taoism strongly influenced "Chinese landscape painting". [5]
The 3rd stanza is the beginning the first story. "If of masculine, enduring nature, it falls under the control and ban of the already existing state of society (the woman old)." [9] Blake, within "The Mental Traveller" and other poems, returns to the Elizabethan reliance on metaphor, especially when he says: [11]
Simians of various sorts (including the monkey, gibbon, and other primates of real or mythological nature) are an important motif in Chinese poetry. Examples of simian imagery have an important place in Chinese poetry ranging from the Chu Ci poets through poets such as Li Bai, Wang Wei, Du Fu, and more. Various poetic concepts could be ...
The poem is one of Li's shi poems, structured as a single quatrain in five-character regulated verse with a simple AABA rhyme scheme (at least in its original Middle Chinese dialect as well as the majority of contemporary Chinese dialects). It is short and direct in accordance with the guidelines for shi poetry, and cannot be conceived as ...
Beginning around the 3rd century BCE, Chinese classics mention Bole, a mythological horse-tamer, as an exemplar of horse judging. Bole is frequently associated with the fabled qianlima (Chinese: 千里馬) "thousand-miles horse", which was supposedly able to gallop one thousand li (approximately 400 km) in a single day (e.g. Red Hare, sweats blood horse).
The poem uses the image of a flowering plant - specifically that of a chasmophyte rooted in the wall of the wishing well - as a source of inspiration for mystical/metaphysical speculation [1] and is one of multiple poems where Tennyson touches upon the topic of the relationships between God, nature, and human life. [2]