Research On Aesthetic Categories In Ci Poetry Studies

In the appreciation and study of ancient Ci poetry, the aesthetic category is an important subject of research, but has so far not received much attention. In this thesis, therefore, we try to formalize a logic development path of aesthetic categories in the Ci poetry study history, and present a comprehensive and in-depth study of some of the most important ones of such categories.This thesis begins with a brief introduction of the background of our study, an overview of aesthetic categories in Ci poetry studies, as well as the objectives and intention of the study. The main subject of the thesis is then treated in fifteen chapters.Chapter One, Logic Development of Aesthetic Categories in Ci Poetry Studies, gives an overview of the development path of aesthetic categories in the history of Ci poetry studies, which lays out a basis for our studies in the subsequent chapters.In Chapter Two, we introduce the category known as Shiyu (诗余,leftover of poetry) which had played a vital role in the value positioning of Ci poetry. We analyze the value embodied by this concept as well as its influence on the later generations.Chapter Three presents an in-depth discussion on the important category Zhengbian (正变, referring to the two broad categories of Ci styles, i.e., formal style and the variants) which covers styles and origins of Ci poetry.Chapter Four provides a detailed description of category Bense (本色 , meaning the true colors of Ci poetry). Bense reflects the special requirements for the style and form of Ci poetry.Chapter Five to Chapter Seven are devoted to the important concept of Wanyue (婉约, meaning subtle and concise) and its associated categories including Yinrou (阴柔, feminine tenderness), Yuanqing (缘情 , to express mood and feelings) and Hanxu (含畜, pregnancy of meaning). Wanyue represents the general style of Bense Ci poetry, and is characterized by feminine tenderness in aesthetics, fate and friendship in contents and pregnancy of meaning in the way of expression.From Northern Song to Southern Song, Ci writers had pursued depth and profundity in both contents and meaning of their works, and continuously seeked refinement and elegancy in the way of expression. This is known as Yazheng (雅正 meaning elegant and formal). The evolution of Ci poetry into the Yazheng style of writing could be clearly seen from three Ci streams. In one aspect, the school represented by Su-Xin featured elegant and formal ideology and contents. On the other hand, the Zhou-Wu school featured elegant and formal in language and expression. And finally, the Jiang-Zhang stream was characterized by elegant and formal mood. Corresponding to this, three Bianti (变体, variant styles) categories emerged, including Haofang (@豪放, bold and free ), Zhishi (质实, with solid and abstruse substance in contents) and Qingkong (清空, clear and simple). We treat two of these categories , Haofang and Zhishi in Chapter Eight and Chapter Nine. Detailed description is provided on their root, intention and the evolution of their meaning and connotation in the history of Ci appreciation.In Chapter Ten, we present the historical basis on which the Yazheng category was introduced. We also analyze the connotation of the category as proposed by some of the most important Ci experts and schools.In the historical period from Song to Qing Dynasty, the objectives and development of Ci poetry studies had been to promote its social value and position. This is referred to as Zunti (@, respect Ci poetry and promote its value). Therefore, in the final part of the thesis, Chapter Eleven, we describe the concept of Zun Ti appeared in history of Ci appreciation.