Poets and poets in the Southern Song Dynasty. The word Yao Zhang. Known as the white stone Taoist. Raozhou Poyang (now Jiangxi) people. I have lived in Hanyang with my father since childhood. As an adult, I have been to Yangzhou, Jianghuai and Hunan and Hubei. In his thirties, he met the poet Xiao Dezao in Changsha. Xiao appreciated Jiang Kui's literary talent and married his niece. Later, Jiang Kui lived in Huzhou (present-day Zhejiang) according to filial piety, and lived under Baishi Cave in Yangshan.
Xiao Dezao introduced Jiang Kui's Sleeve Poem to Yang Wanli, who called him "Yu Wen does everything" and introduced him to Fan Chengda. Since then, Jiang Kui has made some famous painters and calligraphers, and traveled in Huzhou, Hangzhou, Suzhou, Jinling, Hefei and other places. In the second year (1 19 1), Shao Xi braved the heavy snow to visit Fan Chengda at Shihu Mountain Villa in Suzhou, which should be written as two masterpieces handed down from ancient times: Dimfragrance and Thin Shadow.
When I was about 40 years old, I made friends with Zhang of an aristocratic family. Since then, he has lived in Hangzhou for a long time, wandering in eastern Zhejiang and Wuxi, mainly supported by Zhang. Jiang Kui later recalled: "After ten years of getting along, we are very close to each other." Jiang Kui is versatile, poetic, good at calligraphy and extraordinary in temperament. He has the ambition of the world, but he is trapped in the field and cannot display his talents. In the third year of Qingyuan (1 197), he went to the imperial court to discuss the archaeological map of the big sound book and the harp instrument, and suggested sorting out the national music, which was not taken seriously. In the following two years, he went to "Song Song Song Advocacy" and was exempted from taking the Jinshi Examination of the Ministry of Rites, but failed. During the Jiatai period, Xin Qiji was used by the authorities to raise money for the Northern Expedition, and Jiang Kui wrote words to encourage him. The two singers were very happy, and Jiang Kui's lyrics won Xin's appreciation. Although Jiang Kui is a famous writer, he is immersed in life. In his later years, his peers withered and his life became more miserable. After his death, he can't be buried. He was buried outside Qiantang Gate only because of his friends.
Jiang Kui lived in the period of confrontation between Song and Jin Dynasties and compromise between North and South. The Southern Song Dynasty forgot the national humiliation and blindly sang and danced lakes and mountains. In this political climate, Jiang Kui lived a life of wandering the rivers and lakes and relying on others. He didn't fall into the bottom, contacted the society more widely, and lacked the ambition to save the world. Therefore, he could not help spending his time on "drinking to relieve his sorrow and spending flowers to eliminate his heroic spirit", so his creative vision was narrow. Jiang Kui, on the other hand, was clothed in cloth all his life, clean and lofty, and "generous as a man in Jin and Song Dynasties" ("Hidden Words"). His works are not close to the charm of other people's homes, but related to this life experience, personality and cultivation.
Some of Jiang Kui's poems bemoan current events, such as "Slow Yangzhou", which reflects the desolation of the Jianghuai area after the invasion of the nomads, and encourages patriots to clarify the "Lost Buildings Separated by Clouds" in the Central Plains; Some works, such as Linglong Four Offenders and Tanchun Slow, truly reflect the author's lonely heart and tragic life experience. Some works make people nostalgic as soon as possible, such as "Long Pavilion Slow Complaint" and "Walking on the Beach", which are persistent and solemn. Some works, such as Dimfragrance and Thin Shadow, are lyrical about things. These two words are expressed in lamenting the past and the present, and sometimes the old feelings are arrogant and sometimes the old feelings are deep. Zhang Huiyan thought that these two words "expressed the anger of two emperors". To some extent, Jiang Kui's ci reflects the theme of the times when the Southern Song Dynasty was partial to the Central Plains, but there are not many such works. Most of the rest are works that praise lakes and mountains, regret life experiences, pursue nostalgic trips and cherish feelings.
The predecessors spoke highly of Jiang Kui's position in the history of ci poetry, praising him as "Du Li in the prosperous Tang Dynasty" (Chen Rui's "The Flower Prick in Bizhai"), "Changli in Wen (Han Yu)" (Xu Angxiao quoted in Linz Chronicle) and "Sage in Ci Poetry" (selected poems of seven schools), or having some preferences. Zhang Yan summed up Baishi's ci with the word "empty", saying that "the wild clouds fly alone and there is no trace to be found" (etymology). Jiang Kui's poems are full of charm and high interest, as if there is an endless escape from Leng Xiang; The color is light and distant, simple and elegant, which can give people a sense of hidden beauty and ethereal; The brushwork is rough and ups and downs, expressing feelings and images, and making good use of healthy pens and sentences, resulting in a bold and dangerous wind; Pay attention to the rhythm, make more self-made songs, which are melodious and harmonious. He has 17 self-annotated lyrics, which is a valuable material for studying the music of pronouns in Song Dynasty. Guo-"Lingfen Pavilion" said that he "washed away luxury, only marked elegance, like a thin stone and lonely flowers, quiet and quiet", which can reveal the unique personality of Baishi's ci. Jiang Kui's writing attitude is rigorous and pays attention to artistic refinement. His ci style was highly praised by Sao Ya School in the late Southern Song Dynasty and Zhejiang School in the Qing Dynasty.
Jiang Kui was a beginner of Jiangxi Poetry School when he wrote poetry, and was later influenced by Tang poetry. Yang Wanli compared him to Lu Guimeng in the late Tang Dynasty, saying that his poems "have the wonderful effect of cutting clouds and sewing the moon, knocking on the strange sound of gold and jade" (quoted from Zhi Zhai Shu Lu's Solving Problems). Baishi wrote poems or adventures crossing Sichuan and land on foot, such as the ancient "Journey to the Past"; Or write about the customs and habits of frontier ethnic groups, such as "Song of the Khitan", with simple pen and ink, the rules of opening and closing, writing landscapes is more verve. Seven-character quatrains, such as Returning from Shihu to Tiaoxi at night, Living on the Lake, are full of poems, singing about wandering life, describing the scenery of lakes and mountains, with exquisite sentence-cutting, quiet artistic conception, beautiful sound, interesting and full of poetry. However, the title of his poem is hidden by the name of this word.
Jiang Kui takes poetry as his work, and Taoist Baishi's poems draw on the experience of predecessors and include his own creative experience. It also emphasizes "poetic method" and "living method", but it emphasizes "reciting emotions", "natural beauty" and "taking words as work, not words as wonderful" Although influenced by Jiangxi poetics, it can surpass Jiangxi poetics. This book is not long, but it can focus on the theory and skills of poetry, which is different from ordinary poetry and is praised and valued by future generations.
He is the author of Poems of Taoist Baishi, Four Songs of Taoist Baishi and Poems of Taoist Baishi (Poems of Taoist Baishi). The sequel spectrum includes Series Collection, Jiang Tieping and Siku Quanshu. Modern Xia wrote Poems of Baishi and Chronicle of Jiang Baishi's Ci, with more than 80 poems/kloc-0 and more than 80 words.
Jiang Kui and the Culture of Southern Song Dynasty
Zhao Xiaolan.
This paper is a comprehensive study of ancient literature, literature and art and culturology. It is a micro and macro analysis from case to time. The full text is divided into three parts: upper, middle and lower, with seven chapters and 400,000 words.
The first part discusses Jiang Kui's literary thought and its academic causes. The first chapter discusses Jiang Kui's literary thoughts from four aspects: poetry, calligraphy, music and ci. This paper points out the literary background of Jiang Kui's poetic theory, discusses its deviation from Jiangxi poetic school, and especially emphasizes his innovative spirit of being independent of legalism and his pursuit of natural beauty. From the aspects of meteorology, elegance and vulgarity, blood, phonology and self-cultivation, this paper discusses his thinking on the elements of poetry and his requirements for poets, and also discusses his poetic artistic conception from the perspective of "four beauties" Jiang Kui's poetics still has substance. The most striking feature of Jiang Kui's calligraphy theory is the shift from moral criticism to aesthetic criticism. The yearning for Wei-Jin demeanor and unfair criticism of the continuation of books by Tang people are also consistent with their poetic orientation, and they all pay attention to publicizing individuality and returning to nature. Their affirmation and attention to the aesthetic value of calligraphy is of great significance in the history of calligraphy. On the other hand, his music theory shows Jiang Kui's Confucian optimism about the beauty of harmony. This paper analyzes his thought of "harmony" in the era and cultural background, and proves his pursuit of "harmony" through his creative practice. Although Jiang Kui didn't leave any comments on Ci, most of his predecessors used his poetic theory to make comments on Ci. This paper also investigates from this angle, and analyzes his pursuit of elegant style and his breakthrough in relying on sound to write lyrics. The second chapter discusses the cultural background and academic causes of his literary thoughts from the aspects of the elegance of the cultural environment in the Southern Song Dynasty, the characteristics and spirit of Song studies, the influence of Baishi's literary view on Song studies, and the comparison between Baishi's and Zhu's literary thoughts. This paper pays attention to the influence of elegant culture on Jiang Kui's creation, and especially emphasizes the influence of Song studies on Jiang Kui's literary thought. Because Jiang Kui was once known to Zhu, this paper analyzes the influence on Jiang Kui's literary thought, such as self-cultivation, learning, meteorology, observing the world, teaching poetry, restoring ancient ways to Shang Ya, being natural and plain, advocating emptiness and quietness, pursuing plain, etc.
The middle part mainly discusses Jiang Kui's literary and artistic creation. The third chapter discusses Jiang Kui's ci. In content, it analyzes the uniqueness of his patriotic words, lyric words and love words, as well as the patriotic feelings neglected in previous comments. He made a sympathetic understanding of the origin of his love story and the poet's helplessness, and affirmed its significance. This paper probes into the political and emotional sustenance of his poems about objects. In terms of art, from the inheritance and innovation of Jiang Kui's ci and the acceptance of Jiang Kui's ci by later generations, this paper discusses the position of Jiang Kui's ci in the history of ci, especially from the two aspects of "change" and "communication" of Song Ci, affirms Jiang Kui's unique contribution beyond being bold and graceful, and analyzes Jiang Kui's ci from the perspective of artistic mind. The fourth chapter discusses Jiang Kui's poems, determines the stages of his poems, and discusses his works that care about reality, express frustration, Jianghu works and reward gifts from the content.
His poetic thoughts comprehensively analyzed the artistic origin and characteristics of Jiang Kui's poems. The fifth chapter discusses Jiang Kui's music creation. This paper is the first time to study the characteristics of Jiang Kui's music works from two aspects: elegant music creation and popular music songs, especially from the perspective of the combination of music and literature, and analyzes the characteristics of his songs "Song in a Song" and "Nine Songs of the Moon" which are rarely discussed in the literary world.
The second part discusses the position of Jiang Kui in the Southern Song Dynasty culture. The sixth chapter discusses the relationship between political culture, Taoist culture, Buddhist culture and Jiang Kui in the Southern Song Dynasty. This paper puts forward the view that the culture of Song Dynasty can be divided into north and south, which is an original view in academic circles. Through in-depth argumentation, it is pointed out that it is the unique political culture of the Southern Song Dynasty that influenced Jiang Kui's life path. The seventh chapter discusses the Jianghu culture and Jiang Kui's personality spirit. The new concept of "Jianghu culture" was put forward by Jianghu Poetry School, which is considered as a new variety of Southern Song Dynasty culture. This paper describes the development of Jianghu, seclusion and "seclusion" from the pre-Qin Dynasty to the Northern Song Dynasty, analyzes the causes and characteristics of Jianghu culture in the Southern Song Dynasty, and emphasizes Jiang Kui's independent and unyielding personality spirit in comparison. At the same time, this paper puts forward new views on Jiang Kui's "Jin and Song figures", the mainstream culture of scholar-officials in the late feudal society and the meaning of "cultural personality".
The conclusion part talks about the historical enlightenment of Jiang Kui's life contradiction and life path, and holds that Jiang Kui, with his unique experience, has created the third road of "being an official" and "living in seclusion" which is different from the traditional China scholar-officials, and has become a life model of scholar-officials with his charming personality spirit.
Knowledge link: Jiang Kui: (about 1 155- about 122 1) A writer and musician in the Southern Song Dynasty, whose name is Yao Zhang, was also called a Taoist priest of Baishi and a native of Poyang, Raozhou. Life-long cloth, versatile, good at calligraphy, proficient in temperament, especially famous for poetry. Xin Qiji and Wu Wenying, who are known as the "holy kings" in Ci, are outstanding poets in the Southern Song Dynasty. Huang Tingjian, a beginner in poetry, freed himself from the Song people and wrote On Poetry, which is full of subtle theories. In particular, he is famous for his ci, and he can compose his own music. Today, there are 17 poems with high style, ethereal and steep, which have a great influence on the elegant ci school in the Southern Song Dynasty and were regarded as the standard by the western Zhejiang ci school in the early Qing Dynasty. His ci is rich in content, including chanting things, chanting things, expressing feelings and so on. , thus creating the elegant school of ci, that is, the metrical school. He is the author of Taoist Baishi Poetry and Taoist Baishi Song. (Author Huang Dan)