Study On Poetic Image Theory In Qing Dynasty

Image is a core category in Chinese traditional aesthetics,and its thought origin can be traced back to Zhouyi and Lao Zhuang.It was introduced to the field of aesthetics by Liu Xie and then was developed in the literary theories including poetics,calligraphy theory and painting theory.In the Ming and Qing dynasties,the center of traditional image was introduced to the field of poetics.Particularly,Qian Qianyi,Wang Fuzhi,Ye Xie,and Ji Yun in the Qing Dynasty followed the previous philosophies and explored the values of image from the perspective of aesthetic ontology,who further analyzed its connotation,structure and conceptual thought,which formed the concept of intrinsic profound imagery.The interpretation of image category in the poetry of Qing Dynasty not only made the traditional image concept impeccable,but also reflected the comprehensive aesthetic consciousness.Therefore,by titling "Study on Poetic Image Theory in Qing Dynasty" for the thesis,we focused on the poetic theory and analyzed the connotation category of image based on traditional image concept.Meanwhile,combing with the artistic practice of poetry in Qing Dynasty,we analyzed the theoretical form of the image category from the perspectives of occurrence,creation,structure and criticism,with the aim to explore the theoretical characteristics and evolution of the image concept of poetics.This thesis was divided into five chapters as follows:In the first chapter,driving force of the image concept of poetics in the Qing Dynasty was analyzed.The image concept of poetics was developed based on inheriting the ideological resources of traditional image aesthetics and reconstructing theory by reflecting on the poetics of Ming Dynasty.The poetry of the Qing Dynasty emphasized the nature and features of poetic creation.Therefore,the literati of the early Qing Dynasty,represented by Qian qianyi,summed up the image concept from the tradition of "expressing emotion",which made the image view of the Qing Dynasty show the theoretical characteristics of "focusing on meaning","emphasizing both the image and meaning" and "being in harmony".In the second chapter,conception of image structure in Qing Dynasty poetics was elaborated.Image structure was dedicated to solving the issue of the relationship between "meaning" and "image".Based on the philosophical background of "the unity of man and nature",the traditional aesthetic image view emphasized the integration and unity of "image" and "meaning".While adhering to the traditional concept of "the integration of image and meaning",the litterateur of Qing Dynasty made a theoretical summary and deepening of the poetic image structure from different theoretical dimensions.Wang Fuzhi regarded the blending of "emotion" and "scene" as the basic structure of the image of lyric poetry by summarizing the previous discussions on the relationship between scenes.At the same time,he laid emphasis on that the "image outside the image" generated from "inside the image" was also an important part of the image structure of poetry,which constituted the image world of lyric poetry.Meanwhile,Weng Fanggang summed up the aesthetic characteristics of realistic events in Song poetry recording and put forward the "situation" as an important element of the image of narrative poetry,emphasizing that the image of narrative poetry should reflect the coexistence of the situation.Furthermore,under the background of the research on the rhyme and sound of the ancient poetry in the Qing Dynasty,Li Zhonghua summarized the musical characteristics of the poetic image and took the unity of "sound","image"and "meaning" as the basic structure of the poetic image,underlining the beauty of both the sound and the sentiment.In the third chapter,the concept of image creation in Qing Dynasty poetics was explored.The literati of the early Qing Dynasty advocated the artistic tradition of the conformation of likeness in their poetry creation and emphasized that the likeness thinking in classical aesthetics was the key to the fusion of scenes.On this basis,Wang Fuzhi summed up the creation tradition of scene improvisation in poetry of Tang Dynasty and took "present quantity" as the psychological mechanism of aesthetic image creation,emphasizing that the combination of emotion and scene is the result of the subject’s intuition.Zhang Xuecheng summed up the thinking of taking images in Shi and Yi and emphasized the significance of likeness to taking images.In the fourth chapter,the multi-dimensional construction of the poetic image view in the Qing Dynasty was investigated.The poetic theorists in the Qing Dynasty summarized the poetic image view from different dimensions,with the aim of "high style and far rhyme".Ye Xie not only emphasized the leading role of the mind of the subject and the character in conformation but also advocated perusing the elegance of image character with individualized creation and pursues.Wang Shizhen took the charm of "Qingyuan"(清远)as an important characteristic of the aesthetic sense of poetic images,and held that the creation of images must be invigorated;he also pursued the subtle beauty outside the image in aesthetic sense.Shen Deqian maintained the artistic principle of elegant style and put forward the concept of image generation"meaning is like first" and the concept of image criticism "seeking beyond language image".In addition,he summerized the theoretical issues in the image view of traditional poetics from the view of gentle and honest poetry teaching.In the fifth chapter,the aesthetic ideal of poetic imagery was analyzed.Wang Shizhen and later scholars used "romantic charm" to discuss poems,which was considered to be emptiness and unreality of image aesthetics.To this end,Ji yun,Fang dongshu and other scholars used the deep connotation of "Xingxiang"(兴象)in traditional aesthetics to illustrate the aesthetic of poetic image and emphasized the compatibility of the subject talent and the emotion outside the image.This reflected the aesthetic ideal of taking the context,representing the mainstream of image view in the middle of Qing Dynasty.In a word,the poetics and the aesthetic image view of the Qing Dynasty are characterized by the eclecticism and integration,which inherited the tradition and linked with the modern transformation of the image theory.Therefore,studying on the image concept in the poetics of Qing Dynasty is of great significance to clarify the aesthetic resources of traditional image category and build the theoretical system of contemporary image aesthetics.