Researching On The Culture Of Gui Poetry Of Tang

This thesis mainly investigates the application situation of GUI image in Tang poems. According to the incomplete statistics in The Full Collection of Tang Poetry(Zhonghua publishing house, 1979 Edition), the word GUI has been used in Tang poetry about 1500 times and it was also related to 1350 poetries. In these 1350 poetries, there was a remarkable phenomenon that GUI was found around 1300 times and acquired a high frequency. Therefore, why people in Tang poems use a large number of GUI, which is very worthy of thinking and research.This thesis will be divided into five chapters. The first chapter, from the plant, mainly explores the image GUI culture in descriptive poems. The decomposition, the classification, the combination of three aspects are studied. GUI image is a whole and collective concept. The first section explores the GUI, which is divided into seven branches, including osmanthus, cassia twig, cinnamon leaf, cinnamon fruit, dew and osmanthus bush. According to different standard, in the second section, GUI is divided into five categories in Tang dynasty. Each category has its own different characteristics and cultural implications. The third section, from the perspective of image match, combines the GUI image with LAN image and SONG image, then forms a image group filled with symbolic meaning. This section also explores the unique cultural implication of GUI image in Tang people's eyes by analogy.In chapter two, the GUI culture related to the moon are studied. In Chinese culture, there is a deep root between GUI and the moon, and there are countless mythologies, tales and legends about them. For example, the idiom “picking the GUI flowers in the Palace of the Moon”, which means having an ideal rank the exams, reflects the scholars' deep passions and cultural deposits in the history. What's more, in some poems, the GUI is an alternative of the moon, including the wheel, spirit, essence and shadow of GUI. As there are a great many this kind of poems, it is worth researching them. Additionally, the poets in Tang dynasty always expressed their homesickness in the poems with GUI, and this is why there are so many GUI in Tang poems.The third chapter introduces place names and landscape names related to the GUI culture in Tang poems. Based on the titles and contents about related to the special landscapes in Tang poems, section one explores the living and producing situations in Guilin, Guangxi province as well as the daily activities mentalities of the poets living there at that time. For poets, especially local ones, including Cao Ye, the GUI conveys their deep passions to Guilin. For them, the names such as Guilin and Guiyang not only refer to the places themselves but the images fulfilling the poets' rich passions. In section two, the verses describing the beauty of Guilin are thoroughly analyzed, including the images of mountains, streams, rivers and hills about Guilin. Therefore, it is evident that the saying “The rivers and mountains of Guilin are the most beautiful all over the world.” has been recognized since Tang dynasty.Chapter four depicts the GUI culture in daily life in the poems. With wide plantation of osmanthus, GUI was used in every aspect of people's living in Tang dynasty. As is known, the spiritual culture is constructed on the base of material culture. As a result, GUI cultuer with more profound connotations increased greatly in the poems. Specifically, section one analyzes the images related to diet and health, covering feast, Chinese herb medicine, spices, fuels and make-up. In particular, special importance is attached to the image of GUI wine in the poems concerning feasts and farewell. Section two researches the images involved in transportation and construction. Due to the excellent qualities of the wood, i.e. its hardness, durability and water-proofing, it was used for housing construction, ship and bridge building, furniture and so on. Therefore, there are a series of widely-used images related to GUI in Tang poems, including ships, palaces, yards, halls, pavilions and piers.Chapter five divides the GUI culture into four symbolic categories according to their connotations, namely official rank in imperial examination, immortality and morality, love and friendship. Section one focuses on the images related to official rank in imperial examination. Since there are many poems of this kind, this paper only analyzes the images of picking the GUI branches and GUI in east hall. In section two, the culture related to immortality and morality are studied. In ancient China, the Taoists and Buddhists held the belief that they could be immortal after eating GUI. Meanwhile, it is believed that GUI has noble moralities. Therefore, both the Taoists and Buddhists were in favor of it. In section three, 25 poems containing GUI images related to love affairs are explored. In ancient times, GUI flower was regarded as the god who unites persons in marriages, and it was the symbol of love. When it comes to the images concerning friendships, there are also a large number of related poems, such as farewell poetry, frontier-style poems, antiphon poems and epistolary poems, which are investigated in section four. Above all, based on the specific analyses of the expression methods, implication features and symbolic meanings, this chapter comprehensively summarize GUI in the eyes of people of Tang dynasty.GUI culture differ greatly on the cultural implications and connotations for different poets. As a result, this thesis chooses some typical poems of the representative poets to make a more persuasive analysis of the images. In this paper, through the column data, tables, more accurate, reflect the condition of GUI in tang poems using, through the creation mentality of the tang dynasty witnessed in the eyes of GUI have deep cultural implications.