The aesthetic consciousness of
landscape poetry in China has undergone several great changes, each of which is closely related
to the spe cific trend of cultural ideology of the day. The Chan Sect prospered as a trend of cultural ideology at the pinnacle of the Tang Dynasty, which exerted a profou nd impact on the poets then both in their behaviour of living and in their aesth etic
temperament. The impact gave a direct expression to the alteration of the a esthetic consciousness in
landscape poetry. During the Pre Qin and the Two Hans periods, the Chinese conception of landscape poetry stressed the sense of “trav elling”. Later, in the Kingdom of Wei, the Jin Dynasty and the Northern and Sou thern Dynasties, “appreciating” became the sense to be sought. Down to the pin nacle of the Tang Dynasty, the sense of regression was highly respected. Despite the fact that a great variety of aesthetic temperament in landscape poetry co existed at the pinnacle of the Tang Dynasty and after that, what poets industriou sly sought was just the mood of “peace and hollowness” and “untouchedness” a dvocated by Wang Wei and his like as a specific aesthetic temperament.