Cultural Connotation Evolution Of Poems On “Willow” From Han To Tang Dynasties

The period from Han to Tang Dynasties is an important period for the evolution of eulogistic poetry, of which poems on willow are the most representative. This paper traces back to the origins of willow image in poems from Han to Tang Dynasties at first. Then we try to show clearly the developing process of cultural connotation implied in willow image in poems of this period. Based on the poem materials we collect, we come to a conclusion--the evolution process of the aesthetic psychology of willow image in poems from Han to Tang Dynasties. All the poem materials collected are from “Full Tang” published by the Chung Hwa Book Company and “pre—Qin Northern and Southern Poem” written by Lu Qinli. At last, we try to explore the relationship between the willow image in poems and the “willow” documented in related literature, and the aesthetic tendency of willow in poems.The first chapter mainly probes into the origins of willow image in poems from Han to Tang Dynasties. The willow image in poems from Han to Tang Dynasties originated from “book of Songs” in the pre-Qin period. And willow image in this period carried forward description of willow scenery and the parting emotion in willow poems of later ages. The literature tradition of “giving fragrant plants by which implying sentiment of missing” in “The Songs of Chu” influenced two composition models of poems on willow in later ages: sending willow branches to parting persons and implying sentiment of missing or loving in willow image.In the second chapter, we count up the numbers of poems on willow and representative willow poets from Han, Wei, Jin, Northern and Southern, and Tang Dynasties. According to these statistics and analyzing of them, it can be concluded that the numbers of willow poems were increasing with time, willow image were developing into a unique poem motif, and willow’s cultural connotations were extending and developing further.In the third chapter, according to the statistics and analyzing of typical poems on willow, it can be concluded that the aesthetic psychology of willow image in poems from Han to Tang Dynasty evolved in a complex way:First, willow image in poems went through the transformation from depicting scenery to implying farewell. The depiction of willow in poems began with the willow imagery in “the Book of Songs”, when willow didn’t mean farewell in every case and the imago and the physical image were relatively separated. After the important transition of the willow imagery in the poems from Han, Wei, and Jin Dynasties, and widely spreading by many poets; the willow imaginary mainly representing farewell became clear and fixed, a style of farewell poems about “willow” came into being, and the imago and physical image of “willow” became integrated from Han to Tang Dynasties.Second, willow image in poems went through the transformation from mourning to expressing sympathy. As a plant on the cemetery in the folk custom since the pre-Qin period, willow, as an image, began to be used in mourning poem since Jin Dynasty. The grief contained in the willow imagery gradually became lighter in the mourning poem of the Northern and Southern Dynasties and turned into cherishing the memory of scholars of the past. The willow imagery in poems of Tang were generally not about mourning, it reflect more about certain activities of the Qingming Festival, the reluctance to part with relatives and friends,and even the Tang people’s lofty feelings of bemoaning the state of the universe and pitying the fate of mankind.Third, willow image in poems went through the transformation from symbolizing male character to comparing with female character. From Han to Tang Dynasties, the human dignity position of imagery willow was generally descending, its sexual character turned from male to female.Fourth, willow image in poems went through the transformation from unity to diversity. The imagery willow in Han Dynasty was not directly related with connotation of farewell, in Jin, Northern and Southern Dynasties, it became directly related with farewell and the farewell connotation extended, in Tang Dynasty, based on the farewell connotation, a variety of connotations occurred, whether related with farewell or not.Besides, the willow recorded in literature is closely related with the imagery willow, the former reflects certain folk culture of willow and the source material of the latter came from social life. The latter appeared later than the former and always carried on the former’s character in different degrees. Besides, it could be concluded that the Imagery “Willow” in poems from Han to Tang Dynasties tend to be feminine and lack masculine features.