New Research On Landscape Poems Of Kong Fu

Kong Fu returned to chinese poetry from 1979 to his death in 1997,deducing a splendid and complete "landscape life" although not long.His poems are all about landscapes and are also famous for landscapes.His poetry theory,prose,and calligraphy are also closely related to landscapes,and they have achieved unique and huge artistic achievements in the history of contemporary chinese literature.However,this unique and outstanding poet is not well-known in various literary history works,and the research results of Kong Fu in the past 40 years are far from satisfactory.This article aims to explore the huge value of Kong Fu’s landscape poetry that is ignored by literary history.Based on the dialogue with previous researchers,it launches innovative research.First,it re-determines the significance of Kong Fu’s poetry in literary history.Then supplement and rectify many deficiencies of the original research.Then,with a new perspective of "holistic view of landscape poetry",it demonstrates the commonalities between Kong Fu’s various creations and his poetry,and studies the changes and gains and losses of his poetic exploration.And its beneficial enlightenment to chinese poetry.The introductory part includes the reason for selecting the topic,a brief introduction to Kong Fu,a research review,and a description of some other related issues.It mainly demonstrates problem awareness and indicates research ideas.The core content is the research review section,which summarizes,analyzes and discusses the main issues and directions involved in Kong Fu’s research achievements,and establishes the dialogue goals and innovation starting point of this research.The first chapter is the historical origin and contemporary presentation of Kong Fu’s landscape poetry.Previous studies have mostly made contributions to the inheritance of "Confucianism and Taoism" in the origin of Kong Fu’s landscape poetry.In addition to the re-examination of this,this article pays more attention to revealing the creativity of Kong Fu’s poetry.Identify the oversimplified "connecting line" in the establishment of the value of literary history,break through the conventional perspectives of "loving the motherland and mountains" and "appreciating aesthetics",and point out that Kong Fu is looking for another way of ideals for new poetry and gives ancient themes the characteristics of youth vitality.The second chapter is to start a dialogue with the previous studies on the "subtraction" and "hidden" problems of Kong Fu’s landscape poems and make new explorations.The predecessors’ discourses on "hidden","fuzzy" and "subtraction" of Kong Fu’s poems relied too much on Kong Fu’s own theory of poetry.This chapter starts with specific works and opens a new perspective of research on the unique concepts of poetry genre,reader creativity and poet playfulness in Kong Fu’s landscape poems,and demonstrates the aesthetic space of Kong Fu’s poems "the less,the bigger" and readers’ aesthetic methods and hidden principles in poet creation.The third chapter discusses the distance principle in Kong Fu’s landscape poetry.Kong Fu tried to control the aesthetic "distance principle" from multiple angles in his creative practice,but throughout Kong Fu’s own poetic theory and previous studies,the so-called "distance" is still limited to "Far,High,Deep" in space distance and the distance in time between "Past,Present,Future",and too much praise.This chapter will expand the scope of the "distance principle" and reveal the time-distance nature of "technology into poetry" and "using allusions".It discusses the techniques for dealing with the problems of space-time distance,psychological distance,distance between poetry and "Tao",distance between truth and falseness in the creation of Kong Fu’s landscape poems,makes judgments on the success or failure,and finally explores the standard of "distance principle".The fourth chapter studies the formation,modification and aesthetic change of Kong Fu’s landscape poetry.The specific process of generating a poem,the constant change of the same poem version,the difference between before and after aesthetic pursuit in creation are all important research fields.This chapter relies on the original works of Kong Fu,the existing research results and the precious perspectiveVmanuscripts and other materials to explore new issues and analyze the "awakening emotions","language softening","creating images" and "images combination" techniques.It also disenchants the predecessors’ "Scenery View".Finally,it clarifies the phase characteristics of Kong Fu’s creation process that are more clear than typification,in order to reveal the longitudinal rheology and break through the horizontal research of predecessors’ typification.The fifth chapter is a new perspective of holism.This chapter starts with Kong Fu’s poetry,poetry theory,prose,and calligraphy showing common landscape characteristics,following a unified creative concept,revealing the indivisibility of its research process,and filling the gaps in previous studies.First,it points out that the existing research perspective deviates from Kong Fu’s actual creation,and then explores the relationship between Kong Fu’s poetry and theory from the perspective of "the poet’s self-discussion".This chapter will also reveal the deep connection between "poetry and calligraphy are presented externally in the form of art" and"poetry theory and prose supplemented from the inside in the form of notes" in the Kong Fu’s landscape creation system,indicating the necessity of a holistic study-"the whole "View" is not only suitable for the writer’s research,in order to interpret Kong Fu’s different styles of the same artistic appeal from the overall poetic temperament;but also for the work research,so as to explore different styles of Kong Fu’s homology landscape works from a similar generation path.The sixth chapter is to reveal the valuable experimental nature of Kong Fu’s creation.Previous studies have always been used to seeing Kong Fu’s poetry as completed.What this chapter wants to reveal is the consistent unfinished and experimental nature of Kong Fu’s poetry creation.This exploratory experiment not only shows the unyielding resistance of an old poet who has experienced vicissitudes to fate,but also his breakthrough in life experience and inertial writing,and his unique thinking on the direction of chinese new poetry.This demonstrates the courage,vitality,continuous innovation spirit and sense of responsibility of a "returner poet".This chapter will reveal the experimental nature of Kong Fu’s poetry in terms of language ambiguity,expansion of poetic stylistics,construction of a new order of "EasternMysticism",and exploration of new ways for chinese new poetry.Finally,it explores the enlightening significance of Kong Fu’s landscape poetry writing to the chinese poetry.