Study On The "implication" Aesthetic Category In The Early Qing Dynasty Poetry

"implication" has long been a literary theory category.on the basis of predecessors' theories,Literary theorists not only thank "implication" as a kind of art style,but also a criticism of the standard and ideal pursuit at the beginning of the qing dynasty.At the same time,the poetics theorists in the early qing dynasty not only saw the implicit value,but also proposed how to achieve the implicit effect,which provided the literati with practical techniques.The first chapter mainly studies the production of "implication" aesthetic category.First of all,this chapter begins with the cultural environment of qing dynasty.Based on the unified situation formed during the outstanding period of ethnic conflict,the historical reappearance of the "dialectic of the real name" and the characteristics of the study of the Confucian classics,which have been formed by the influence of The Times,the study of "implicature" in the poetics category is closely watched in such a cultural atmosphere.Secondly This chapter will probe into the theoretical origin of "implication" aesthetic category in the early qing dynasty,starting from the four main historical stages of pre-qin,han,tang,song and yuan Ming and qing dynasties.On the whole,the embryonic stage,formative stage and maturity stage of the "implication" aesthetic category are explored,laying the foundation for the study of the post.The second chapter deeply analyzes the theoretical connotation of "implication" aesthetic category in the early qing dynasty.First,as an aesthetic category,"implication" is the embodiment of dialectical relationship between "words" and "meaning".At the same time,the complementarity of the relationship is inseparable from the author's own efforts,which is the lack of thickness that comes from the combination of love and learning.Secondly,this chapter will deeply analyze the close relation between "implicit" aesthetic category and nature,artistic conception and verve,from three aspects: including,not revealing,rich in meaning and endless charm.The third chapter will explore the artistic practice of the "implication" aesthetic category of poetry in the early qing dynasty.First,the combination of scenery and emotion.This is mainly through the view of the heart,the sentiment in the scene;the shadow of the shadow,the scene communion;more than image,scene one.The second,the bixing sustenance,this first is based on a kind of ancient people's unity of nature,the sympathy of the material love,through the imagination,the secret of the way to express a kind of not showing the feelings.The third is to use the allegorical meaning,to find the way to express the thought in the allusion mode which is driven by the inside and outside,and to express the intention of the creator through the nature of the matter.Fourthly,the poet uses the description of side and side to foil the original intention,a kind of hazy beauty is revealed naturally.The fourth chapter will return to the present situation of creation and comprehend its influence and significance.In the early qing dynasty,the "implication",the enduring poetic category,entered the peak of theoretical achievement in the reconstruction of the concept of early qing poetry.It became the standard of poetry in the early qing dynasty.Each poetic theorist's comments on poetry are generous under the "implication" aesthetic category.At the same time,it also supports the development of the era of "implicit" aesthetic category,which will make it run in the future.