The Study Of Zhang Zhu’s Ci On Chanting Things In Yuan Dynasty

Ci on chanting things, as an important subject, has got enough development sinceSong Dynasty. Zhang Zhu’s Ci in Yuan Dynasty on chanting things accounts most inhis133Ci poetry, which can stand his own style feature and artistic achievements ofall his poetry. With an eye to Zhang Zhu’s Ci poetry and related classics and studydata, the paper combines his chronology, touches his representative social events inhis whole life, and debates Zhang Zhu with his Ci on chanting things compose indetail only to acquaint his up surging and detached mentality of scholars.The introduction part of the paper mainly clarifies the theme’s background andstudy values, which included the location of writer’s social role, argues related studies,and summarizes Zhang Zhu’s life experiences and compose. There is Poet, Ci, andArticle of the languages in his writings. The specific phenomenon that it has Ci but noGenre, explains a fact Zhang Zhu’s stylistic view is not a “Yue Fu” Concept united Ciwith Genre, but differentiates them. What he pursues is the production of traditionalelegant literature such as poet, Ci.The first chapter cards the development context of Ci on chanting things in SongDynasty, Jin Dynasty and Yuan Dynasty. Firstly, it explains the source of Ci onchanting things; then, it makes a united carding of the developing evolve and orbitsbetween North Song Dynasty, South Song Dynasty and Jin Dynasty, Yuan Dynasty inmany aspects such as subject, format, language, representative Ci poets, contributesand so on. All those put a substantial groundwork for next study about Zhang Zhu’s Cion chanting things.The second chapter mainly talks the basic location of his Ci on chanting things. Itsorts the subjects of all his Ci poetry, which mostly analyzes Ci on chanting thingsand the relation between Ci on chanting things and Painting Ci, namely, Painting Cibelongs to the broadly Ci on chanting things. There are12Painting Ci poetry in his43Ci poetry on chanting things. Finally, although Zhang Zhu’s Ci on chanting thingslays the rest of Ci on chanting things development history, it still possesses thefeatures and values of fusing northern and southern styles as well as the uniting ofdepicting things, narrating, and expressing one’s emotions.The third chapter is the main part of the paper, which discusses the creativecharacters and whole styles of Zhang Zhu’s Ci on chanting things. From the thoughtsand contents, chanting plums accounts most, so we part it from others such as plants,animals, natural phenomena and daily things to contact a debating. Of those, Ci onchanting things can reflect writer’s up surging and detached mentality of scholars.From whole styles, it takes on flamboyance with deepness and elegance with nature.This originates from his cultural notions and adherence in accordance with Su Shi’s“Poetic Ci Value”. At last, we summarize that the writer chooses metaphors, allusions,function words, and painting methods to add colors with four different productive attitudes.The epilogue part summarizes Zhang Zhu’s existence and mentality of scholars.On one hand, Zhang Zhu, a good minister, protects the government of Yuan Dynasty.This is the surface of his “office”. On the other hand, his name “Tui Yan” and contentsof Ci on chanting things display the surface of his “seclusion”. So we can concludethat Zhang Zhu, as a Yuan Dynasty senior cultural person, still situates the existenceof office and seclusion, which has no substantial differences from the “ScholarPersonality Pattern” built by Su Shi and manifested aesthetic interests and ideals.