(1)The natural landscape is characterized by the "Xiaoshan-Shaoxing-Shangyu" group and the "Shengzhou-Xinchang-Tiantai" group as the main gathering centers. In the "Xiaoshan-Shaoxing-Shangyu" group, the landscape of Mount Kuaiji, Mount Yunmen, Mount Qinwang, Mount Wanwei, Mirror Lake and Ruoye River are aggregated. In the "Shengzhou-Xinchang-Tiantai" group, the landscape of Mount Tiantai, Mount Tianmu, Mount Tongbai, Mount Chicheng, the Shanxi River and the Dongxi River are aggregated. The statistics on the relationship between poets and landscape reveal that 223 poets have described 36 famous mountains and peaks, and 126 poets have described 11 rivers and lakes, and there are more poems on mountain and water landscape such as Mount Tiantai (87 poems), Mount Wozhou (64 poems), Mount Wanwei (63 poems), Mirror Lake (66 poems), Ruoye River (64 poems) and Shanxi River (50 poems).
The cause of this is that poets often 'use their poems to enhance the beauty of the scenery', showing the beauty of the landscape and the profound history and humanity in their poems; at the same time, they 'use their poems to express their aspirations', reflecting their emotions, ideals, perceptions and the context of their time in the landscape. In the Southern Dynasty, Xie Lingyun adopted the increasingly sophisticated five-line poetic style, creating and forming one of the earliest schools of landscape poetry in China. In his poem, 'Crossing the Shi Ning Shu', he has written, "White clouds surround the distant rocks, and the green tender bamboo looks charming beside the clear waves of water." And in 'Ascending Chi Shang Lou', he has written, "The pond is already full of spring grass, and the songbirds on the willows in the garden have changed their species and their voices." With his delicate brushwork and remote artistic conception, the beauty of his landscapes became famous throughout the world along with his poetry. Throughout the course of a lifetime, Li Bai "entered Zhejiang four times, entered Shanzhong three times, went to Tiantai twice, and went to Siming once". In his poem, he has written, " The Mount Tianwu seems to be connected to the sky that blocks the sky. It is higher than the Five Mountains and it overshadows Mount Chicheng." (Dreaming of a Trip to Tianwu and Staying Behind).When Bai Juyi visited the east of Zhejiang three times in his life, he wrote 42 poems, including "The dragon chants the ancient stone buildings, the tiger roars the pavilions of the rocks" ('Staying at Yunmen Temple') and "The mountain is a painted screen for the lotus palace, the buildings and terraces are gradually plunged into the sky." ( Tian Yi Temple in Mount Fahua) And other poems have praised the beauty of the landscape and the humanities in Yuezhong. The poems provide an important historical testimony to the beauty of the landscape in eastern Zhejiang.
(2)The Buddhist and Taoist cultural landscape is characterized by the "Xiaoshan-Shaoxing-Shangyu" group, the "Shengzhou-Xinchang-Tiantai" group and the "Linhai-Xianju-Huangyan" group as the main gathering centers.In the "Xiaoshan-Shaoxing-Shangyu" group, Buddhist temples and Taoist temples such as Yunmen Temple, Fahua Temple, Weixin Temple, Wozhou Blessed Place and Kuaiji shan Cave Heaven are aggregated.In the "Shengzhou-Xinchang-Tiantai" group, Guoqing Temple, Xinchang Dafo Temple, Huading Temple, Tongbai Temple, Jintingshan Cave Heaven, Chicheng Cave Heaven Heaven, and other Buddhist temples and Taoist temples are aggregated. In the "Linhai-Xianju-Huangyan" group, Buddhist temples and Taoist temples such as Lingshan Temple, Longxing Temple, Gaijushan Cave Heaven, Cangshan Cave Heaven and Dongxiangyuan Blessed Place are aggregated. Statistics on the poets' relationships with Buddhist temples and Taoist temples reveal that 86 poets have described a total of 72 Buddhist temples and 16 Taoist temples, with more poems from Yunmen Temple (23 poems), Fahua Temple (18 poems), Xuedou Temple (8 poems), Tongbai Temple (6 poems), Tianzhu Temple (4 poems), and Guanyin Temple (3 poems).
The cause of this is that Taoism has been developed in Yuezhong since the Qin and Han dynasties, and its influence reached a climax in the Tang dynasty, when the great master Sima Chengzhen emerged and was highly valued by the central government of the Tang dynasty, leading many poets to come to Yuezhong Tiantai. Buddhism flourished in Yuezhong mainly during the Northern and Southern Dynasties, represented by the founder of the Tiantai sect of Buddhism, Master Zhiyi.Tiantai Buddhism was popular in the intellectual, philosophical and religious circles of the Tang Dynasty. It made all monks and lay people follow the trend. Li Bai wrote "... this time I am away from home, not for the sake of greed, but to visit the famous mountains and rivers, so I go to Shanzhong." ('Down to Jingmen in Autumn') The purpose of his trip to Mount Tiantai was to meet Sima Chengzhen and to take a "curved path" to be an official. Meng Haoran wrote, "I have travelled far to learn the way of longevity." ('The Lodging in the Tongbai Temple in Tiantai').This is a poem about going to Mount Tiantai to learn the way of longevity from a Taoist priest and to take food to seek immortality. Jia Dao went to Mount Tiantai because he admired the Zen master Zhiyi. "The master grinds and gives a lecture, saying that we should be aligned with the wise traces." (Sending a monk back to Tiantai). The poems fully reflect the important social trend of seeking "immortality, Taoism, Buddhism and seclusion" in the Tang Dynasty.
(3)The cultural landscape of celebrities is characterized by a spatial distribution along the main line of the Tang poetry road, with four major former residences of celebrities, including Lanting, the former residence of He Zhizhang, the former residence of Zheng Qian and the residence of Yan Wei. Statistics on the cultural relationships between poets and celebrities reveal that 45 poets have described the four former residences of the above-mentioned celebrities, 60 poets have remembered 105 celebrities in their poems, including Liu Chen(16 poems), Xi Shi (15 poems), Ruan Qing(15 poems), Gou Jian(8 poems),and Fu Chai (4 poems), and 56 poets have remembered 64 famous scholars of the Wei, Jin and Northern and Southern Dynasties, including Xie An (13 poems), Wang Xizhi (10 poems), Xie Lingyun (10 poems), Zhi Zun and others (8 poems), and Zi You(3 poems).
The cause of this is that the traditions, ethos and cultural lifestyle shaped by the famous scholars of the Six Dynasties greatly influenced the poets of the Tang Dynasty, and the veneration, remembrance and memorialization of their predecessors in this area, as well as the search for the places where their masterpieces were composed, allowed the cultural spirit of the scholars of the Wei and Jin dynasties to accumulate and be passed on in the area along the poetry road. Li Bai wrote, "Mount Tiantai is next to Mount Siming, Mount Huading is higher than Mount Baiyue. The gate is marked by the cloud of Mount Chicheng, and the building is perched on the moon of Cangdao." ( The Dawn View of Tiantai ) This is a response to Sun Chao's Fugue of Tiantai Mountain in the Eastern Jin Dynasty. "With my feet in Xie Gong's clogs, I climbed the ladder to the green clouds" (Dreaming of a Trip to Tianwu and Staying Behind) It is a tribute to his idol, Xie Lingyun. The poems reflect the stories of Sun Chao's Fugue on Mount Tiantai, Wang Xizhi's Orchid Pavilion, Xie An's rising from the ashes, Wang Ziyou's visiting to Dai in the snowy night, Ren Gongzi's fishing trip to Nan Yan, Liu Ruan's encounter with the immortals, Wang Mu's Heavenly Mother, the 18 monks, the 18 famous scholars, and Sima's regretful bridge. These are important reasons why the literati of the Tang dynasty constantly sought out and traced the trails and literary lines of their predecessors, 'using the poems as a basis', reflecting the important social trend of the Tang period to admire the style of the Wei and Jin dynasties and the celebrities.
(4)The folk culture landscape shows a spatial distribution along the main line of the Tang Poetry Road and the branch line of Mingzhou. From the statistics of the poets' relationship with folk culture, it is found that 104 poets have described seven kinds of specialties, namely: wine (123 poems), elixir (55 poems), rattan sticks (29 poems), tea (20 poems), perch (11 poems), Shan paper (8 poems), and water shield (6 poems).
The cause of this is that, after the Southern Crossing of Yongjia, the eastern Zhejiang region, with its unique geographical and peaceful social environment, was like a 'pot of treasures', constantly attracting literary groups from other cultures and forming a relatively prosperous and developed economic base by the Tang period. In Gu Kuang's poem, "Shan paper is made of Shan rattan sticks, and after spraying and pounding, it is turned into banana leaves. "(Song of Shan Paper), and the monk poet Jiao Ran once said, "The Yue people sent me tea from Shanxi, I picked the young shoots of the tea leaves and cooked them in the tea set." ("Flirting with Cui Shi ambassador's inability to drink tea").
The poems in The Tang Poetry Road of Eastern Zhejiang mention seven kinds of specialties, including perch and water shield, Shaoxing's Shan paper, the famous tea "Yue bamboo" from Shanxi River and Mount Tiantai, various kinds of valuable medicinal herbs from Mount Tiantai, and the "Huading stick", a rattan stick from Yuezhong, preferred by the literati, as well as five kinds of folk arts, including Shengzhou Yue Opera, Shangyu Shao Opera, Ningbo Yong Opera, gold lacquer wood carving and Yuyao celadon. The poetry road provides an important historical testimony to the diverse cultural intermingling and diverse folk life of eastern Zhejiang.