The Level Of The Theory Of The Origin And Tension

Zhangyan’s Ciyuan is an important works in the history of Ci.This importance reflectsin the following respects: first,Ciyuan which covers melody、thoughts and feeling、aestheticrealm、creation and criticism of Ci on multiple levels, is a systematic and comprehensiveCi-poetry works.Second,Ciyuan explicitly puts forward "Yazheng"、"Qingkong"、"Yiqu"and other Ci-poetry thoughts. Compared to other Ci-poetry works that broadly commentson Ci,Ciyuan is more theory height.Third,Ci Yuan has a far-reaching influence on thetheory and creation of Ci of later generations.In Qing Dynasty,Zhangyan’s Ci wereregarded as the model,and his Ci-theory as the law of creation by Zhexi School.Ci Yuan is a rich tension Ci-system.This paper discusses the system from two sides: Onthe one hand,this paper focuses on Ciyuan’s structure and level in order to study thesystematic theory of Ciyuan;On the other hand, It emphasizes the relationship betweenseveral Ci-poetry propositions in Ciyuan, the purpose is to find the internal tension ofCi-theory.This paper specifically includes four chapters: Chapter I discusses melody attribute ofthe Ci. After analysing the origin of the Ci and the music,it expounds that Zhang Yan andothers take melody as the essential attribute of the Ci.Chapter II clarifies the thoughts andfeelings of the Ci."Yazheng " is related to the main ideas and ambitions,"Saoya" is mainlyconcerned to emotions, and it explains that "feeling of have no evil" is "Ya"; Then itdiscusses the limitations of"Yazheng", the "Ya Ci" view apparently losts beauty and a lackof broad mind.Chapter III mainly probes into Ci’ s aesthetic artistic conception. The firstsection discusses the territory of empty of Ci, which vertically combs the philosophy originand poetic inheritance of "Qingkong", then reads the void state from the image of the key.Chapter III mainly probes into Ci’ s aesthetic artistic conception. The first section discusses"Qing si wu xie" of Ci, which vertically combs philosophy origin and poetic inheritance of"Qingkong", then reads the void state from the image of the key.The second sectiondiscusses the "Qu" of Ci, which first analyses that the men of the Song Dynasty take"Qu"as aesthetic pursuit, then explains the status and role of "Yiqu" in Ciyuan, andclarifies that "Yiqu"and "Qingkong" is mutual supplement in order to show the innertension of Zhangyan ’s Ci-theory. The fourth chapter discusses the practice of Ci-theory,including creation and criticism.The creation is analysed from the form and content,thestandars and methods of criticism in Ciyuan are summarized.