Study Of The Styles About Song And Zan In Tang Dynasty

Song and Zan were two literary forms which were full of historical and cultural meanings. In their own special language structure, they sang the praises of the society and life, Song and Zan had great emotion and positive value judgments. We had combined a lot of social trends about culture from every stage of Tang Dynasty. From two aspects, creation and criticism, Song and Zan in Tang Dynasty were discussed.In our opinion, from the angle of creation, Song and Zan in early period of Tang had reflexivity and practicality in the subject orientation. There were works for both requirement and initiative. Among the intellectuals, Li Shimin, Wang Ji, Chu Liang, Yan Shigu and Wang Bo were better; In the glorious age of Tang Dynasty, with the political idea about the function of literary moralization, there were a lot of writers and works, and the works in this period were spectacularity. It had some connection with the times and the mentality of the intellectuals. In styles, Song and Zan in this period were thorough and smooth, extravagant and magnificent. Among the intellectuals, Li Longji, Zhang Yue, Zhang Jiuling, Su Ting, Li Hua, Wang Wei and Li Bai were in the highest level. In the Mid-Tang, the contents of Song and Zan became apart from the favour of emperors and emperors themselves. There were more glorification of conscientious officials and virtuous eremites, while there were many Buddha Zan. Among the intellectuals were Han Yu, Liu Zongyuan, Liang Shu, Bai Juyi, Lu Wen, Fu Zai who worked well. In Late Tang and Five Dynasty, Buddha Song had made some development, and the creation of it appeared a flourishing situation. It had gone to a way toward the elegance in reflection and realization. Meanwhile, Miaozhenzan got on the stage of literature. Its biographical and narrative features were prominent. As the development of social and historical environments, sagacious emperors and high moral officials had never been expected, the brilliancy of the great times could not lighten the everyday lives any longer. The attention of the intellectuals began to turn to their own hearts. Song and Zan were written to describe life, nature and Buddhist activities. Another way to express personal emotion and ideal were offered.From the angle of form, the occurrence of the stylistic function of Song and Zan in Tang Dynasty had directed to the narration function of Song and the biography function of Zan. In the criticism about the exterior of Song and Zan, Song had self-indulgent preface, florid words and delicate style which expressed complicated. Zan had Dantesque appearance, unmeretricious words and intricate deliver. It looked not only gallant but also inornate. It laid emphasis on harmonious rhythm, succinct styles and precise theme. It attached importance to critical points, alternating narration and discussion, proper meaning and obvious aspiration. From the prominent form and foregrounding angle of the language layers, Song showed pursuing loftiness, lustihood, integrity and beauty, publicizing uncommonness, scarceness, infrequency and unfamiliarity and overlapping and juxtaposing words. Zan showed different in three aspects: pronunciation, vocabulary and syntax. It also showed the appearance of four characters, over-four characters and rhymelessness. The rhetoric of Song and Zan in Tang appeared that both of them had adopted micro-rhetoric skills such as metaphor and exaggeration, however, on macro- rhetoric skills, Song focus more on omni-viewpoint, cadence and interval, and Zan focus more on omni-viewpoint and spectacle.