2015, Vol., No.69

Journal of Chinese Language and Literature 2023 KCI Impact Factor : 0.28

pISSN : 1225-083X
https://journal.kci.go.kr/clsyn

The purpose of this thesis is to reconstruct women's figure in certain time, through the poetry in ≪Yu Tai Xin Yong≫. ≪Yu Tai Xin Yong≫ is a collection of Chinese poetry which maily dealed with women's lives. Clothing, hairstyle, hair ornaments(首飾) and accessories are also a part of their figure. First of all, among 667 poems in the book, certain poems related with those subjects were selected. Furthermore, research data about each category helped to analyze women's figure in the poems. According to the book, reconstitution of typical women's figure in The Middle Ages[中古] is as follows: A soft and thin silk was the most common fabric. There were clothing such as Ru(襦), Shan(衫), Gui(袿), Pao(袍), Pa Fu(袙複), Liang Dang(裲襠), et ceteta. Ru(襦) was usually short. Such as head kerchief, shawl, scarf, towel, handkerchief and so forth were essential costumes. Socks and shoes made of silk were preferred, and clogs with high heel was popular. Straps, that was used to gather clothes up, not only was high quality pres many wishes of love. Also people in this period already concerned about fragrance of clothing. In this period, it was very common to make fabric or clothing smell fragrant by using tumeric scent(鬱金香), potpourri scent(百花香) and so on. In the area of hair style, bun(髻) was most common. Among many kinds of bun, high bun(雲髻, 高髻) or Wo Duo-bun(倭墮髻) was in vogue at the time. There were two main types of ornamental hairpin: Zan(簪), Chai(釵). The material was gold, jade, green jadeite, Imbricate tortoise shell(玳瑁) and etc. They also usually used Bu Yao(步搖) as a kind of ornamental hairpin. There were also other accessories with jewels such as gold or pearl and ect.: the necklace, the bracelet, the ring, the jade wearings(佩玉).

Ye Mengde's Shilin Poetry Talks was one of the representative works of the Song Dynasty. His poetry achievements were mainly reflected in several respects. Firstly, during the early stage of the poetry talks of the Song Dynasty, the stories about poetry and some amusing anecdotes related to the poets were also recorded while discussing poetry, but the poetry talks in the later period were more theoretical than before, Shilin Poetry Talks was typical of the transition period with such features. In this book, Ye Mengde put forward his views on the poetry comprehensively, and his poetry theory can be divided into the following categories, essentialism, expressionism, the theory of creation and the criticism theory of the poetry. Secondly, there were a lot of comments on the poetry rules which were prevalent in the Song Dynasty, Ye Mengde had covered nearly all aspects of the main questions in his book. Thirdly, in the Song Dynasty, Du Fu and his poems won undivided admiration and multi-evaluation, Ye Mengde had made many comments on Du Fu, especially on the characteristics of poetry rules from different angles, and he had shown an excellent model of writing poet for the scholars at that time. Fourthly, Ye Mengde had shown a type of proper approach of writing poems for the scholars through the evaluation of the poets in the middle and later period of the Northern Song Dynasty, and he wanted to correct the faults at the time. In addition, Ye Mengde paid attention to “the poetic flavor” and used to talk about the poems with Buddhism which made us see the tendency of poetics of Song Dynasty.

Huang Ting-jian (黄庭堅, 1045~1105) was one of the most prominent writers in the Song Dynasty as a head of the Jiang-xi school of poetry (江西詩派), and well known as a calligrapher who had the most extraordinary and unique style of handwriting. Since Huang Ting-jian was a writer and a great calligrapher, he wrote more than a few poems that can be categorized as calligraphic poetry, which well contained his theory of calligraphy. Among the poems written by Huang Ting-jian, those categorized into calligraphic poetry were 50 pieces under 45 titles, which are divided into three sections of learning of calligraphy, evaluation of calligraphy and theory of calligraphy. At first, Huang Ting-jian put relatively many focuses on whom to teach and how to study in starting calligraphy. Huang Ting-jian put Wang xizhi as the best model of learning calligraphy and considered Zhong you(鍾繇), Wei dan(韋誕), Zhang zhi(張芝), Zhi yong(智永), Yan zhenqing(顔眞卿), Yang ningshi(楊凝式) and Li jianzhong(李建中). The calligraphic poetry by Huang Ting-jian includes the comparison and evaluation of the handwriting style of the master calligrapher Wang xizhi(王羲之) as well as Wang xianzhi(王獻之), Zhang zhi(張芝) and Yiheming(瘞鶴銘) with large letters, and comments on the handwriting style of celebrities, such as calligraphers in the Song Dynasty including Li jianzhong(李建中), Wang yucheng(王禹稱), Su shunyuan(蘇舜元), Su shunqin(蘇舜欽), Wang anshi(王安石), Su shi(蘇軾) and Mi fu(米芾). The calligraphic poetry by Huang Ting-jian included the learning and criticism of calligraphic works as well as the theory of calligraphy implicitly. Huang Ting-jian focused on expressing inner consciousness[神似] by emphasizing the superb spirit and ignored describing the appearance[形似]; claimed the handwriting style that unites the heart and hand; and emphasized the importance to make every effort to learn calligraphy from the beginning to form a school on your own. Such claims were consistent in his theory of calligraphy.