Qieyun was written in the first year of Renshou of Emperor Wendi of Sui Dynasty (60 1). ***5 volumes, divided into 193 rhymes: flat 54 rhymes, rising 5 1 rhymes, falling 56 rhymes and entering 32 rhymes. The early years of the Tang Dynasty were designated as official rhymes.
As the Tang Dynasty entered its heyday, poetry creation became a spectacular sight. In the early years of Emperor Xuanzong of the Tang Dynasty (AD 732), Sun Yu wrote Tang Yun and revised Qieyun to 195 rhyme.
Poets in the Tang Dynasty wrote poems with the theme of cutting rhyme and Tang rhyme. Later, after Guang Yun in the Northern Song Dynasty, the number of rhymes increased to more than 200, and the subdivision of rhymes gradually hindered the poet's creation, so there was a large-scale merger of adjacent rhymes. By the end of the Southern Song Dynasty, Liu Yuan, a Pingshui person, had compiled a new rhyme book, and the rhyme was adjusted to 65,438+006, which was called "Pingshui Rhyme".
Because Pingshui rhyme is a combination of Qieyun, Tangyun and Guang Yun on the basis of Tang Yin Song tune, we can use Pingshui rhyme to analyze Tang poetry-because the standard is becoming more and more relaxed.
After the demise of the Song Dynasty, the northern language entered the Central Plains, which greatly changed the rhyming formats such as epigraph and Sanqu, and formed new rhyming formats such as Linz, Zheng Yun and Shisanjie. However, the development of metrical poetry has come to an end, with no major changes. Therefore, Ping's creation continued until the Republic of China, and it was not until vernacular Chinese replaced classical Chinese that the new rhyme impacted and struggled with Ping in the field of modern poetry.