Most of the members of the poetry school are Du Fu. At the end of the Song Dynasty, Fang Hui, Du Fu, Huang Tingjian, Chen were called the first three schools of Jiangxi poetry school. The poetry theory of Jiangxi Poetry School emphasizes "replacing bones with fetuses" and "turning iron into gold", that is, inheriting the words or meanings of predecessors; Advocating thin, hard and strange poetic style; The pursuit of every word has a source. In the creative practice, the school of poetry "takes the old as the new", and the poetry styles of important writers are different, which has become the most influential school of poetry in the Song Dynasty. Its influence spread throughout the Southern Song Dynasty, and its aftermath extended to modern Tongguang poets. [Edit this paragraph] Formation and style
Although the four gentlemen of Sumen were important creative forces in the poetry circles in the middle and late Northern Song Dynasty, Jiangxi Poetry School undoubtedly had a far-reaching influence on schools with the same poetry theory and creative characteristics. Huang Tingjian's view of poetry is very important to the formation of Jiangxi poetry school. Huang Tingjian regards "vulgarity" as the high standard of his poetry, and to reach this level, he emphasizes reading more. Only when you have thousands of books in your heart can you write without vulgarity. Huang Tingjian emphasizes reading more books, not learning for the sake of learning. There are three main meanings: First, study hard, extensively absorb all the good things of predecessors, and create and develop them on the basis of mastery. Second, as a kind of accumulation of knowledge, to increase the connotation and implication of poetry, and strive to be refined. The third lies in the cultivation of subjective accomplishment and temperament. Only by cultivating a refined and unique temperament based on the basic spirit of Confucianism, which is "good", can we write a "refined" poem. One of Huang Tingjian's most famous poetic ideas, "turning a stone into gold", is actually related to his subjective cultivation. He said in Answer to the Father of Hong Ju: "Those who can write in ancient times can really cultivate everything. Although ancient characters enter calligraphy, they are like a panacea. " This passage is often considered to refer to plagiarism, so it advocates plagiarism. Huang Tingjian actually borrowed Taoist terms, using iron as the material of poetry, gold as the finished product of enlightenment, and magic as the poet's subjective thought and spiritual accomplishment, so what he means is that an excellent poet is good at using foreign things for his own use, and the key lies in the poet's subjective thought and artistic accomplishment as the basis for controlling everything. With this foundation, even if the ancients made a statement, they can change the old into the new. Therefore, although Huang Tingjian has the idea of taking the old as the new, the focus is on the poet's subjective ideological accomplishment and artistic accomplishment.
In the process of choosing the tradition of poetry, Du Fu's poetry, as a model of morality and poetry art since the Qing Dynasty in the Northern Song Dynasty, was highly praised by Wang Anshi and Su Shi, and was further respected at this time. Huang Tingjian once said: "Although Lao Du was displaced from place to place, he never left the DPRK for a day, so he was good at current affairs and profound in every sentence, which was beyond the reach of ancient authors. The spirit of loyalty is natural. " "Loyalty" and "being good at telling current events" point out Du Fu's Confucian moral pursuit and the realistic spirit of poetry, and it can also be seen that Huang Tingjian's poems are not indifferent to reality. In fact, many of his early poems are full of realistic concern and critical spirit. With the increasing number of literary inquisitions, Huang Tingjian's concept of poetry has changed, and he advocates that poetry should chant emotion, but "it is also necessary to argue in court without remonstrating, to blame Tao, and to scold the seats by angering neighbors." This poetic attitude against the reality thorn was generally accepted by Jiangxi poets in the increasingly severe situation in the late Northern Song Dynasty. The evaluation of "profound syntax" reflects Huang Tingjian's obedience to the art of Du Fu's poetry. He has made many detailed analyses on Du Fu's artistic characteristics in refining words, making sentences and writing, as well as the artistic realm of Du Fu's poetry. In these analyses, we can often see his own aesthetic pursuit and the spirit of the times in the Song Dynasty. For example, his comments on Du Fu's poems, such as "There is no word to find" and "Pingchuan Mountain and Deep Water", actually reflect his own characteristics of attaching importance to reading, advocating innovation, pursuing insipid and profound aesthetic realm.
Huang Tingjian, with his distinctive poetic concept and outstanding poetic achievements, reflected the aesthetic style of Song poetry and attracted the attention of the poetic circles. Moreover, he provided specific creative paths for later poets, so that they had poetic methods to follow. Therefore, Huang Tingjian won the support of many poets. Chen Shidao burned his old works and transferred them to Huangshi. His creative achievements made him soon become the core of this poetry school together with Huang Tingjian. As early as the early years, Lu Benzhong wrote the School of Jiangxi Poetry Society, and named this school of poetry headed by Huang and Chen "Jiangxi Poetry School". The name "Jiangxi" comes from the birthplace of eleven poets, including Huang Tingjian and Hongyan. "Sect" was originally a Zen term. Because Jiangxi is a place where Zen is prevalent, and Huang Tingjian and others are well versed in Zen, they are called this school of poetry. The sect figure worships Huang Tingjian as its ancestor, and there are 25 people as follows: Chen Shidao, Pan Dalin, Xie Yi, Peng Hong, Hong Chu, Rao Jie, Zuke, Xu Fu, Lin Minxiu, Hongyan, Wang Ge, Li Ke, Han Ju, Li Peng, Chao Chongzhi, Jiang Duanben, Yang Fu and Xie Guo (according to the report, there are cursive characters. Lv Benzhong's "School Map" was originally a play when he was young, and the order of the list was random. However, he pointed out that the existence of Jiangxi poetry school is in line with the facts. Most of the members of the poetry school received the guidance of Huang Tingjian directly or indirectly, and their poetry creation was more or less influenced by Huang's poetry. It is indeed a school of poetry with similar theme and style. In addition to the characters in the sectarian map, Lv Benzhong, Zeng Yi and Zhao Fan are also considered to belong to this school. Although most poets in the Southern Song Dynasty formed their own school, they were influenced by Jiangxi poetic style in their early days. By the end of the Song Dynasty, Fang Hui called Du Fu the "ancestor" of Jiangxi Poetry School, while Huang Tingjian, Chen Weishi were the "Sect" of Jiangxi Poetry School, and put forward the theory of "one ancestor and three sects" of Jiangxi Poetry School. [Edit this paragraph] Cultural influence
In a word, the rise of Jiangxi Poetry School is the most important literary phenomenon in the poetry circle in the 40-50 years after Su Shi and Huang Tingjian and before Lu You. The evolution of Jiangxi Poetry School itself also represents the transformation from the Northern Song Dynasty to the Southern Song Dynasty. Although this evolution is stimulated by external factors such as Jingkang incident, the more important reason is the development law of poetry itself. Jiangxi Poetry School is an important link in the development of Song poetry. In the late Northern Song Dynasty, the influence of Jiangxi Poetry School was very significant. For example, Wang Zao and others at that time were not poets, but they were also deeply influenced by Huang Tingjian and Chen Shidao in their creation. In the Southern Song Dynasty, the influence of Jiangxi Poetry School spread throughout the poetry circle. Famous poets such as Yang Wanli, Lu You and Jiang Kui were all influenced by Jiangxi Poetry School in art. The influence of Jiangxi Poetry School was heard after the Song Dynasty, and the other waves extended to modern Tongguang poets.