The Study Of Zhang Yuzhao’s Literary Theory And Ideology

As one of the "Four Disciples of Zengguofan",Zhang Yuzhao’s literary theory and ideology has a status that cannot be ignored in the history of the development of ancient Chinese literary theory.Based on Zhang Yuzhao’s prefaces,letters,article reviews,and class remarks,this article conducts a systematic study of Zhang Yuzhao’s literary theory,comprehensively analyzes the formation,core ideas,important categories,and purports of Zhang Yuzhao’s literary theory,and grasps its position in Tongcheng literary theory and its contribution to the construction of modern and contemporary literary theory.Specifically,the thesis mainly explains from the following aspects:First,the formation of Zhang Yuzhao’s ideology of literary theory was explained.The cultural context for the development of Zhang Yuzhao’s ideology of literary theory,the great influence of Tongcheng sages,the growth environment and interactions are important factors for the formation of Zhang Yuzhao’s literary theory.Second,"Yi,Ci,Qi and Fa" theory,the core of Zhang Yuzhao’s ideology of literary theory was analyzed."Yi","Ci","Qi" and "Fa" is the basic elements of the text summarized by Zhang Yuzhao.They have a specific relationship and present different forms in text construction and understanding."Yi" not only refers to the objective thoughts and knowledge in the article,which is similar to the "Li" and "Tao".It also refers to the subjective sentiments contained in an article,including the author’s emotions and intentions.Zhang Yuzhao believed that "Yi" is the guidance and core of an article.When writing an article,"Yi" should be the mainstay,and it should be supported by the "Ci" "Qi" and "Fa".Although he seemed to praise the " an article,a moral" theory,he did not partially ignore "Qi" but emphasized that the article was a natural and organic whole,which is a transcendence over Tongcheng School’s "Yifa" theory and the compromise and reconciliation of the predecessor’s literary theory."Ci",as an element of an article,is closely related to the creation of formal beauty as well as "Yi" and "Qi".Zhang Yuzhao emphasized tones and rhythms of the literary words,and that the language could be diversified and innovated,which reflects his thinking on how to achieve the beauty of the tune and the beauty of Ci.Zhang Yuzhao’s understanding of the relationship between "Ci" and "Yi" and "Qi" is that Ci supports Yi and creates Qi.Then Zhang Yuzhao’s theory of "grasp of spirit based on rhythm" was analyzed,and it argued that Zhang Yuzhao inherited and surpassed the "Shengqi" theory of Tongcheng sages.Liu Dakui believed that a work can be explained in three levels,that is spirit,syllable,and words,and the relationship between spirit and syllable could be grasped from the perspective of creation.Zhang Yuzhao clearly gave this theory the name "grasp of spirit based on rhythm",believing that the grasp of spirit based on rhythm is the initial step of understanding an article,and then Yi Ci and Fa should be learned from the Qi."Qi" is the kinetic potential factor contained in a work,which not only refers to the imposing manner in an article,but also contains the Fa about "spirit" and "artistic conception".Zhang Yuzhao believed that literary style,personal knowledge and morality were the main factors that affect "Qi",which had the characteristics of vitality,flow and consistency."Fa" for text refers to both the law and technique.Zhang Yuzhao believed that the highest pursuit in terms of "Fa" was "no fixed Fa"."Yi","Ci","Qi" and "Fa" were not isolated individuals,but could form a unified chapter under the action of "Ji."Third,the category of Zhang Yuzhao’s literary theory,that is "Ya Jian",was explained."Ya Jian" is not only an aesthetic style,but also a specific creative method and critical principle proposed by Zhang Yuzhao."Ya Jian" includes the emphasis on elegance and the emphasis on the unity of magnificence and ordinary.Elegant and powerful article should be concise,powerful and vigorous.There are two ways to realize the "Ya Jian" of the text: from the perspective of the creative subject,it should have a deep Yi and a high sustenance;from the perspective of specific creative writing,it is necessary to avoid vulgarity and seek elegance,and to have a concise style and a wealth of words.Fourth,the "Central Harmony" thoughts of Chang Yuzhao’s literary theory was explained.It is the outstanding feature of Zhang Yuzhao’s literary theory."Central Harmony" not only emphasizes the harmony of the dialectical unity of different elements,but also requires things to be in their own place,or to move according to the rhythm.Zhang Yuzhao believed that "Central Harmony" was the core of "Tao" and was the main idea of the Six Classics.In the field of literature,Zhang Yuzhao’s proposition that "literature is the same as Taoism" indirectly shows that "Central Harmony" is the highest realm of literature aesthetics.The principle of "Central Harmony" mainly includes "harmony in diversity" and "appropriate balance",which are reflected in Zhang Yuzhao’s "Yi,Ci,Qi and Fa" theory and his interpretation of "Ya Jian"."Harmony" as the thought of Zhang Yuzhao’s literary theory is specifically reflected in Zhang Yuzhao’s emphasis on " there is no intention to write the article,but the article is just right" and "the aesthetic effect should be subtle and natural as well as concise and meticulous".Finally,the influence and value of Zhang Yuzhao’s literary theory and ideology was comprehensively evaluated.Zhang Yuzhao’s literary theory and ideology had a huge influence on scholars of later generation,mainly represented by Fan Dangshi and He Tao.Zhang Yuzhao’s ideology of literary theory guided the creation of ancient prose,which is mainly reflected in the profound meaning and elegance,rich words and vigor of created ancient prose.Zhang Yuzhao’s ideology of literary theory also has enlightening significance for the construction of modern and contemporary literary theory.For example,Zhang Yuzhao’s theory of "grasp of Qi based on rhythm" had inspired Zhu Guangqian in his prose sound rhythm theory to a certain extent.