Study On Linchuan School And Its Inheritance

From the Republic of China to the present,there has been a lot of controversy in the academic circles on whether the "Linchuan School" can be called a "school".This debate has not yet been resolved,and the question of whether and why the "Linchuan faction" was established needs to be further discussed.This article takes "Linchuan School" as the research object,and aims to explore the possibility of Linchuan becoming a "School" from the perspective of academic theory and inheritance.On this basis,it will give a more comprehensive and detailed description of the intergenerational inheritance and development law of the Linchuan School in the Ming and Qing Dynasties,make a more in-depth discussion of its drama aesthetics,and analyze the causes and encounters caused by the development of the Linchuan School in the Ming and Qing Dynasties.To systematically sort out and fully explain the important debates and important issues.First of all,the article discusses "why Linchuan became a school" from a theoretical point of view.This paper briefly summarizes the development of the concept of "School" in ancient and modern times,combined with the definition and controversy of "Linchuan School" in academic circles,and emphasizes that "Linchuan School" as an ancient Chinese opera "School",its definition should emphasize the inner aesthetic style.Secondly,it discusses the development and evolution of the Linchuan School in three different historical periods: the late Ming Dynasty,the Ming and Qing Dynasties,and the early Qing Dynasty.In the late Ming Dynasty,Wang Jide,Ruan Dacheng,Wu Bing,Qi Biaojia inherited and developed Tang’s "emotion" theory,and revised Tang’s temperament theory to reconcile the contradiction between "lyrics" and "laws".But there is also a tendency in their creations to pursue the beauty of rhetoric to the extreme.At the same time,how to show the aesthetic pursuit of "meaning/interest/Likeness and charm/Literary talent" on the theater stage is also reflected in their opera theory,creation and family drama activities.During the Ming and Qing Dynasties,Meng Chengshun,Li Yu,Lai Jizhi injected the tragic nature of the era when the country and the family was destroyed into the connotation of "emotion",and make "emotion" and "reason" move from opposition to combination.The combination of north-south singing and the integration of Zaju and legend systems makes the creation of operas more flexible and diverse.At the same time,the style of tunes has not only returned to elegance,but also became majestic and tragic.However,the purpose of emotional catharsis under the disproportion of Qu and Bai caused their creations start to have a trend of being desk-based.In the early Qing Dynasty,Wu Weiye,You Dong,Hong Sheng,Kong Shangren resorted to rewriting the stories of historical celebrities,in the two different styles of lyric,elegant and beautiful,and plain and true,there is not only the profoundness of Tang’s "Oppose reason with emotion",but also contains the grief of the literati’s reflection on history.Opera artists are still working on bringing traditional operas to the stage,so that some of the vitality of Chuanqi can be revived in the folk.However,because they are too limited to the emotional catharsis of "writing the heart",the creation of operas has become more desk-based.Finally,the conclusion part emphasizes the central point of the full text,and explains how did the differentiation between the Linchuan School and the Wujiang School lead to and deepen the differentiation between the drama as a side-desk reading and the drama as a stage performance in the history of Chinese literati drama creation,and its influence on the systematization and maturity of ancient Chinese opera theory.