Qinhuai Bayan Political Aesthetics Research

"The Eight Beauties of Qinhuai" refers to the eight lady musicians of the late Ming Dynasty,named Liu Rushi,Chen Yuanyuan,Dong Xiaowan,Li Xiangjun,Ma Xianglan,Kou Baimen,Bian Yujing and Gu Meisheng.As typical romantic texts between the Ming and Qing Dynasties,the research of them enjoys unique political and aesthetic value.The text demonstrates the political grammar of survival in the dynasty vicissitude.As typical individuals of Ming lady ritual-musician,the Eight Beauties first followed the common expression of the official,closed and inferior lady music class.But the distortion of functional modifiers such as income generation and stability maintenance in the late Ming context gave rise to disciplinary rules,leading to an imbalance in the self-perception of the lady music group,where grammatical errors became an opportunity for grammatical expansion.The political behaviour and attitudes of women musicians took a conscious turn,leading to a renewed attempt to break the shackles of class and a retuning of the group's voice internally and externally.At the same time,the 'Eight Beauties' group reveals a spiritual order outside of the grammar of class,characterised by the'admiration of the great',which has its roots in the idea of the gentry and warrio class and the philosophy of the weak.It is based on the morality,realism and tragedy as the basic structural levels,and the commonality between the mind and politics that completes the grammar of the'inner sage' and the 'outer king'.In addition,the way of 'Eight Beauties' group's self-existence highlights the multiple discourses of the dynasty vicissitude's political grammar.Through the reductio and absurdum of the righteousness of 'seeking death' in late Ming society,the self-revealing or self-appearing mode of survival of the 'Eight Beauties' is free from the virtual syntactic form.The mode of survival of the 'Eight Beauties' is justified by the escape of the virtual syntactic form,and the assimilation of 'hao' and 'yi' and the public ownership of selfishness push the 'righteousness of immortality' into the present tense.The 'Eight Beauties' literary texts reflect the political discourse in the interactions between gentry and women.In the interactions between the 'Eight Beauties' and their 'gentry cultural circle',on the one hand,the speaker and the addressee use the basic marriage model of 'love in a fallen city' to show how the body and the heart are entrusted,the decision and the parting,the transformation and the perseverance at the end of Ming Dynasty.On the other hand,the emotional resonance of both the gentry and the woman,as a social foundation and psychological root,gives birth to the group value of "the most benevolent violence",which dissolves,fuses and reshapes the"manifest benevolence" and "hidden violence" temperament.The new quality of "hidden violence" as the content of the discourse contributed to the release of the "murderous" hostility of the dynasty vicissitude society,adding strength to the breaking of the shackles of "inferiority" of the untouchable society.In addition,speaking on behalf of others to express their aspirations became a common language skill in political communication after the intervention of the opposite sex,and the self-writing of both the scholar and the woman led to the expansion of the 'Eight Beauties' as an artistic subject towards a 'lady ''gentry' style that was both large and small,with a blend of elegance and luxury."The political cryptic language of women and gentry focuses on the remembrance of the Ming dynasty's relics and similar groups of relics for the prosperity of the Ming dynasty,their reflections on the collapse of the regime,their anxiety about the problems of"disorder" and "extinction",and their thoughts on the relationship between the relics and the new dynasty.In addition to the cultural-historical and historical-poetic value of the typical texts,the 'Eight Beauties' symbol is also rich in political semantics.From the viewpoint of artistic symbols,in the process of copying,redrawing and modernizing the abstraction of the 'Eight Beauties',the images of the 'Eight Beauties' have been condensed into three spiritual cores,namely,a cross-era sense of family and nation,a cross-class will to live and a cross-national aesthetic meaning.Measured in terms of the regional characters,the 'Eight Beauties' regional symbol is characterized by the dual effect of the nurturing and melting of the King's spirit in Jinling by the Qinhuai river,and the three political characters of Nanjing,namely the toughness of bending rather than bending,the partiality of painting the ground and the negative romance of whitewashing peace.If we take a lady and folk perspective,the 'Eight Beauties' act as a common voice for the lady and folk communities,awakening the "anti-memory" resonance of the times in terms of the right to live,economy,culture and politics,and breaking the "set reaction" of the boudoir.This is a new aesthetic meaning with the body politic at its core.In the context of culture,region,gender and society,the political semantic field of the "Eight Beauties of Qinhuai" discourse symbols is generated.This paper is aimed to elucidate the political aesthetic core of the grammar,usage and semantics of the Eight Beauties of Qinhuai texts,to clarify the psychological trajectory and spiritual order of their survival,interaction and writing in later generations,and to highlight their enduring present-day value.