A Study On Tang Dynasty’ Object-chanting Poems And Artistic Ideorealm Composition Of Tang Poetry

Object-chanting poems of Tang dynasty is featured by a great many poets, largequantity and fine quality, which typically refects the development of artistic ideorealmcomposition of Tang poetry. Based on the existing research findings, the present thesisattempts to probe into the composition and development of Tang poetry’s artisticideorealm from the perspective of object-chanting by means of case study.The present thesis is composed of five chapters in all.The section of introduction outlines the current research situation ofobject-chanting poems of Tang dynasty as well as its vital importance in the artisticideorealm composition of Tang poetry.The first chapter deals with the object-chanting poems of Tang dynasty and"Xingji" of Tang poetry, which is divided into three parts. The first part focus on LiQiao’"Za Yong Poems" and its fundamental characteristic of "lve wu Xingji" who isknown as the foremost poet in the writing of object-chanting poems during the earlyTang dynasty; By analyzing the object-chanting poems of "Wen Zhang Si You", thesecond part is devoted to investigating the "Xingji" embodied in the poems of thatvery group to further illustrate the fact that the writing of object-chanting poems is themeans for poets to show off their talents; the third part aims to make a systematicexploration on the development process of object-chanting poems changing from thesimple depiction of object shape, similarity in form to similarity in spirit throughcomparing the description bamboo poems of four poets of early Tang dynasty.The second chapter concentrates on the analysis of object-chanting poems in theperiod of the flourishing Tang dynasty in terms of combination of form and spirit andartistic ideorealm. This chapter also includes three parts. The first part is concernedwith the combination of form and spirit from the angle of "spirit" and three states ofthe object-chanting poems of the flourishing Tang dynasty; the second part firstlyexpounds the interrelationships between physical image, image and artistic ideorealmand then gives a detailed analysis of the artistic ideorealm through the specific casestudy of poems from Li Bai, Wang Wei, Wang Changling and Du Fu etc; the third partpay attention to the Du Fu’ object-chanting poems recognized as the paradigm ofobject-chanting poems of Tang dynasty. A close look will be taken at the inclusiveness of naturalization and the harmony between the inner world and the outside naturalworld of Du Fu’ object-chanting poems.The third chapter lay emphasis on the features of "spirit being sole and appearancebeing neglected" and "indistinct artistic ideorealm" of the object-chanting poems ofTang dynasty, comprised by three parts as well. The first part makes a listinvestigation on66cicada poems selected from the Complete Collection of TangPoetry and meanwhile compares three cicada poems with high popularity andevaluation to delve the feature of the "spirit being sole and appearance beingneglected" of Li Shangyin’s object-chanting poems; the second part furtherdemonstrates the important role "spirit being sole and appearance being neglected"played in the establishment of "indistinct artistic ideorealm" with the aid of LiShangyin’s poem writing; the third chapter analyzes the "haziness and quietness" andthe factors influencing its formation. It is revealed that with amazing talent and deepcultural accomplishment, Li Shangyin opens up a brand-new and profound indistinctartistic ideorealm based on the specific poem analysis. His poems are thenconsidered enriching the artistic ideorealm of poetry of Tang dynasty.The last part summarizes up that object-chanting poems of Tang dynasty is thereflection of Tang poetry’ development of artistic ideorealm composition. It could befurther concluded that such development process exactly conforms to the that of richand multiple artistic ideorealm composition of poetry of Tang dynasty.