Study Of The Landscape Poetry Of Bao Zhao

This thesis, consisting of four chapters, is aimed at analyzing the artistic style of Bao Zhao’s landscape poetry, the status of Bao Zhao in YuanJia landscape poetic circle and the influence of his poems on QiLiang landscape poetic circle, based on the poetic style, plus the political and cultural background of YuanJia period. The innovations of this thesis are as follows:Ⅰ,"intentional imitation of Xie Lingyun" can be sensed in the sightseeing-themed landscape poetry of Bao Zhao, which not only is in terms of creative skills but also, in nature, reflects his yearning for the Shizu (aristocracy) spirit and fashion embodied in Xie Lingyun’s landscape poems; Ⅱ, the sightseeing-themed landscape poems of Bao Zhao is impacted by Han Da Fu, from the respects of both creative skills and motives, so they can also be called "Da Fu-style" landscape poems; Ⅲ, Bao Zhao’s landscape poetry displays the characteristics of Hansu (lower-class) Landscape Poems on the whole, tied with the Shizu Landscape Poems represented by Xie Lingyun and Yan Yanzhi in the YuanJia landscape poetic circle.The preface of the thesis introduces the status quo and deficiencies of current research on Bao Zhao’s landscape poetry, presents the background for his poem writing and classifies his landscape poems, namely, into sightseeing-themed (9) and drift-themed (15) ones.The first chapter of this thesis analyzes the art characteristics of the sightseeing-themed landscape poetry written by Bao Zhao and the reasons for these characteristics on the basis of the political and cultural background of LiuSong Dynasty (the first dynasty of the Southern Dynasties). The art characteristics of Bao Zhao’s poetry can be summarized as "magnificent and beautiful", which is closely related to Bao Zhao’s personality and "erudition"; besides, excessive rhetoric makes the scenery description in his landscape poems "abstract". In addition, this chapter also discusses that Bao deliberately imitated Xie Lingyun in landscape poem writing. In addition to the writing skills, such an imitation also mirrors Bao Zhao’s yearning for and learning of the aristocracy fashion, which forms an important reason why the sightseeing-themed landscape poetry of Bao Zhao embodies the metaphysical and hermit thought but lacks personal emotion.The second chapter describes the relationship between Bao Zhao’s sightseeing-themed landscape poetry and Han Da Fu. The relationship is not only reflected in the means of artistic expression of Bao Zhao’s poem creation, namely "mixing Fu craft into poem", but also in the similarity of creative motive between the two, i.e. to present talent and learning, and to buck for success in official career.In terms of "the penetration of emotion into landscape" and "the combination of landscape and drift-themed poems", the third chapter elaborates the creation and "Hansu (common people)" feature of Bao Zhao’s drift-themed poetry. Compared with the sightseeing-themed poetry, his drift-themed poems is no longer an intentional imitation of Xie Lingyun but represents a kind of return to the emotional expression of his own as well as the Hansu literature. Also, this thesis holds that "landscape" is traditionally belongs to Shizu literature while "drift" to the Hansu literature. Thus,"the combination of landscape and drift" reveals the influence of Hansu literature on Shizu literature. The drift-themed landscape poetry of Bao Zhao can be taken as the victory of Hansu literary tradition in LiuSong poetic circle.The status and influence of Bao Zhao’s landscape poetry are expounded in the fourth chapter. In the Yuanjia landscape poetic circle, Bao Zhao’s sightseeing-themed landscape poems can be classified into "Da Fu style" and his drift-themed poems represent the poetic creation of the lower class. Moreover, the increase of emotional expression, the expansion of themes and so on in Bao Zhao’s drift-themed landscape poems exert tremendous impact on the development of landscape poems in Qi and Liang dynasties.