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Ci Xue
2013 Vol.0 Issue.30
Published 2013-12-31
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2013 Vol. 0 (30): 0-0 [
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Musical Factor and Literary Factor of Structure of Ci Poetry
Ho Hio Man
Abstract:The structure of Ci poetry involves two factors, namely, musical factor and literary factor. The musical factor includes the related social and cultural factors; the literary factor mainly refers to the transformation of its form which is comprised of syntax, sentence structure, pronunciation, rhythm and other inherent rules and transformation. The former provides the rhyme schemes for the structure of Ci poetry. The latter provides rhyme schemes with the corresponding forms for the establishment of Ci poetry. Considered as the external and internal causes, these two abovementioned factors jointly facilitated the occurrence and revolution of Ci poetry.
2013 Vol. 0 (30): 1-34 [
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On Melody Shui Diao GeTou of Ci poetry in Song Dynasty
Ma Li-yang
Abstract: Shui Diao GeTou is one of the most famous melodies in Song Dynasty. It originated from a new type of Daqu of Shui Diao in Mid-Tang Dynasty. A passage of Daqu should be rearranged From Later-Tang to Five Dynasties, and then it was a kind of Banquet Music. The paper makes exploration into rhyme and metrical pattern of Shui Diao GeTou, and the conclusion is that musical tempo will influence the style of Su Shi’s Ci poetry. The other part of this paper is to emend Zeng Bu’s seven Ci poetries of Shui Diao GeTou, which was always mistook to be the mode of origin. Actually, they do not depart from musical tempo, and are to be an inevitable outcome by combining with art of storyteller. This is also a more popular model of Ci poetry communication in Song Dynasty.
2013 Vol. 0 (30): 35-54 [
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On Three Movements of Zun Style in Tang and Song Dynasties
Mu Zhai Zu Qiuyang
Abstract:There are probably three movements of Zun Style in the Ci-poetry Study of Tang and Song Dynasties.Ouyang Jiong's the Preface of Huajian Ci-poetry,which shows first positive finding that are the Palace Cultural nature of the Ci-poetry Style, the Ci-poetry Style coinciding with the Poetic Rhythm and the Ci-poetry Style's characters which are the Qingjue and enchanting state. Dongpo's Po-ti movement has completed the second movements of Zun Style from his advocating the creative practice of Elegant Ci and the theory of "School of Self-recognition".It is the third movement of Zun Style that Zhou Bangyan as a forerunner is,Li Qingzhao's Ci-poetry Criticism as an intermediary is, and those authors such as Jiang Baishi,Zhang Yan and so on whom follow. Three movements of Zun Style,which are from Ci of the emperor,ancient singer-actor,singer-actress,songwriter or musician in Tang and Five Dynasties,to scholar-bureaucrat's Ci in Northern Song Dynasty,to the group of professional Ci-poets in Southern Song Dynasty,so have accomplished the full cycle of Zun Style in the Ci-poetry Study of Tang and Song Dynasties.
2013 Vol. 0 (30): 55-67 [
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Valuation on Su Shi’s "Composing Ci with the method of Poem"
Sze Yee Tui
Abstract: What is the essence of Su Shi’s "Composing Ci with the method of Poem"? Most scholars’ explanations of it focus more on subject and content of Ci, but less on tonal pattern or rhyming in twentieth-century. They just raise issues, such as “Sometimes do not follow the rhythm”, but left no specific and convincing cases. Thus there are some blind spots in this region. This paper would reach the said proposition’s name rectification by discriminating both Poem and Ci’s content, form and other related qualities. More precisely speaking, to change Niu (拗) to Shun (顺), or composing Ci with the method of Poem, which is the substance of Su Shi’s viewpoint. Furthermore, to evaluate Su Shi’s viewpoint about this topic is mainly to summarize lyrics’ development, which is one type of the poetry and song. The so-called “Showing the way up” is of Su Shi’s initiative insight as well as an important result of "Composing Ci with the method of Poem".
2013 Vol. 0 (30): 68-89 [
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On He Zhu’s Writing Lyrics as Poetry
Rixi Fang
Abstract: He Zhu made many progresses in wrting lyrics as poetry after Su Shi first took steps. He Zhou tried to bring lyrics lucid and grand style, and artistic imageries. He put great emphases on artistic imagery, changing name of tune. He also tried hard to make the content fit the tune while writing lyrics, which brought great reformations and achievements.
2013 Vol. 0 (30): 90-102 [
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on the Allusion of Xin Qiji’s Ci
Dong Xiping Wang Li
Abstract: Jiaxuan Ci is rich in allusions. Xin Qiji not only used allusions from the basic Confucianism literatures, but also high frequently used allusions of Chuci, Zhuangzi, Shishuo Xinyu and works of Tao Qian, Du Fu, Han Yu and Su Shi. Besides these, there were seven articles often appeared in Xi Qiji’s Ci, such as “Beishan Yiwen”, “Lanting Xu”, “Huangdi ” of Liezi, “Li Jiangjun Zhuan” of Shiji, “Chendeng Zhuan” of Sanguo Zhi, “Yuewang Goujian Shijia” of Shiji, “Tangwen” of Liezi. By statistic, 29 works were found that they were the basic materials sources for allusions of Xin Qiji’ Ci. These 29 works should be paid more attention in the study of Jiaxuan Ci.
2013 Vol. 0 (30): 103-130 [
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Analysis on the Loss of rhyme in Jiang Kui Lyrics and change of rhyme in Song Dynasty
Qingyun Liu
Abstract:According to Zhai Ge’s Lyric rhyme, at least nine lyrics Jiang Kui written lost the rhyme. With analyses, the author found that change of pronunciation in Song Dynasty, different rhyme rules between Poetry and Lyric, and cardical function were the main reasons.
2013 Vol. 0 (30): 131-138 [
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A Textual Research on the Life Deeds and the Chronological Order of the Ci Poems of Zhao Yifu, a Ci Composer of the South Song Dynasty
Wang Kexi Wang Zhaopeng
Abstract： Xuezhai Yuefu has been handed down by Zhao Yifu, one member of Jiang Kui School of South Song Dynasty, only 68 of whose writings are collected and kept in The Complete Song Ci Poems. There leaves no biography about the poet in The Official History of the Song Dynasty, hence none of textual research about his life deeds. The author in this essay probes into his life activities, and put his works in chronological sequence. The research results show: Zhao was a decedent of the imperial family, whose ancestor, named Zhao Tian first escaped from war to Changle. In the early period of Jiading Years, he entered political stratum on the benefit of the merits of his forefathers. In the tenth year of Jiading Period, Zhao secured the Jingshi title through the imperial official-selecting examination, and was appointed as the chief executive of Jianli County, Jiangling Fu, then as the Head of Nanfeng County, later as the assistant executive of Nanjianzhou Fu, and then as the head of Shaowu Fu and Zhangzhou Fu. In the 2nd year of Duanping Period, Zhao was raised to be the official manager of Tea-salt affairs of Changping County, Jiangnan Xilu District, and one year later, he was again granted the official position of Zuocao Langguan, concurrently in charge of examining documents from different departments. In the 1st year of Jiaxi Period, he was conferred the position of Zuosi Langzhong, later transferred as Shumi Fu Douchengzhi, again in the following year, as the Head of Qingyuanfu. In the fourth year of Chunyou Period, he was promoted to vice director in charge of the Ministry of Punishments, then of the Ministry of Rites, later of the Ministry of Official Affairs. In February of the 4th year of Baoyou Period, he died in his hometown at the age of 68. As one celebrity in literary circle at that time, he had created a number of Ci poems responding to the famous literary men such as Sun Weixin, Wang Mai, Dai Fugu, Fang Yu, Liu Kezhuang, and etc. The style of his Ci poems were quite similar to Jiang Kui’s, characterized in leisure and elegance, and he was good at composing Ci poems more than 90 words, which usually portray and eulogize natural objects and things.
2013 Vol. 0 (30): 139-160 [
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Restudy the Materials about the Zhang Yan’s Buddhist worship
Chen Mingjie
Abstract：This paper challenges two main sets of historical materials which allegedly support Zhang Yan’s worship of Buddha. The first tries to confirm his relationship with the Buddhist organizations by his patronizing the production of Endless Light for the Temple of Great Awakening, an activity that turned out not involve Zhang Yan at all. Caused by a little punctuation error, this misunderstanding has turned into an unjust case in the literary world. The other historical materials refer to the relationship between Zhang Zi -- the great grand-father of Zhang Yan – and Buddhism. In fact, the reason why Zhang Zi transformed their house into a Buddhist temple was something else other than his religious beliefs. The most significant family influence on Zhang Yan, from his great grand-father to his father, was actually the pursuit of extravagance, acquaintance with intellectuals and academics, and the fondness of poetry and art.
2013 Vol. 0 (30): 161-184 [
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The Origin and Evolution of Zhang-ci in Ming Dynasty
Ye Ye
Abstract: Zhang-ci(Ci poem written on silk sheet), as the negative image in a thousand years of history of Ci, has always appeared in people's view. But few people have noticed that Zhang-ci actually is the most famous forms of Ci in Ming dynasty. Not only never appear in previous generation, but also be uncommon since Qing dynasty. There is no artistic value, but multiple social and cultural value. Through investigation on the origin of three literary forms of Zhang-ci in Ming dynasty, named Yue-yu and Shou-ci in Song dynasty, Zhang-ci in Yuan dynasty, we can outline a vein of this literary form about the problem of forming and evolution. Besides, the division of function in this literary form caused by different origins is especially important.
2013 Vol. 0 (30): 185-208 [
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On the Criticism and Acceptance of YAN-OU CI from the CI GUI of the Qing Dynasty
Gu Baolin
Abstract：CI GUI compiled by YangXiMin ,a scholar of The late Qing Dynasty, is a book of CI criticism and Ci anthologies, which including a number of Song Ci.For exemple , Ouyang Xiu, Yan Shu and YanJidao,Whose CI were comment by CIGUI, from which not only reflects the Qing Dynasty accepted the criticisms on track of the YAN-OU CI, but also to get a glimpse of the late Qing Dynasty Ci criticism
2013 Vol. 0 (30): 209-223 [
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Collecting and Collating of Xu Yuzhuan’s lyrics
Meiyi Lin
Abstract: Among Xu’s writings, only 66 lyrics were quite spreading, which were harmonizing and dedicating lyrics between Yuzhuan Xu and Pengyun Wang. The author found 56 more lyrics in the following lyric collecctions.They are Shiqi Zhai Lyrics, Chengnan-Paishi Collection, Chamengyan Collection, and Shiqi Zhai Collection.From these collections, we could find Xu’s modifications and activities with friends. Besides collections and collations, the author also studied Xu Yuzhuan’s name, birth and death.
2013 Vol. 0 (30): 224-263 [
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Comments on the West Yue Lyrics: tracing Lin Gui Lyric Group and Their Significance
Juan Wang
Abstract:County Selection, more valued as materials than literature work, gave us clues about how the Group formed and what they valued. Kuang Zhouyi’s Comments on the West Yue Lyrics is one of them. Kuang Zhouyi learn a lot from Guangxi predecessors. In his book, he selected lyrics composed by Guangxi writers, and appraised them “simple but grand, spiritual,and structural”. Zhouyi took Guangxi as the root of Lin Gui Lyric Group. In Comments on the West Yue Lyrics, Many lyrics described countrysides, which implied writers were persuing spiritual home during their time change.
2013 Vol. 0 (30): 264-281 [
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Hu Shi’s Criticisms of Ouyang Xiu’s lyrics: a Case in the Modern transition of Lyric criticism During the Late Qing Dynasty
Ouyang Mingliang
Abstract：Hu Shi’s study on lyrics was aim to build and corroborate the theory of “colloquial literary history”. Ouyang Xiu’lyrics, especially the gaudy lyrics in "ZuiWeng QinQu" became a excellent case Hu Shi can use to illustrate his point. Not those lyrics only can reveal the powerful impact of colloquial lyrics and colloquial literature, but also make the theory of "colloquial literary history "clearer and completer. Under the influence of Hu, a group of scholars had a keen interest in the gaudy style of Ouyang Xiu’lyrics, they tried to examine and analyze the rationality of its existence from the more modern perspective, and highly commended the artistic value of these gaudy lyrics, which reflected the significant shift of Chinese lyrics study during the period of transition from the old.
2013 Vol. 0 (30): 282-292 [
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On Cai Songyun’s Keting Criticisms of Lyrics
Qian Hongying
Abstract:There are 47 comments in Cai Zhen’s Keting Criticisms of Lyrics, including rules of writing, lyric Appreciation, and comments on previous writers. In a word, Cai Zhen shared his opinions on Lyric simply but also insightfully.
2013 Vol. 0 (30): 293-310 [
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The appreciation of Mr. Sun Renhe’s poetry study
Chen Shuiyun
Abstract：Mr.Sun Renhe is an brilliant Ci poetic expert who is especially good at emendating Ci poetry. He has emendated and gave addenda to . And Mr. Sun has compiled an anthology to of poetry of Tang Dynasty and Song Dynasty>. What’s more, he has written 494 items to
. With the writing of these items, he proposed the thought of following the rhythm of Ci poetry, emphasizing the rules and forms of poetic composition and moral.
2013 Vol. 0 (30): 311-326 [
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Study on the author of Citong and Cilvjianque
Wang Yanpeng
abstract:Citong and CilvJianque were initially found with the note of an anonymous author. Through Luchaoluan’s research, they are identified as the works by XuQi, named JiMen by Wuyongwei, which lately got accepted by the academic circle.However, there is no record about him in the whole literature. Xuqi (qimen) is a mistake made by Xushaoqi. Furthermore, we could confirm two of Xushaoqi’s books so far, being an extra evidence showing that he have written some books about Ci.And XuShaoqi is not named Jimen, but Gongqian; he was born in 1869, died in the 1920s, living through the period from late Qing Dynasty to the Republic of China. He had association with FanZengXiang , ChenSanli and many other celebrities from his time, from which he experienced much.The two books were scattered to Shanghai bookshops after his death.
2013 Vol. 0 (30): 327-335 [
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Qin Huimin
2013 Vol. 0 (30): 336-379 [
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Wang Yongbo
2013 Vol. 0 (30): 380-386 [
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Xu Wei
2013 Vol. 0 (30): 387-393 [
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394
The Chronicle of Pan Feisheng
Chuanbin Lin
Abstract: Pan Feisheng (also named Lan Shi, called Swordman, Independency Hermit) was born Panyu, Guangdong, who was descendant of Pan Family. In his early years, he learned Lyrics from Ye Yanlan, and he was praised as a“Growing Phoenix”by Chen Li and Chen Pu.In this essay, historical materials and Feisheng’s writings supported his chronicle analyses.
2013 Vol. 0 (30): 394-458 [
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459
Hu Yongqi
2013 Vol. 0 (30): 459-486 [
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671
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237
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487
Zhang Xiang Cao Xinhua
2013 Vol. 0 (30): 487-526 [
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652
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191
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527
2013 Vol. 0 (30): 527-537 [
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538
2013 Vol. 0 (30): 538-538 [
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