A Study Of Court Singing And Poetry In The Tang Dynasty

The object in this paper is the palace responsory poetry in Tang dynasty,which is centered around the reduction of the cultural background and the text reading of these works,in order to explore the formation,development and evolution on poetry aesthetics.The background of Tang's palace responsory poetry is this unification dynasty,which combined with the lasting influence of the Qi Liang palace poetry,and forming the Tang Dynasty palace aesthetics with distinct characteristics of the times.The foundation of Tang's palace responsory poetry is closely related by literary activities of court poets,realistic political situation of poets and the prevailing literary ideas,which are gathered to build the spirit of the Tang dynasty.Through the interaction of the Tang's palace responsory poetry can construct the development process of the palace poetry in Tang Dynasty.It is divided into three parts: transition,prosperity and fade.Firstly is the transition period,that the Tang Dynasty palace responsory poetry has not been completely finalized at the time,and represent by Li Shimin,Yu Shinan,Xu Jingzong and Shangguan Yi.It is started on the interaction between Yu Shinan in the early Tang Taizong reign,and Yang Shidao and ended on Shangguan Yi,who is the main character of palace poetry.This period is the Tang Dynasty changed from the poetic tradition of the Southern Dynasties to the pattern of the unified dynasty.Second is the prosperity period.It can divided into two times,one is Wu Zetian period which represent by the famous “four friends” and Shen Quanqi,Song Zhiwen,and it is the setting time of palace poetry style;The other is from Emperor Xuanzong of Tang Dynasty(Kaiyuan&Tianbao)to the "An-Shih Rebellion" broke out,which is the prosperity period.This peaking time is from Emperor Wu Zetian and Zhongzong to Emperor Xuanzong(Kaiyuan&Tianbao).The responsory poems written by “four friends” and Shen Quanqi,Song Zhiwen have played an important role on the setting of poems in Tang Dynasty,which completely absorb the traditional poetic elements of Southern Dynasties and change to the poetic aesthetic atmosphere of the Tang Dynasty.Finally is the fade period.Because of the "An-Shih Rebellion" and the changes in political situation,palace responsory poetry cannot continue the style in the early and glorious age of Tang Dynasty.The “Da Ming ” Palace responsory poetry in Emperor Suzong(Qianyuan)is closely related by the delicate political situation.It not only embodies the spiritual loss of the Tang Dynasty poets in the complicated political situation,but also marks the end of "the glorious Tang Dynasty" and draws to “the mid-Tang Dynasty” style.After the mid-Tang Dynasty,Quan Deyu is the last representative figure.The gradually disappearance of palace responsory poetry is also the embodiment of the palace culture in the Tang dynasty.The palace responsory poetry in Tang Dynasty is based on the characteristics of the palace style poetry in the Southern Dynasties,then coupled with the unique characteristics of the Tang Dynasty palace culture,which finally shape a new poem style.It shows an essential way of setting the rhythm of Tang Poetry,the evolution of poem style and the orientation of aesthetic paradigm.In this situation,the prosperity and extinction of the palace responsory poetry in Tang Dynasty shows a profound cultural significance.