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A Study on transitional features of Yongwu Ci Poetry(詠物詞) in Zhexi Liujia Ci(≪浙西六家詞≫) - With a focus on changes to the perceptions and expressions of objects among intellectuals in early Qing Dynasty

  • Journal of Chinese Language and Literature
  • 2023, (92), pp.39-80
  • DOI : 10.15792/clsyn..92.202304.39
  • Publisher : Chinese Literary Society Of Yeong Nam
  • Research Area : Humanities > Chinese Language and Literature
  • Received : March 10, 2023
  • Accepted : April 14, 2023
  • Published : April 30, 2023

Kim Hanee 1

1서울대학교 인문학연구원

Accredited

ABSTRACT

This study investigated Zhexi Liujia Ci(≪浙西六家詞≫), which is a collection of Ci poems by six writers from Zhexi in early Qing Dynasty, focusing its analysis on their responsorial yongwu ci poems(詠物詞). Zhexi Liujia played important roles in the creation of Zhexi Cipai(浙西詞派) that was the center of Citan(詞壇) until middle Qing. “Yongwu,” which sings about external “objects,” is a topic that clearly shows the creative tendency of Zhexi Cipai. They experienced a change of dynasties at a relatively early age. In those days, the “sentiment of drifting people” was deteriorated by the Qing Dynasty's overbearing and conciliatory policies for the Hanzu(漢族) intellectuals and the stabilization of politics. This trend was reflected on the works of Zhexi Liujia, showing a transitional pattern. They followed works by Nansong(南宋) intellectuals that had similar experiences during a change to a dynasty of other people and expressed some sentiments of drifting people by choosing the same topics as them to respond to them. Unlike Yunjian Cipai(雲間詞派) that had first-hand experiences with the fall of a dynasty and dealt with “woman” and “object” topics under the goal of conveying unexpressed meanings by entrusting them to objects, Zhexi Liujia separated “me” from “objects” and sang about “objects” as others. They thus described objected likened to “women” sensually as an object of desire instead of a being to whom “my” sorrow was entrusted. They recorded new information about novel objects and sang about things, animals, and foods as an object of physiognomy and love. This trend reflected changes to the perceptions of objects among intellectuals since the second half of Ming Dynasty and opened up the possibilities of moving forward in a direction of recording information about objects as an objective being completely separated from “me” rather than subjective objects on which “I” as “yongwu” was projected.

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* References for papers published after 2023 are currently being built.

This paper was written with support from the National Research Foundation of Korea.
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