On The Images Of Qingzhen Poetry

Zhou Bangyan was a famous poet at the end of the Northern Song Dynasty. In Baiyu Thai Criticism Volume I, Chen Tingzhuo commented that Zhou Bangyan "inherited Su Shi and Qin Guan's poetic style, and paved a way for Jiang Kui and Shi Daizu's poetic creation". On the one hand, Zhou Bangyan, as the last principle figure of the Northern Song Poetry, took advantages of many other poets' merits and formed his own uniqueness; on the other hand, he benefited his later generations a lot, like Jiang Kui and Wu Wenying in the Southern Song Dynasty, and functioned as the link for poetry in the two Dynasties. The thesis presents a systematic analysis of the imagery of Qingzhen Poetry on the basis of the texts, the historical background as well as the poet's life career. It aims at providing a unique perspective for the further study of Qingzhen Poetry. The thesis is divided into six parts.In the part of introduction, the definition of image is revealed. Image is an important concept in the field of literary theories and criticism. There exist many differences of its usage and understanding. This part mainly introduces the development of the concept of image in order to show its meaning in the Chinese traditional poetics, and gives a simple definition of the concept to lay the foundation for the later parts.Chapter one gives an analysis of the images of Qingzhen Poetry. At first, it shows statistics of the images. According to Notes to Qingzhen Poetry, there are two types of images in Qingzhen Poetry, including the objective-and-natural images, and the social-and-historical images. Then, efforts are made to discuss the implied meanings of those images—a reserved and delicate style, a sentimental tone and an expression of Taoist ideas. At last, an in-depth analysis of some representative images is presented, such as moon, willow, wine.Chapter two reveals the composition of Qingzhen images, which includes the paralleling, skipping, stacking, crossing, contrasting and compounding types.Chapter three analyzes Qingzhen images and the aesthetic features of their composition, i.e. colorful and dynamic feelings, as well as implicit beauty. Chapter four mainly discusses Qingzhen images and Qingzhen paradigm. Qingzhen paradigm refers to the creative writing style of expressing feelings in meditation and the elegant aesthetic style.The last part draws a conclusion. It concludes the general features, creative points and influences of Qingzhen images. In addition, it gives an outlook of the further study on Qingzhen images.