The Study On Jiangnan Writing Of Bai Juyi

At present,the academic research on Bai Juyi is wide-ranging and fruitful.Among them,the study of regional writing mainly focuses on Jiangzhou where he was exiled in his middle ages and Luoyang where he lived a leisure life in his later life.However,Bai Juyi had been to regions south of the Yangtze River for three times.when he was young,he avoided chaos there,when he was middle-aged,he was relegated to Jiangzhou,and when he was old,he served as a governor of Suzhou and Hangzhou.The literary and cultural significance of the three trips to the south of the Yangtze River,the experience of being an official and the related literary writing needs to be further explored and re-examined.Especially,taking Bai Juyi’s writing in the south of the Yangtze River as a whole,we can not only observe the emotional and ideological changes of the poets in the middle and later years,but also examine the poets’ cognition of the geography and culture of the south of the Yangtze River and the changes of the related literary writing in the Tang Dynasty.This paper chooses Bai Juyi’s writing in the south of the Yangtze River as the research object and intends to discuss it from the following aspects.The first part of the introduction is to define the concept of Jiangnan,and on this basis to determine the research scope of this paper;secondly,from the two aspects of Jiangnan culture and Bai Juyi studies to sort out the current situation of the study;finally,it summarizes the basis and significance of this research.The first chapter is mainly about Bai Juyi’s works which were created in the south of the Yangtze River.Bai Juyi’s Jiangnan writings amounted to 623.Bai Juyi’s youth have stayed in Jiangnan for eight years,with only 10 written works.There were 306 works in the middle-aged of living in Jiangzhou for three years and 307 works in the old aged.There are another 40 poems for memory of Jiangnan.By sorting out Bai Juyi’s Jiangnan trails and creations,it is possible to clarify the focus of Bai Juyi’s Jiangnan experience and writing in different periods.The second chapter is the key part of this paper.It mainly discusses the two types of Bai Juyi’s writing in the south of the Yangtze River:Natural scenery writing and Daily life writing.The first section of natural scenery writing mainly contrasts and discusses the differences in geography,phenology,and properties of Jiangzhou,Suzhou and Hangzhou written by bai juyi in the south of the Yangtze river.The internal differences in Jiangnan’s writing are related to the poet’s mentality,physical condition and familiarity with Jiangnan.The high-frequency appearance of images such as plum,bamboo,cicada,locust tree,and mountain pomegranate is not only the difference of time and space,but also the externalization of the poet’s mentality,and it is also a diverse part of Jiangnan culture.The second section daily life writing mainly discusses the daily life of Bai Juyi’s visit to Jiangzhou,Suzhou and Hangzhou.The first is to discuss the difference between Jiangzhou and Suzhou Hangzhou during the visit to the boarding tour.During the Jiangzhou period,the poets paid more attention to the temple monks,occasionally boarding the building and visiting the former residence;while the place of Suzhou Hangzhou,in addition to the temple,there are beautiful The natural scenery and the cultural landscape with a heavy sense of history,The difference is obvious.Secondly,the Lushan thatched cottage,which the poet called "escape",deserves attention.Bai Juyi has written poems about Lushan thatched cottage,and repeatedly expressed the joy and satisfaction of owning the Lushan thatched cottage.Life in Suzhou and Hangzhou Junzhai is the most nostalgic time of Bai Juyi in his later years.The environment of Junzhai often makes Bai Juyi feel the hidden happiness of urban gardens,which is unique in his writing.By carefully discussing the main types of Bai Juyi’s Jiangnan writing,it is possible to clarify the Jiangnan image constructed by Bai Juyi’s Jiangnan poetry and the temporal and spatial differences of the Jiangnan image.The third chapter is the second key point of this article.This section discusses Bai Juyi’s spiritual world in Jiangnan’s writing.Sentimentalism and leisure are important dimensions of Bai Juyi’s spiritual world.The first section mainly discusses the expression of Liu Yu’s emotions in Bai Juyi’s Jiangnan writing,"Liu Yu" refers to the fact that he had to leave the local area and move to another country.It includes such situations as foreign appointment,relegation,exile and education.Bai Juyi’s three Jiangnan experiences had no choice but to leave his hometown.His emotions during his residence mainly included his hometown,relatives and friends’ thoughts,and his worries about his future.The second section is to discuss the expression of hermit feelings.The expression of hermit feelings is divided into three periods: Jiangzhou,Suzhou hangzhou and leisurely living of Luoyang,progressive discussion.In his early years,Bai Juyi learned Hongzhou Zen,and his acceptance of it was internalized in his mind.In his middle age,he banished jiangzhou to relieve his depression and frustration,mainly relying on the Zen and the cottage of Lushan,which was far from the hustle and bustle.In his later years,he gradually became calm in Suzhou and Hangzhou,and began to practice "the seclusion of officials" in the quiet and moderate environment of Junzhai in Suzhou and Hangzhou.A few years after leaving Suzhou,Bai Juyi lived in the Ludaoli Garden with the Jiangnan mark and began to live in "hidden".Recalling Jiangnan’s work is the beautiful portrayal of Jiangnan by Bai Juyi in his later years.From the sadness of relegation to the leisure of seclusion,the experience and writing of Jiangnan is the effective carrier and key factor of the change of heart path.The last part is the conclusion of this paper.By comparing Tao Yuanming,Xie Tiao and others’ hidden roads,clarifies the new way of seclusion culture and the new orientation of seclusion literature presented in Bai Juyi’s writing in the south of the Yangtze River,and further judges that the image of the south of the Yangtze River in Bai Juyi’s poetry,and even Jiangnan Writing contributed to the discovery and construction of Jiangnan’s cultural and aesthetic connotations by literati in the Tang Dynasty.