Ming Dynasty, Tang Learn

The study on Tang Poetics should consists of the following three aspects: the spreading of Tang poetry, the criticism of Tang poetry and the influence of Tang poetry on the writing of poets in the Ming Dynasty. The study of Tang poetry in the Ming Dynasty has been conducted more deeply than before in almost every aspect, such as in selection and edition,compiling, supplement and correction, and textual criticism, defining of system, identification of style, exploration of the aesthetic value, discussion on techniques and methods of writing, etc; and Tang Poetics thus beenestablished in a real sense. Tang Poetics in the begging of the Ming Dynasty has close connection with the vogue of the poetry writing at that time, which can been seen in the correspondence between the "Orthodox evolution"in the stuffy of Tang Poetics and the "praising prosperity to country"in poetry writing; thus, the ups and downs of the empire affaires has been attached with much importance and prosperity Tang poetry was adovacated. Against this background, two anthologies of Tang poetry by Ming scholars has come out, namely, Tangshipinhui and Tangshizhengsheng. With these two anthologies, GAO Bing has built up his huge and systematic Tang Poetics system in the form of deviding Tang poetry to four periods, based his theory on pure sound,and expounded his theory in a way of generation; and thus built up the foundation of Tang Poetics in the Ming Dynasty with poetry-style and poetry rhyme as its focuces. During Yongle and Chenghua of the Ming Dynasty, influenced by the return-to-the-ancient trend of acient style of Han-wei Dynasty and new style of prosperity Tang Dynasty,the pursuit and imitation of Tang poetry were carried out through stylistic mode and skill of creating. Poetry criticizers at this time often embodied the rules and methods of writing drawn or concluded from the practice in the concept of stylistic mode.Li Dongyang regards style first and foremost as the norms of creation, corresponding with the stylistic characteristics of poetry, and holds that tune and style should work interactively and be integrated. Later on , the time of Hongzhi and Zhengde saw the flourishing of poetry. The Earlier Seven, represented by Li Mengyang, enthusiastically advocated style mood of prosperity Tang Dynasty which is the combination of the style of Du and the Tang tune and deepened the study of Tang poetry in both writing and theory. A kind of zest for anthologies of Tang poetry aroused in the middle of Jiajing and Wanli of Ming Dynasty and the works of Libai, Dufu and other poets of the the early and prosperity of Tang Dynasty turn out to be new focuses of publishment of Tang poetry.Besides, the variety and number anthologies of Tang poetry increased greatly. The active spreading and acceptance of Tang poetry of the Ming people displayed the theoretical trend of prosperity of Tang Dynasty in Tang Poetics study at that time. The Later Seven, represented by XIE Zhen andWANG Shi-zhen, endowed the poetry of prosperity of Tang Dynasty with much richer content, by moral integrity and feeling so that leadingstyle mood of Tang poetics to change from writing theory to a kind of aesthetic theory. Poetic theorist Hu Yinglin discovered thesuper naturalinspiration of prosperity of Tang Dynasty from the angle of artistic appreciation and thus completed the theoretical leap of Tang Poetics of the Ming Dynasty. Ever since the middle and later of Wanli of the Ming Dynasty, the edition of the complete collection of Tang poetry has been drawing more and more attention. An eclectic trend was arousing in both poem selection and poetic theories and the stage dividing of Tang poetry come to be more eclectical which led Tang Poetics to enter an open world. At this time, two important theoretical books on the style and tune of Tang poetry came out, namely, Shiyuanbianti andTangyinguiqian,which echoed with Tangshipinhui and together formed a self-sufficient system of Tang Poetics in certain sense.