From The "Law Of The Grid" To The "meaning Of The Grid.

This thesis contains five studies on Tang Dynasty poetry theory, covering themain part of the Tang Dynasty "Shige" works. Based on the conclusions of theseresearches, the thesis attempts to explain such kind of an understanding as follows:Tang Dynasty poetry theory of " Shige " can be divided into two periods. In the firstperiod, most discussions include antithesis, rule of rhythm, syntax, poetry structureand the external form, etc. In the second stage, Wang Changling’s "The DiscussionAbout Poetry Meaning" marks transformation to the intrinsic aesthetic appeal,including poetry meaning, sentence potential, style grade, and these studies graduallyreach to " top style grade " as the ultimate aesthetic ideal of consensus.Five thematic research conclusions are as follows:"Pattern of the law: Atinthesis theory": The atinthesis theory of Tang Dynastycan be divided into four periods according to characters of the period. After SixDynasty, the discussion before Wuzetian focused on semantics, syntactic structureand phonological perspective; in the period of Gaozong and Wuzetian, the atinthesistheory were builded on the based of "odd" form. Wang Changling and Jiaoran beganto focus on poetry meaning and sentence potential, which represented the highestlevel of the Tang’s Atinthesis theory; thereafter the atinthesis theory gradually fadeout from Tang vision."Pattern of the law: Errors of Rhythm and Sentence ":“Eight errors" are the ruleon the pronunciation differences about Chinese aesthetic character in the poetry,Pingtou, Shangwei, Fengyao and Hexi belong to tone differences, while Dayun,Xiaoyun, Pangniu and Zhengniu belong to timbre differences.From Rhythm rule ofthe Metrical poetry, Tang People paid more attention to the tone and timbredifferences increasingly ignored due to the diversity of their own; Juyu, Congju andJihui could reflect the concern about "sentence disease" in the early Tang, whichfocused on the such nine perspectives: no concentrated in rhyme, not neat atinthesis,analogous font, monotonous meaning, ominous writing, monotonous format,unconscionable semantics, disordered structure and vulgar Writing."Wang Changling’s The Discussion About Poetry Meaning and the change ofTang Dynasty poetry theory”: the theory based on "good meaning means good patternand high grade" aimed to achieve a new level of writing as a central objective. Poetrycontent required "writing own experience and mind” and used words precisely andconsistently. The relationship between poetic meaning and images was "the scenewould merge into poetry meaning". Eventually creative ideas were set up that mainlyrelied on the poetry meaning and pursued intrinsic aesthetic."Style one of the article: high level of style": Influenced by Wang Changling’spoints of views of "good meaning, good style”. Tang Dynasty poets generallyestablish a new writing style to enhance the overall character of poetry throughseeking the meaning of poetries. The influences of "meaning" on the "style" were asfollows: the relationship of ethics was able to "benefit elegance"; creative goalwas "to seem easy but difficult";"deep" and "new" were two quality requirements to be fulfilled simultaneously; emphasized on structure and "moderate","reserved" and"cautious" function."Style two of the article: images": Poetries in Late Tang Dynasty more usedmetaphor on political and morality-related issues by "images". The thesis revealsthe origins of this phenomenon from Sao Bixing poetry and traditions like describingbeauty and herbs, and analysis the relationships between them, indicating theimportant role in the creation of poetry writing. It concluded that both of the "subtle"poetic expressions on "meaning and images" and poets’s own concerns about theirown situation and unsatisfied with society led to an outbreak in the late Tang Dynasty.