A Study On The Spread And Reception Of Jiang Kui's Ci-poetry

Jiang Kui's style is different from both graceful and restrained style and bold and unconstrained style. His Ci-poetry-poetry has a significant influence on the later generation's. However, the academe hasn't had a systematic research on the spread and reception of Jiang's Ci-poetry.This article studies on the process and characteristics of the spread and reception of his Ci-poetry with theories of spread and reception, using statistic methods of quantitative analysis. From the research, it is known that each climax of the spread and reception of Jiang's Ci-poetry indicates an important change of styles of Ci-poetry. During south Song Dynasty, Jiang's Ci-poetry which had no disadvantages of both graceful and restrained style and bold and unconstrained style was greatly respected. It had the characteristics of clarity, vacancy, disturbance and elegance and later Jiang and Zhang's Ci-poetry became the most influential faction during the upper South Song Dynasty. Its influence lasted till the middle of Yuan Dynasty. After the silence of two Dynasties of Yuan and Ming, Zhexi Faction which regarded Jiang as the earliest ancestor began another bloom of Ci-poetry. Finally, the spreading of Jiang's Ci-poetry reached its climax of history. Although Jiang did not had many works left and this made his Ci-poetry more difficult to be spread, Jiang's high art quality and special style made his Ci-poetry be able to be spread from generation to generation. Only having 87 Ci-poetry left, Jiang Kui still becomes a Ci-poetry master only inferior to Xin Qi Ji.