| When it comes to Dali poetry,there seems to be nothing to say.There were no masters in Su,Dai two dynasties,also lack of masterpieces.Zhao Yi’s so-called "nation’s misfortune is luck of poets,if only they make sentence with vicissitudes" completely failed at this time,without the features of Du Fu who " sang in the Zhide,Dali reign greatly",leaving a label of formalism.Too general impression often brings problems: On the one hand,the academic circle hasn’t got a complete picture of the specific details of the formalism of Dali poetry.On the other hand,although the cognition of formalism is generally right,it also partly neglects the contributions and breakthroughs made by Dali poetry in form.As the first stage of mass practice after the maturity of rhyming style,it’s hard to say that Dali rhyming-style poetry has no positive influence on the final shape and trend of rhyming style.Considering that the formation of form and the evolution of rhythm style are essentially the same problem to a certain extent,so it is an inescapable link in the study of rhythm style to include the specific content of the formalism of Dali rhyming-style poetry into the investigation.In the field of traditional Chinese art,stylization is a very important concept,and it is also easy to fall into the debate of formalism.Compared with drama,painting and other fields,the discussion of stylization under the traditional poetics is still a little inadequate.This paper intends to investigate the ten poets in Dali reign from the perspective of stylization in order to analyze whether they had formed certain style and the specific manifestations then causes of stylization.The introduction part mainly defines the scope of the study on the stylization of Dali poetry in this paper.At the same time,by sorting out the research status of Dali poetry,it determines the poets and their specific works involved in this study.The first chapter is to analyze the relationship between Dali rhyming-style poetry and stylization.This paper considers paradigm and formalism as two aspects of expression of stylization.Dali rhyming-style poetry has both unity and classics,which can be called the paradigm of a generation.At the same time,due to the excessive reliance on the form,it overwhelm the content,thus entering the mold of formalism.In both cases,traces of stylization are visible.The second chapter to the fourth chapter is the specific expression of the stylization of Dali rhyming-style poetry.This paper holds that the stylization of Dali rhyming-style poetry is divided into image convention,structure convention and theme convention.The image convention is manifested by the construction of stable imagination space by image group with unified character,which has strong ideogram,symbol and picture sense.The structure convention is characterized by breaking the traditional structure convention of rhyming-style poetry,adjusting the syntactic structure and expanding the application range of antithesis on the new structure convention,so as to form a clear and smooth style that can give full play to the advantages of rhythm style and sound style.The theme convention is characterized by the repetition of the theme,the unified orientation of the subject,and the formation of a prosodic grammar unit,which helps the poet to conceive quickly.The fifth chapter analyzes the causes of the stylization of Dali rhyming-style poetry from the perspectives of ideology and system.Ideologically,the confluence of Buddhism and poetics contributed to the birth of poetic conception.The image convention and the structure convention can be regarded as the ideographic means of constructing the poetic conception.In terms of system,the time environment in which jinshi was promoted as the core way to advance oneself inevitably brought about a situation in which poetry and fu creation paid more attention to function and purpose,thus affecting the formation of structural and thematic conventions. |
