The Acception Of Zhuyizun To The Object-changting Ci Of Southern-song Dynanasty Adherents

In the history of Ci-ology development,Qing-Ci has countless ties with Song-Ci,in Qing dynasty,whether Qing-Ci stems from Northern Song or Southern Song were endlessly debated in the Ci-logical world.At that time,Ci enjoyed a tremendous prevalence,in which Qing-Ci referenced the technique and connotation could played a vital role.The probe into the acception relationship between Qing-Ci and Song-Ci can not only provide approaches to a comparative study between Qing-Ci and Song-Ci,but an opportunity to investigate succession of Qing-Ci after Song Dynasty as well.The Ci-Poetry communities of Song Dynasty adherent,which takes Wang Yisun,Zhang Yan and Zhou Mi as elitists,and an early Qing-Dynasty Ci-poet,Zhu Yizun,were taken as objects in this study.Though Zhu was not essentially adherent of Song Dynasty,his emotion and experience(experience of being official in new dynasty for complicated reasons)make his life story comparable to Song Dynasty adherents,and his tremendous esteem for Object-Chanting Ci of Southern Song dynasty adherents reinforced it.Two aspects including the Chunya style and Aesthetic pattern were chosen here to discuss the Zhu Yizun's acception to Object-Chanting Ci of Southern Song dynasty adherents.The subject of this paper consisted of three parts,and the introduction teased the research status,defined the Object-Chanting Ci,which is the core concept of this paper,based on the analyses of history changes of Object-Chanting literature.Part ?,the Zhu Yizun's succession to the concept of Chunya was firstly described,and its representation was discussed by the ideology and the article technique in his writings.Part ?,the acception to the Aesthetic pattern of Object-Chanting Ci of Southern Song dynasty adherents was mainly discussed in this part.The Aesthetic pattern here is about that,between the Object and Self in aesthetic relationship,which is on the subject status.In this paper,the aesthetic pattern was divided into two styles,the Moke-Yongtan(CopyChanting)style and Qiongwu-Fuxing(Meticulous-Figurative)style,and Zhu's acception were discussed by these two aspects.Though Zhu showed tremendous esteem for Moke-Yongtan(Copy-Chanting)style,he put Qiongwu-Fuxing(Meticulous-Figurative)style in practice,which owed to the gap between theory and practice,and that is the point this chapter is going to mainly discuss.Part ?,to describe the Ci-ological meaning of the Zhu's acception to the Object-Chanting Ci of Southern Song dynasty adherents by two aspects.First,the obscene ethos of Ci in Ming Dynasty were corrected by Zhu's acception,and he led the Ci-ology back on track to Chunya of Southern Song dynasty;Second,the inspiring effect of Zhu's acception on the enrichment and innovation in the article technique of ObjectChanting Ci were detailedly described.