“草铺横野六七里,笛弄晚风三四声。归来饱饭黄昏后,不脱蓑衣卧月明。”唐代吕岩(即神话传说中的吕洞宾)的《牧童》诗,向人们展示了一幅唯美的乡野画卷:广阔的原野,绿草如茵;晚风轻拂,牧笛悠扬……如此景、情交融,因“牧童”而鲜活、因“短笛”而生动……牧童形象进入画家和诗人视野是在唐代。从储光羲的“圆笠覆我首,长蓑披我襟。”李涉的“荷蓑出林春雨细,芦管卧吹莎草绿。”到杜苟鹤的“渔父晚船分浦钓,牧童寒笛倚牛吹。”尤其杜牧那首“清明时节雨纷纷,路上行人欲 ”Caotian Yokoyama sixty-seven years, whistle-blowing night breeze thirty-four sound .Back to dinner after dusk, do not take off the clothes lying on the moon. “ The Tang Dynasty Lu Yan (myths and legends of Lu Dongbin) To show people a beautiful picture of the countryside: a vast field, green grass; farewell breeze, melodious melodious ...... so King, love blend, because of ”shepherd boy“ and live, because ”Piccolo “And vivid ...... Shepherd boy image into the field of vision of painters and poets in the Tang Dynasty. From the storage of light Xi ”round-hai cover my first, Nagahapata my lapel. “ Lee said the ”Hutchison out of Lin Chunyu fine, reed pipe lying sedges green. “ To Gou He Boat points Pu fishing, shepherd boy albertea cattle blowing. ”“ In particular, Du Mu that song ”Qingming Festival rain, pedestrians on the road