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秦蜀和湖南是杜甫纪行诗创作比较集中和突出的阶段。在审美客体方面,秦蜀纪行诗表现了奇伟幽奥的景象,湖南纪行诗表现了阔远黯淡的景象。在审美主体方面,忧世之悲和漂泊之感贯穿了这两个阶段,但相比之下,秦蜀纪行诗中包含了一定的自信和乐观,湖南纪行诗则常常流露出某种近乎绝望的情绪。在心物关系方面,秦蜀纪行诗中自然与人强烈地对立,对人形成压迫和威胁,湖南纪行诗中自然是人的外在的衬托。在艺术传达方面,秦蜀纪行诗景先情后,由景生情,写景时以实写为主,虚写为辅。湖南纪行诗情在景中,以情统景,在写景时遗貌取神,随意点染。
Qin Shu and Hunan are more focused and prominent stages of Du Fu’s Ji Xing Poems. In the aesthetic object, the Qin Shu Ji Xing Poems show the wonderful and secluded scenery, Hunan Ji Xing poems show the bleak vision. In the aesthetic subject, the sadness and adversity of the sadness permeate these two stages, but in contrast, the Qin Shu marriages contain some self-confidence and optimism, while the Hunan discipline poems often show some kind of near despair Emotions. In the aspect of relationship between mind and body, nature and man strongly confront each other, forming oppression and threat to human being. In terms of artistic communication, after the poetic landscape of the Qin and Shu Ji Xingyuan, the scenery was mainly written in real terms and the scenery was supplemented by the scenery, the scenery. Hunan Ji Xing poetic in the King, with the scene of the King, in the write King appearance when God, random point dyeing.