On Changzhou Ci Poetic School’s Construction To The" Poetic Imagery Of Ci"

Poetic imagery, that is a very important category in the history of Chinese poetics theory. It is the highest standards of evaluation works, and it is also the ultimate goal of creator pursuing. The theory of poetic imagery in poetry is introduced into the Ci poetry, which has developed Ci poetic imagery. Ci Poetic imagery is generally referred to the poetic imagery before Wang Guowei developed it. The theory of Ci Poetic imagery finally matured in the Qing Dynasty. Ci was a phases of reprosperity in the Qing Dynasty and the theory of Ci appeared various schools. These various schools of Ci explicate the theory of theirs, they also actively constructed the theory of Ci Poetic imagery at the same time, especially the Ci of Changzhou school. In the efforts of Changzhou school, Ci Poetic imagery can constantly improve, eventually becoming a complete aesthetic standards.The body of my thesis is based on the Changzhou school, from the angle of the theory and creation of the Changzhou school’s Ci Poetic imagery, I can inspect the extension of traditional theory of Ci Poetic imagery and the construction. This thesis is divided into six chapters.The introduction is overall the introduction the academic study of Changzhou school and the conditions of Ci Poetic imagery. First chapter is based on the related literature material, defining the component members of the Changzhou school and previewing the Ci in the origin、rheology, etc. The second, three, four and five chapter discuss the theorists of Changzhou school construction the process of the Ci. The second include two aspects, it discusses the aesthetic qualities of the initially mentioned, which is from Zhang Huiyan’s great important meaning of Ci, advocating growing of Bailment theory to the aesthetic thoughts of "Deep Hong about beauty". Zhang’s views can be seen as thought germination of Changzhou school, which was the important theoretical basis for the construction of Changzhou school condition. The chapter three discusses Zhou Ji’s construction of Ci Poetic imagery from the mental shackles of pursuing "empty"、"solid" to the "deep and vigorous" of real and empty three aspects. He uses "empty"、"solid"、"deep and vigorous" and "muddy" category to support his theory and create a system of his own. In addition; Zhou Ji has begun to use the category of "artistic conception", which has preliminary constructed the theory of Ci Poetic imagery of Changzhou school. The chapter four discusses Tan Xian、 Chen Tingzhuo’s state of "gentleness and sincerity"、"depressed". Tan Xian advocates the state of "gentleness and sincerity" when he comments Ci, and Chen Tingzhuo uses the state of "depressed" as the best "artistic conception" of Ci. The two theorists have began to use "condition","poetic imagery","Ci Poetic imagery" category and so on to discuss Ci. It is marked the deduction and deepening of theory in Ci Poetic imagery. The chapter five discusses Kuang Zhouyi’s state of "solemn and quiet", he attached importance to the Ci of Tang and Five Dynasties as well as Song Dynasties. Compared with the previous theorists, his outlook on Ci poetry was more comprehensive. His "solemn and quiet" theory has revised Zhang Huiyan、Tan Xian and Chen Tingzhuo’s Ci ideas of merely deposit one’s feeling to the image, which more close to the specific property of aesthetic appreciation of Ci’s graceful and restrained, which representatived the theory of Ci poetic imagery finally perfection. The chapter six takes representatives of Ci poets of Changzhou school for example, such as Zhang Huiyan and Kuang Zhouyi, taking a holistic approach to their Ci poetry in order to investigate Ci poetry of Changzhou school both in theory and practice. The conclusion discusses the difference in Ci Poetic imagery between Changzhou school and Wang Guowei. The Ci poetic imagery of Changzhou school is the inheritance, development and perfection in traditional Chinese poetic theory. However, Wang Guowei’s ideal state had not only strong religious meaning of philosophy but also absorbed Western thought and theory, which is different from traditional Chinese poetic theory.The reason why the Ci Poetic imagery theory of Changzhou school derived from the same origin is that Changzhou school’s critics possess conscious succession. Briefly, they are emphasize the category of "spiritual sustenance", which is the core category of Changzhou school. For example, Zhou Ji’s theory of "deep and vigorous", Tan Xian’s theory of "gentleness and sincerity", Chen Tingzhuo’s theory of "depressed", Kuang Zhouyi’s theory of "thick、weight、big". This category all root in the "spiritual sustenance", which refer in particular to a imposing and deep inner emtion, namely, Changzhou school stress Ci should have spiritual sustenance. Changzhou school not only actively constructed traditional poetic imagery theory in Ci-study, but also tried to practice their views of Ci Poetic imagery in the creation. They are the bilateral interaction of Ci poem school in the unwonted realization of theory of Ci-study and specific creation in the history of Ci research. This is also a main reason that this school is established in the late Qing Dynasty hundreds of years.