Jiang Kuí (kuí) (1154-1221), courtesy name Yaozhang, also known as Baishi Taoist, was of Han nationality and was a native of Poyang, Raozhou (now Poyang County, Jiangxi Province). Writer and musician of the Southern Song Dynasty.
He was lonely and poor as a young man, failed in many examinations, and remained in office all his life. He moved around the country and made a living by selling letters and helping his friends. He is versatile, proficient in music, able to compose his own music, and his lyrics have strict rhythm. His works are known for their ethereal and subtle nature. Jiang Kui is proficient in poetry, prose, calligraphy and music. He is another rare artistic talent after Su Shi. Jiang Kui's poems have a wide range of themes, including feelings of time, expressing feelings, chanting about objects, love affairs, describing scenes, travel notes, sequence, friendship, rewards, etc. In his poems, he expressed his thoughts that although he was wandering in the world, he never forgot the sentiments of his country. He described his wandering life as a traveler, expressed his depressed mood of not being able to live in the world and being frustrated in love, as well as his otherworldly and ethereal mood. The group has a personality like a solitary cloud and wild crane. Jiang Kui lived in West Lake late in life and was buried in Ximachong. There are books such as "Collection of Poems by Taoist Baishi", "Songs of Taoist Baishi", "Sequel Book" and "Jiang Tiping".
Evaluations from various writers
Zhang Yan: Jiang Baishi’s poems are like solitary clouds flying in the wild, leaving no trace behind.
Volume 6 of Huang Sheng's "Selected Poems Since the Zhongxing": Taoist Baishi, a celebrity poet of the Zhongxing Dynasty, whose words are extremely exquisite and do not reduce the purity of music. Among them, there are beautiful things that cannot be reached.
Wang Sen: After the Western Sichuan and Southern Tang Dynasties, the author became more and more prosperous, and the emperor and his ministers became more and more respectful. The more tunes there were, the more different the genres were. The short and the long meet each other, the person who talks about love may become slang, and the person who makes things happen may become husband and wife. When Jiang Kui came out of Poyang, he polished his sentences and practiced calligraphy, which made him elegant. So Shi Dazu, Gao Guanguo Yuyi, Zhang Ji and Wu Wenying were in front; Zhao Yifu, Jiang Jie, Zhou Mi, Chen Yunping, Wang Yisun, Zhang Yan, and Zhang Zhu were behind, and they imitated Yu Yue, and danced the flute to the nine changes. The words can do the job.
Zhou Ji: Baishi was born out of Jiaxuan, turning from vigorous to strong, and from rushing to sparse. Both of them are extremely hot, so the smells are consistent. Xin is wide and Jiang is narrow. Because it is wide, it can be contained, and because it is narrow, it is hard to fight.
Liu Xizai: The words of the talented scholar Baishi and the words of the hero Jiaxuan. Talents and heroes are all loved according to their own kind, and they are all biased when talking about gains and losses. Jiang Baishi's poems have a subtle rhyme and cold fragrance, which is endlessly fascinating. According to various descriptions, if it is music, it is a piano, and if it is a flower, it is plum blossoms.
Chen Tingzhuo: Jiang Yao's poems are pure, elegant and elegant, and they are often used in Yiyu. He is a powerful enemy of innocence and a great master in the Southern Song Dynasty. People in Mengchuang and Yutian are not easy to fight.
Zhu Yizun: No one is better than Jiang Kui in his poetry. His disciples Zhang Ji, Lu Zugao, Wu Wenying, Jiang Jie, Wang Yisun, Zhang Yan, Zhou Mi, Chen Yunping, Zhang Zhu and Yang Ji all have the essence of Kui. After that, there were only a few people who found his way.
Wang Guowei's works depicting scenes in white stone, such as: "Twenty-four bridges are still there, and the cold moon is silent in the heart of the waves." "Counting the peaks is pure and bitter, Shang Lue is raining at dusk." "The cicadas are late in the tall trees, Talking about the news of the west wind, "Although the style is exquisite, it is like looking at flowers in the mist, but there is still a layer behind it." Meixi and Mengchuang's paintings of scenery are all in one word. In the Northern Song Dynasty, when people crossed the river, it was impossible to cross the river. Is there really any luck in it? The question is, what is the difference between separation and non-separation? Said: There is no difference between the poems of Tao and Xie, but there is a slight difference between the poems of Yannian. The poems on the east slope are not separated, but the valley is slightly separated. "Spring grass grows in the pond", "Empty beams fall into the mud" and other two sentences, the beauty is that they are not separated. The same goes for words. That is to say, it is based on one person's word, such as the first half of Ouyang Gong's "Youth Tour·Wing Chun Cao": "The spring is alone in the twelve months of Langgan, and the clear blue clouds are far away. In February and March, thousands of miles away, the journey is miserable and sad." "The words are all in the present, there is no separation. Zhiyun said: "On the Xiejia Pond, the river floods the bank of the Pupu." Then there is a gap. Bai Shi's "Cui Lou Yin": "This place should have a Ci Immortal, surrounded by plain clouds and yellow cranes, playing with you. Gazing at the jade ladder for a long time, sighing at the luxuriant grass thousands of miles away." There is no separation. When it comes to "wine clears away sorrow, and flowers eliminate heroic spirit", it is separated. However, although the poetry of the Southern Song Dynasty is not different, it is different in depth and depth compared with those before it.