“Chanting to express one's qing(emotions)and xing(natural inclination)”holds a central position in a series of lyrical theories in Chinese classical poetics.Based on the philosophy of emotions and dispositions,t...“Chanting to express one's qing(emotions)and xing(natural inclination)”holds a central position in a series of lyrical theories in Chinese classical poetics.Based on the philosophy of emotions and dispositions,this concept marks the development from the expression of aspirations and emotions in general and collective poetics prevalent in the pre-Qin period to the lyrical theory of individual poetics.The poetry of literati in the Han and Wei dynasties originated from the view of“expressing aspirations”and gave rise to the view of“springing from emotions.”During the Southern and Northern dynasties,poetic thought centered on qing and xing began to be established,and people often associated poetry with“chanting to express one's qing and xing”in addition to the concepts of“expressing aspirations”and“springing from emotions.”The poetics of the Tang Dynasty absorbed the view of“Introduction to Mao's Version of The Book of Odes”on the ballads and court hymns composed in the decline of the Zhou Dynasty and the theory of qing and xing from the Southern and Northern dynasties.Its fundamental assertion regarding poetry is“chanting to express one's qing and xing,”and it endowed the traditional theory of qing and xing with an emphasis on individuality and a reverence for natural aesthetics.Despite advocating the didactic purpose,the poetics of the Tang Dynasty essentially aligned with the ballads composed in the decline of the Zhou Dynasty,“chanting to express one's qing and xing.”In the Song Dynasty,the theory of qing and xing was combined with individual ethical essence,serving as the ideological foundation of the emphasis on reason in Song poetry.In the Ming and Qing dynasties,poets still followed the traditional theory of qing and xing,considering qing and xing as the foundation of poetry.Among them,the school of“expressing one's inner self”emphasized the natural expression of individuality and valued inspiration and innovation.展开更多
The Lyric Collection on Objects of the Tea Smoke Pavilion is an anthology that Zhu Yizun compiled in his later years by carefully selecting object-depicting lyrics he composed throughout his life.Approximately 70 perc...The Lyric Collection on Objects of the Tea Smoke Pavilion is an anthology that Zhu Yizun compiled in his later years by carefully selecting object-depicting lyrics he composed throughout his life.Approximately 70 percent of the works were created before he participated in the imperial examination in 1679.This indicates that this anthology does not fully reflect the characteristics of the lyrics he penned in his later years.The collection title"Tea Smoke Pavilion,"as revealed in The Lyric Collection of the Serenity Dwelling,reflects the poet's distinctive approach to expressing emotions through depicting objects.A detailed examination of Zhu's works from the perspectives of textual structure,language,tone pattern and rhyming demonstrates that Zhu has consistently adhered to the same guiding principle when composing object-depicting lyrics.He has elevated the technique of“objectification,”pioneered by the poets of the Southern Song Dynasty to a new realm,crafting a unique beauty in object-depicting lyrics,which is different from the beauty of Song lyrics.His success is rooted in his emotional experiences depicted in The Serenity Dwelling Collection.His relentless exploration in artistic forms has provided a source of inspiration for scholars of later generations to explore how to convey personal sentiments.It also offers an opportunity to reflect on the merits and demerits regarding the development of object-depicting lyrics during the Qing Dynasty.展开更多
文摘“Chanting to express one's qing(emotions)and xing(natural inclination)”holds a central position in a series of lyrical theories in Chinese classical poetics.Based on the philosophy of emotions and dispositions,this concept marks the development from the expression of aspirations and emotions in general and collective poetics prevalent in the pre-Qin period to the lyrical theory of individual poetics.The poetry of literati in the Han and Wei dynasties originated from the view of“expressing aspirations”and gave rise to the view of“springing from emotions.”During the Southern and Northern dynasties,poetic thought centered on qing and xing began to be established,and people often associated poetry with“chanting to express one's qing and xing”in addition to the concepts of“expressing aspirations”and“springing from emotions.”The poetics of the Tang Dynasty absorbed the view of“Introduction to Mao's Version of The Book of Odes”on the ballads and court hymns composed in the decline of the Zhou Dynasty and the theory of qing and xing from the Southern and Northern dynasties.Its fundamental assertion regarding poetry is“chanting to express one's qing and xing,”and it endowed the traditional theory of qing and xing with an emphasis on individuality and a reverence for natural aesthetics.Despite advocating the didactic purpose,the poetics of the Tang Dynasty essentially aligned with the ballads composed in the decline of the Zhou Dynasty,“chanting to express one's qing and xing.”In the Song Dynasty,the theory of qing and xing was combined with individual ethical essence,serving as the ideological foundation of the emphasis on reason in Song poetry.In the Ming and Qing dynasties,poets still followed the traditional theory of qing and xing,considering qing and xing as the foundation of poetry.Among them,the school of“expressing one's inner self”emphasized the natural expression of individuality and valued inspiration and innovation.
文摘The Lyric Collection on Objects of the Tea Smoke Pavilion is an anthology that Zhu Yizun compiled in his later years by carefully selecting object-depicting lyrics he composed throughout his life.Approximately 70 percent of the works were created before he participated in the imperial examination in 1679.This indicates that this anthology does not fully reflect the characteristics of the lyrics he penned in his later years.The collection title"Tea Smoke Pavilion,"as revealed in The Lyric Collection of the Serenity Dwelling,reflects the poet's distinctive approach to expressing emotions through depicting objects.A detailed examination of Zhu's works from the perspectives of textual structure,language,tone pattern and rhyming demonstrates that Zhu has consistently adhered to the same guiding principle when composing object-depicting lyrics.He has elevated the technique of“objectification,”pioneered by the poets of the Southern Song Dynasty to a new realm,crafting a unique beauty in object-depicting lyrics,which is different from the beauty of Song lyrics.His success is rooted in his emotional experiences depicted in The Serenity Dwelling Collection.His relentless exploration in artistic forms has provided a source of inspiration for scholars of later generations to explore how to convey personal sentiments.It also offers an opportunity to reflect on the merits and demerits regarding the development of object-depicting lyrics during the Qing Dynasty.
