In 1154 (the 24th year of Shaoxing in the Southern Song Dynasty), Jiang Kui was born in Poyang, Raozhou (now Poyang, Jiangxi), and his father, Jiang Ao, was a scholar in Shaoxing in the 18th year, and successively served as a magistrate in Xinyu (now Xinyu, Jiangxi) and Hanyang (now Wuhan, Hubei).
When Jiang Kui was very young, he followed his father to his place of employment. After his father died, fourteen-year-old Jiang Kui spent his teenage years in Shanyang Village, Hanchuan County until he reached adulthood. Because he was born in Poyang, Raozhou, Jiang Kui went back to his hometown to take the imperial examination four times from 1174 (the first year of Chunxi) to 1183 (the tenth year of Chunxi), all of which fell to Sun Shan.
Jiang Kui, who had a bad career, wandered around, once set foot in Yangzhou and Jianghuai, and later lived in Hunan. About 1185 (the twelfth year of Chunxi), I met the poet Xiao Dezao, and because of their similar interests, they became friends who forgot the year.
Xiao Dezao, a native of Minqing, Fujian Province, was a scholar in Shaoxing for eleven years. He was once an official in Longchuan County and Hubei Province, and later transferred to Wucheng County, Huzhou. He was good at writing poems, and he was as famous as Fan Chengda, Yang Wanli, Lu You and You Mao. Appreciating Jiang Kui's talent, he betrothed his niece to Jiang Kui. In the winter of 1186 (13th year of Chunxi), Xiao Dezao was transferred to Huzhou, and Jiang Kui also decided to accompany the Xiao family. In the late spring of the following year, Xiao Dezao officially took office in Huzhou, passing through Hangzhou, and introduced Jiang Kui to the famous poet Yang Wanli. Yang Wanli paid no attention to Jiang Kui's poems, praising him for "doing everything for writing", resembling Lu Guimeng, a famous poet in the Tang Dynasty, and making friends with him. After that, Yang Wanli wrote a letter to recommend him to another famous poet, Fan Chengda. Fan Chengda once served as an official in politics (deputy prime minister), and had already returned to his hometown of Suzhou to recuperate. He read Jiang Kui's poems and liked them very much. He thought that Jiang Kui was elegant and refined, and his calligraphy was cool and cool. Living in Huzhou
was praised by Yang and Fan, two poets, and Jiang Kui had a good reputation. Since then, he has lived in Huzhou for more than ten years. Huzhou Yangshan has beautiful scenery. In 119 (the first year of Shaoxi), he officially settled in the cave of Baishi in Shaoxi, Yangshan, and his friend Pan Dejiu called him "a Taoist of Baishi".
Jiang Kui is a natural and unrestrained person, and he prides himself on Lu Guimeng. At that time, all the celebrities and scholars rushed to make friends with him, and even Zhu Xi, a great scholar, admired him not only for his articles, but also for his profound knowledge of rites and music. Xin Qiji, a famous poet, was also deeply impressed by his words, and once wrote lyrics with him to sing for each other.
Travel around
While living in Huzhou, Jiang Kui still travels around from time to time, traveling to Suzhou, Hangzhou, Hefei, Jinling and Nanchang, and these experiences are reflected in his ci collections and poems. In 119 (the first year of Shaoxi), he visited Hefei, lived in Chilan Bridge, and lived next to Fan Zhongne. In Hefei, he had two good geisha sisters, and they had a deep affection for each other. Later, he made many poems to commemorate this wonderful time.
In 1191 (the second year of Shaoxi), Jiang Kui set out from Hefei to pan-Chaohu Lake and wrote the poem "Man Jiang Hong", which eulogized the immortal basking in Chaohu Lake with romantic brushwork and imagination, and at the same time lamented the past and the present. In the summer of this year, I went to Jinling to see Yang Wanli again, during which I wrote the word "Drunken Poems on Merchants" and missed the couple in Hefei. In autumn, I went to Hefei again and wrote the word "Desolate Offender". Through the description of the desolate scenery of Hefei cities, I expressed my thoughts of worrying about the country. The affection between Jiang Kui and Hefei sisters is an extremely important emotional experience in his life. Since he met the sisters in his twenties, he has lived in Hefei many times, until the second autumn of Shaoxi, when the sisters left Hefei. He said helplessly in "Autumn Nights" written this year: "Where is Wei Niang? Song Yu is back, and the two places are haunted. It's too early to shake Jiang Feng, but there is no evidence of tenderness, and the dream is awkward. " Showing great sadness and attachment to their departure. In the winter of the same year, Jiang Kui came to Suzhou again, paid an audience with Fan Chengda, wrote a poem "Visiting Shihu in the Snow", and Fan Chengda wrote a poem to answer. Jiang Kui went through the snow to enjoy the plum blossoms in Fan's house. Fan Chengda asked him for poems to sing plum blossoms. Jiang Kui filled in the words Dimfragrance and Thin Shadow. Fan Chengda made the prostitute learn to sing, and the syllables were harmonious and graceful, which was greatly joyful. He specially presented the prostitute Xiaohong to Jiang Kui. On New Year's Eve, Jiang Kui returned to Tiaoxi's home by boat from Shihu Lake in the heavy snow. On the way, he wrote ten pieces of seven unique songs. When crossing the Hongqiao Bridge in Wujiang, Suzhou, he wrote the famous sentence "Little Red sings and I play the flute".
In 1193 (the fourth year of Shaoxi), Jiang Kui was about thirty-nine, and he met Zhang Jian, the son of a noble family, in Hangzhou. Zhang Jian is the grandson of Zhang Jun, a general in the Southern Song Dynasty. His family is very rich and he has farmland houses in Hangzhou and Wuxi. He also appreciated Jiang Kui's talent, because he tried repeatedly not to sell it. He once wanted to buy an official for Jiang Kui, but Jiang Kui didn't want to enter the official career in such a shameful way, and declined politely. Since then, Jiang Kui has often visited Zhang Jian's home, writing poems and lyrics for each other. Move to Hangzhou
In 1196 (the second year of Qingyuan), Xiao Dezao was welcomed back to Chiyang by his nephew Xiao Shifu, and Jiang Kui lost his support in Huzhou, so he simply moved to Hangzhou and attached himself to Zhang Jian and his brother Zhang C. After that, he stopped moving and lived in Hangzhou until he died. Zhang Jian was Jiang Kui's best confidant in his later years, and their friendship was very deep. Jiang Kui himself said, "After ten years together, we are very close to each other." In 122 (the second year of Jiatai), after the death of Zhang Jian, Jiang Kui was very sad, and he wrote a poem to mourn, which showed his deep affection.
At that time, Hangzhou was the capital of the Southern Song Dynasty, and the original music books were scattered. In 1197 (the third year of Qingyuan), 43-year-old Jiang Kui presented the Great Music and the Archaeological Map of the Hare and the Hare to the court, hoping to be promoted, but the court did not pay attention to it. Two years later, Jiang Kui once again presented the Twelve Chapters of the Song Dynasty Song Advocacy to the court. This time, the court issued a letter to allow him to take the Jinshi exam in the Ministry of Rites, but he still lost the election. From then on, he completely lost his official career and died in cloth.
In 122 (the second year of Jiatai), after Zhang Jian's death, Jiang Kui's life began to be difficult year by year. In March of 124 (the fourth year of Jiatai), a fire broke out in Hangzhou, which extended the * * * institutions such as Shangshu Province, Zhongshu Province and Privy Council, and more than 2,7 houses also suffered, including Jiang Kui's houses. The final outcome
In 1221 AD (the 14th year of Jiading), Jiang Kui died. After his death, he was barely buried in Ximacheng, outside the Qiantang Gate in Hangzhou, thanks to donations from friends and friends such as wuqian, where he lived for more than ten years. The main achievement of poetry creation
Jiang Kui's poetic realm is unique, and his artistic way of thinking and expression are also unique. He is good at using synaesthesia thinking and linking different physiological feelings together by using artistic synaesthesia to express a certain psychological feeling; He is also good at lateral thinking and writing emotional things, not directly depicting the front, but writing on the side, vividly and vividly. There is no expansion in the theme of his ci, and he still writes about love and chanting things along the way of Zhou Bangyan. His contribution mainly lies in transforming the expressive art of traditional graceful words and establishing new aesthetic norms.
Jiang Kui's ci is empty and noble, full of imagination, and the language is flexible and natural. Have high artistic achievements. His artistic characteristics can be summarized by the word "empty" by Zhang Yan. This kind of emptying is different from the traditional graceful and graceful school, the rough clamor of the unrestrained school, and the kind of emptying characterized by Su Shi's broad-mindedness. In a word, Jiang Kui is better at using the poet's brushwork to enter words, and more uses the technique of "Sao" to enter words, and does not make more qualitative descriptions of objective objects, but is very good at capturing and expressing the ethereal mood. When entering ci with Sao pen, he is good at absorbing the characteristics of Jiangxi poetry style, which pays attention to tempering and being thin, hard and steep, so he has a strong and clean atmosphere in the emptying.
Jiang kui's ci has the characteristics of "emptiness" and "elegance". Jiang Kui's emptying came from Su Shi, and Sao Ya was born from Xin Qiji. Su Xin didn't mean to write lyrics, and their emptiness and elegance were realized through poetic ways. Jiang Kui is the same as Su Xin in quoting poems to help Ci, but he deliberately wrote Ci, incorporating the rhythm, creative style and aesthetic ideal of Ci into a certain degree, and combining the emptiness and elegance that were not necessarily related to each other to form a new style of Ci. The theory and creation of Jianghu Ci School in the Southern Song Dynasty is to explain and popularize this kind of empty and elegant Ci style. According to his own understanding of the spirit of music, he reformed the music scores of Tang and Song Dynasties, so that the spirit of popular music and traditional elegant music were interlinked. He summed up the statutes of practical learning, drew the same meaning from many allusions, and sublimated concrete emotions into ethereal and vague interests; He used vulgar themes to show elegant and upright feelings. Starting from the characteristics of ci style, he guided by the situation, followed the custom and refined, and integrated the emptiness with the elegance, forming a new style of ci. People in Song Dynasty took intellect as their word, and their feelings were vague. Being reduced to Jianghu and far away from * * *, the emotion expressed by Jianghu poets is mostly an elegant interest. The emotion of Jiang Kui's ci poetry is a lonely cloud flying wild, leaving and leaving without a trace. Because it has no definite meaning, the themes of Dimfragrance and Shuying have not been determined for more than a thousand years. Although Shi Dazu, Wu Wenying, Zhou Mi and other petty officials have some realistic feelings, they are mainly lyrical, and have the characteristics of empty structure. What Zhang Yan, Wang Yisun and others express is the pain of national subjugation of the Song society's existing houses and the sadness of leaving the old people behind, which is difficult to implement in specific events. Being scattered in rivers and lakes, compared with social reality, has contributed to the combination of ethereal emotion and coquettish character.
The creative style of Ci poetry in Song Dynasty tends to be "empty", while the aesthetic ideal tends to be "elegant". It was only under Jiang Kui's pen that they were tied up. Jiang Kui abides by his true colors, and everything starts from statutes, which makes the combination of emptying and elegance inevitable. Jiang Kui made a comprehensive elegance to the style of Ci. In the middle and late Southern Song Dynasty, the ci writers changed extremely, and all of them had their own style characteristics. Later, these similar styles came together to form a school of Ci. This is the Southern Song Dynasty Jianghu Ci school with Jiang Kui as the model. The three words, two anthologies and frequent gatherings of Ci clubs of Jianghu School are all practicing and conveying Jiang Kui's empty and elegant words. Such a typical school of Ci-poetry, which has five factors, namely, poet, ci-composition, ci-selection, ci-theory and ci-society, is still rare in the history of ancient China literature.
Jiang Kui engaged in the creation of Ci with a conscious mind, and seriously explored various statutes of Ci. Therefore, some poets in the Southern Song Dynasty, represented by Jiang Kui, were collectively called "Saoya School" by later generations. These include Jiang Kui, Wu Wenying, Shi Dazu, Gao Guanguo, Zhang Yan, Wang Yisun, Zhou Mi and others in the middle and late Southern Song Dynasty. This is another ci school formed after Xin Qiji. They are not only different from the graceful and restrained school, but also different from the unrestrained school since Su Xin. They pay more attention to the arrangement of artificial thinking, which is similar to Zhou Bangyan. However, they have a more clear and conscious pursuit of style, and pay more attention to the traditional "elegance" and "coquettish" traditions. The so-called "elegance" means that they are all influenced by the times, flaunting elegance and taking elegance as their aesthetic ideal. The so-called "Sao" refers to the poet's brushwork, focusing on inheriting the lyric tradition initiated and represented by Li Sao, with the subjective description of self-expression and self-expression as its main purpose. Paying attention to expressing mood is an important feature of this school of poets, and it is also their development and contribution to ci. The poets of Saoya School strengthened the self-expression ability of Ci, enriched the lyrical means of Ci, and made some pioneering achievements in the history of Ci. However, in order to pursue Saoya, they embarked on a road that was too obscure, small and broken, lacking in broadening artistic conception and broadening means, and brought Ci into a narrow world, which played a negative role in limiting the development of Ci. Jiang Kui is the highest representative of this school. Calligraphy creation
Jiang Kui is also a calligrapher. His Continued Book Score was written after Sun Guoting's Book Score, but it was not a continuation of Book Score. The whole volume is divided into eighteen chapters, such as general introduction, true calligraphy, calligraphy, cursive script, calligraphy, running script, copying, Fiona Fang, back-to-back, position, density, fengshen, belatedness, brushwork, affection, blood, calligraphy and Dan, etc. The various aspects of calligraphy art are really expressed. It is the most accomplished and influential academic work in the book theory of the Southern Song Dynasty. Jiang Kui's "worshipping Jin and belittling Tang" and his opposition to vulgar books are consistent with Su Dongpo, Huang Tingjian and Mi Fei, who advocated literati's interest. However, he didn't deny the "Tang law" indiscriminately, but used a lot of space to discuss it systematically and comprehensively, and extended the ancient law of "Jinyun" from affirmation and explanation. Music creation
Jiang Kui is an outstanding songwriter in ancient China. His tune music has reached a high level both in art and thought, and is original. Jiang Kui's creation of tonal music inherited the tradition of ancient folk music, made a new breakthrough in the meter, musical structure and the use of scales, and formed a unique style.
Jiang Kui's main contribution to the history of music is to leave a six-volume "Songs of Taoist Baishi" with a "side score" to future generations, including his own self-directed songs, ancient songs and lyrics. His representative songs include Yangzhou Slow, Apricot Blossom Sky Shadow, Thin Shadow, Dimfragrance, etc., and he became the only outstanding musician in the Southern Song Dynasty.
The Songs of Taoist Baishi is a rare collection of songs in the Song Dynasty, in which the author is noted. It is also the only collection of songs with music scores that has been handed down so far. It is regarded as a "rare treasure in the history of music", including 1 sacred songs, 1 Qin song, and 17 ci-style songs (also known as "Quci"), which are divided into two parts. He broke through the completely consistent routine of the epigraph before and after, making the development of music more free. Before each "self-directed song", he wrote a preface to explain the creative background and motivation of the song, and some also introduced the playing techniques.
Jiang Kui can skillfully use seven tones and semitones, which makes the melody look more beautiful, which is seamlessly combined with his unique style of poetry. Yang Wanli called it "the idea of cutting clouds and sewing fog, knocking on the strange sound of golden clouds."
Since the end of the Tang Dynasty, after nearly half a century of wars in five dynasties and ten countries, the court music was greatly bruised, and most of the court music and musicians flowed into the people. Since Shang and Zhou Dynasties, palace music, which was grand in scale and magnificent, symbolized imperial politics and dynasty culture, began to give way to the rising folk music art in Song Dynasty. In order to improve the chaotic music life in Song Dynasty, Jiang Kui once wrote "Da Yue Yi" for the imperial court, hoping to revive the court music, but it was not reused. "Da Le Yi" represents the highest achievement of folk music art in Song Dynasty, and provides a valuable information for future generations to understand the music situation at that time. The main work
There are more than 8 poems written by Jiang Kui today, most of which are poems about traveling, chanting things, expressing personal life experience and parting from acacia, and occasionally showing feelings about current events. His words are sincere in feeling, strict in meter, gorgeous in language, quiet and cool in style, and have the meaning of correcting graceful words with thin, hard and clear style. His masterpieces are Dimfragrance, Old Moonlight, Thin Shade, Moss Branches and Jade.