Comparison Of Zhou Bangyan And Jiang Kui’s Ci-s From The Perspective Of Ci-lyrics Studies

Adopting a unique perspective of “Comparison of Zhou Bangyan and Jiang Kui’s Ci-s from the Perspective of Ci-lyrics Studies”,this study analyzes the Ci-lyrics theories in the Song,Yuan,Ming,and Qing dynasties,as well as the list of selected works of Zhou and Jiang’s ci-s in each dynasty,so as to identify the artistic styles of Zhou and Jiang’s works in their original or interpretive contexts,and explore the ideological characteristics of their ci-s in the Qing dynasty’s Ci-lyrics theories of “sustenance” and “non-sustenance”.This paper consists of three chapters.Chapter I is “Ci-lyrics studies in Song Dynasty and Zhou and Jiang’s ci-s in Ci Selection Practice”.Section I is “Ci-lyrics Studies in Song Dynasty and Zhou and Jiang’s ci-s in Ci Selection Practice”.In Shen Yifu’s Yue Fu Zhi Mi(An interpretation of Yuefu)and Zhang Yan’s Ci Yuan(Source of Ci)(including Song notes,preface and postscript),there are discussions of Zhou and Jiang and examples of ci-s and lines,as well as comparative discussions of them.Tables 1 and 2 analyze the data of the six Song ci anthologies in which Zhou and Jiang’s ci-s were selected,thus identifying the similarities and differences between the selection criteria and Song ci theory.Based on the ci theory of Song dynasty,Section II “Interpretation of Zhou and Jiang’s Ci-s from the Perspective of Ci-lyrics Studies in Song Dynasty” attempts to appreciate and analyze Zhou and Jiang’s ci-s in the original context of Song dynasty.Chapter II is “Ci-lyrics Studies in Yuan and Ming Dynasties and Zhou and Jiang’s Ci-s in Ci Selection Practice”.Section I is “Ci-lyrics Studies in Yuan and Ming Dynasties and Zhou and Jiang’s Ci-s in Ci Selection Practice”,and Section II is“Interpretation of Zhou and Jiang’s Ci-s from the Perspective of Ci-lyrics Studies in Yuan and Ming Dynasties”.In the Yuan dynasty,Zhou and Jiang’s ci-s were only included in Lu Fuzhi’s Ci Zhi(Ci Purposes).Without a theoretical system of Ci-lyrics studies,people in the Ming dynasty mostly commented on specific ci-s in ci selections.Attaching equal importance on ci selection and critique,Ming Ci-lyrics studies gradually overthrew the bottom line of elegance and decency in Song and Yuan dynasties.Chapter III is “Ci-s of Zhou and Jiang and the Two Song Dynasties in the Construction of Ci-lyrics Theory in Qing Dynasty”.Section I is “Ci-lyrics Studies in Qing Dynasty and Zhou and Jiang’s Ci-s in Ci Selection Practice”.Qing dynasty witnessed the revival of Ci-lyrics studies,especially the western Zhejiang school represented by Zhu Yizun,and the Changzhou school represented by Zhou Ji,which established a relatively complete Ci-lyrics studies theory system.Among them,the propositions and criticisms related to Zhou Bangyan and Jiang Kui significantly promoted the construction of Ci-lyrics theory in Qing dynasty.Zhu Yizun’s Ci Zong(Ci Synthesis)and Zhou Ji’s Song Si Jia Ci Xuan(Ci Selection of Four Song Schools)are specialized anthologies that validate the theories of western Zhejiang and Changzhou schools.Section II is “Strengths and Weaknesses of Two Song Ci-s from the Perspective of Ci-lyrics Theory in Qing Dynasty”.As the western Zhejiang and Changzhou schools are represented by Jiang Kui and Zhou Bangyan respectively,the comparison between Zhou and Jiang is actually a debate on the strengths and weaknesses of ci-s in Northern and Southern Song dynasties.The similarities and differences between their ci styles essentially are primarily embodied in “solidity” and “emptiness”.Based on Ci-lyrics studies in different dynasties,this paper explores the transformation and enhancement of the perception of Zhou Bangyan and Jiang Kui’s ci-s in Ci-lyrics studies of different times,thus contributing to a profound knowledge of the development and evolution of ci-s in the two Song dynasties.