Acceptance Of Fan Chengda’s Poetry For Historical Research

Fan Chengda was a giant poet of the Southern Song Dynasty,and together with Yang Wanli,Lu You,and You Mao,he was called the "Four Great Masters of the Southern Song Dynasty",and his poems "Four Times of Pastoral Miscellaneous" are the masterpieces of pastoral poetry collection,and have an indelible status in the history of poetry.For such a far-reaching writer,however,little has been little known for the subsequent generations of his poetry.The canonization of writers and their works is tested by time,and only by placing them in the development of poetic history for historical investigation can we see the dynamic change process of the classic sequence of writers’ works,and better understand the meaning and value of their works from this mechanism of extracting the essence.Therefore,this study will examine the acceptance of Fan’s poetry from two dimensions:horizontal and vertical.Horizontally,it mainly involves a variety of reception forms such as poetry selection,compilation,annotation,examination,circle,evaluation,discussion,and exercise,and explores the reception style of fan poetry under different reception forms and its interrelated relationship from the perspective of synchronic research.In the upward direction,the reception history of Fan’ poetry is divided into four periods:the Song,Yuan,Ming,and Qing dynasties,and the evolutionary trajectory of Fan Chengda’s acceptance is outlined from the perspective of historical research,and its internal motivation is strived to develop.The Song and Yuan periods were the birthdays of Fan’s poetry acceptance,when important themes such as the recognition of Fan’s poetry artistic style,the evaluation of specific works,and the initial establishment of poetic status were all explained and had far-reaching influences.For example,the recognition of Fan’s "fresh" qualities was widely accepted during his time,almost becoming the definitive assessment of Fan’s style in later generations;The creative acceptance of the group poems of "Four Times Pastoral Miscellaneous" has already appeared in the Song and Yuan periods,and there was even a collective large-scale singing of harmony by the members of the Yuequan Chanting Society,and this tradition will also be inherited and carried forward in the Ming and Qing dynasties.However,since the Song and Yuan dynasties were still relatively close to the period of Fan Chengda’s life,the acceptance of Fan’s poetry at that time was not immune to the influence of his conspicuous status.In the Ming Dynasty,the deepening period of Fan’s poetry acceptance took place,and on the basis of inheriting the reception achievements of the Song and Yuan acceptances,new changes occurred,mainly manifested in the exploration of the source of Fan’s poetry in the context of the restoration of antiquity,the diversification of the acceptance forms of the group poems of "Four Times Pastoral Miscellaneous",etc,,and the typical appearance of Fan’s poetry acceptance represented by Wu Kuan.Therefore,although the Ming Dynasty took the Tang and Song dynasties as the mainstream,it did not cause a trough in the acceptance of Fan’s poetry,and Fan’s poetry was still disseminated and accerped through poetry,anthologies and other texts during this period,thus opening up space for wider acceptance in the Qing Dynasty.The Qing dynasty was the heyday of Fan’s poetry acceptance.The poetry,anthologies,and anthologies of this period all contain rich materials for Fan poetry,and the discussion of Fan’s poetry artistic style,classic works,and poetic historical status is also more comprehensive end in-depth than the previous generation,in which the dispute between Lu and Fan is the focus,and there is a divergence of views.Fan’s poetry creative acceptance was also very vigorous in the Qing Dynasty,reflecting the diversity of creative subjects,the diversity of creative forms,and the richness of creative connotations.