In The Qing Dynasty Mountain Left Luxuriousness Research

Qing Dynasty is known as the renaissance era of the Ci-poetry. One of themanifestations of this revival is the overall prosperity of the Ci-poem’s creation. BothCi-poetry’s traditional center Jiangsu and Zhejiang area and the northern area wherethe Ci-poetry developed relatively weak emerged a large member of Ci-poets. As animportant force of the northern Ci-poem circle, Shanzuo had a brilliant situationwhich was led by Li Qingzhao and Xin Qiji in the Song Dynasty. After the silence ofYuan Dynasty and Ming Dynasty, with the background of "the Ci-poem Renaissancein the Qing Dynasty", Shanzuo emerged some Ci-poets who had an importantinfluence on the development of the Ci-poetry such as “the Four Ci-poets of Shanzuoat the beginning of the Qing dynasty” Wang Shizhen, Wang Shilu, Song Wan and CaoZhenji, who made the Shanzuo Ci-poets gain a foothold in the history of Ci-poetry ofthe Qing Dynasty.The development trend of Shanzuo Ci-poetry in Qing Dynasty maintained insynchrony with the whole country. From Shunzhi to mid-Kangxi was the first peakof its development. Until the Jiaqing years since then, the Ci-poem was influenced bythe Zhexi Ci-poem School deeply, graduating into shallowness and trivialities. TheCi-poem creation was stuck into slump. After Dao Guang, along with the changingsocial situation and the rising of Changzhou Ci-poem School, another peak of theCi-poetry appeared. At this time, the Shanzuo Ci-poem circle was beyond the secondphase both in the number of Ci-poets and the quality of Ci-poems. But under thesituation of the vigorous development of the Ci-poetry in the whole country, itsachievement was obviously insufficient, never appearing important poets as “the FourCi-poets of Shanzuo at the beginning of the Qing dynasty” who played a decisive rolein the national Ci-poetry.This paper’s structure arrangement is generally consistent with this developmenttrend. The first five chapters discuss the prosperity of the Shanzuo Ci-poem circle inthe early Qing Dynasty. The last two chapters discuss the decline of Shanzuo Ci-poemcircle in the middle Qing Dynasty and the rally in the late Qing Dynasty respectively.Great change between the Ming and Qing Dynasties had became an importantopportunity for the renaissance of Ci-poetry in the Qing Dynasty. The era backgroundcalled the style of Xin Jiaxuan again. The adherents of the Ming Dynasty who resistedthe new dynasty resolutely promoted this style to express the pain of losing home andcountry. At the same time, the turncoat official often reflected their behavior in dilemma, and their Ci-poems showed a low attitude and were full of reflection andrational spirit. There was a sharp contrast between these two styles.This is the firstchapter of the paper.The second chapter studies a class of Ci-poets which was outsidethe above two classes of poets and represented by Xinchen Wang family and YiduZhao family. These Ci-poets put the late Tang Dynasty and Earlier Song Dynasty’sgraceful and gorgeous style as model and closely connected with the Yunjian Ci-poemschool of the late Ming Dynasty. The third chapter researches the Zhexi style whichwas represented by the Jimo Huang family and Anqiu Cao family. These two familygroups were not belonging to Zhexi Ci-poem school, but the clear and cold colourshowing in their Ci-poems indicates that they had close link with the Zhexi Ci-poemschool.Because the style of Shanzuo Ci-poems in the early Qing Dynasy was diverse, therewere a lot of Ci-poets not on the list of the group above. In order to facilitate thedescription, the fourth and the fifth chapter was divided by the regional and familyfactors, discussing the Zichuan Ci-poets Tang Menglai and Pu Songling’s creation andQueli Kong family’s creation which was the biggest family Ci-poet group of Shanzuoin the Qing Dynasty. Except that the Queli Kong family crossed the former two stagesof the Qing Dynasty,the rest were all in the early stage, which fully embodies theprosperous situation of the Ci-poem creation in the early Qing Dynasty. It was thewinter of Ci-poems from the middle and later periods of Kangxi to Jiaqing years. Thesixth chapter investigates the situation of style single and quality decline in theCi-poems at this stage. The last chapter examines the recovery of the ShanzuoCi-poem circle after Jiaqing and Daoguang. Influenced by the social background ofdomestic trouble and foreign invasion at that time and the rising of ChangzhouCi-poem school, Ci-poems more and more reflected the reality. But because that theeffect of Zhexi Ci-poem school had not been completely eliminated, most of theShanzuo Ci-poets learned from this school at that time. Marked by the publication ofWu Chongxi ‘s the Ci-poems of Shanzuo published by Wu, the Shanzuo Ci-poemcircle in the Qing Dynasty came to the end.