From“being affected by the World”to“depicting the World”：an Examination of the shifting of Perceptual Experience in the Poetry of the Six Dynasties Eras
|Keywords:||六朝詩歌;知覺;身體感;類應;感物;體物;Poetry of Six Dynasties;perception;body experience;analogy- correspondence;ganwu（stirring-and-response）;tiwu（picture the profile）||Issue Date:||2012||Abstract:||
From the perspective of perception and body experience, the thesis investigates the shifting of perceptual experience in the Poetry of the Six Dynasties Eras. The term “affected by the World and Time by ways of Qi ”（qi gan qian hua,氣感遷化）is used to explain the perceptual pattern of Wei-Jin Eras and before, and the term” depiction of the World’s external appearances”（xing hui ti wu,興會體物）to used to describe the depiction trend of Southern Dynasties Eras. Between the two periods, the Jin-Liu Sung Eras are affected by both.
Qi gan qian hua was affected by two kinds of experiences ,one was the “musical education”（yue jiao,樂教）under the combined heaven and organic universe in the pre-Qin period, another was the feeling of the march of time which enlarged the experience of the organic universe after the period of Qin-Han Dynasties. Affected by the qi gan qian hua, the lyric tone of poets was so intense that their self-images were very obvious. By means of the adoption of the co-share-images, which were accumulated with ages, poets express their emotions. The most distinctive perception is the auditory experience, and then tactile, the former is closely related to the spirit of the music education, the later related with the march of time, and other perception also deeply combined with the organic universe. In the pattern of experiences, the representative topics were the Presentation and Reply Poetry, and Poems of My Cares, the former were primarily affected by the spirit of the music education and secondarily by the march of time , and the later was opposite.
The underground stream of xing hui ti wu became more active with the change of time and of Dynasties, of society and ideological trend, Qi gan qian hua gradually lost it’s influence on the poets. Between the Jin and Liu Sung Eras, xing hui ti wu gradually emerged as followed those phenomenon: the trend of Dark-learning philosophy and the new vision of Metaphysical poetry, the widened horizon of the ascended experiences, the new body experience of Chinese Landscape Poetry, the natural field of vision of folk song form wu ge吳歌 and xi qu西曲, and the cultural impact from Buddhism thought. The representative topics of genres were Chanting object poem and Palace-style Poetry, the former focus on the various kinds of natural appearance about true texture of the visual profile, auditory diversification, tactile impression, the sense of smell, and the taste feelings, the later depict women’s daily life. The distinctive perception of those two kinds of poetry is visual experience. The distance of perceptive experience between the poets and world has expand and open out a new creative space causing that the depiction could be exerted by the poets. The inseparable connection of the combined heaven and organic universe of the period of qi gan qian hua was destroyed in xing hui ti wu. Therefore bringing out very kinds of variety ways of observing the world, and the usage of rhetoric method and new combination of images, structure of sentences of poet’s ingenuity were significantly developed. In the period of xing hui ti wu, the natural tone and different length on the poetry of qi gan qian hua gradually changed to the arrangements and emphases of artificial production on the aspects of words and language rhythm. The number of sentences in one poem was more fixed and the correspondence that the connection between two sentences forms two kinds of body experience was so extended and enlarged as to require the participation of the reader. The shifting of perceptual experience between qi gan qian hua and xing hui ti wu is gradually formed as the change of world and body experience. Before the Southern Dynasties Eras, the source of xing hui ti wu was latent, and in the period of Southern Dynasties, the influence of qi gan qian hua still could be observed.
In the field of criticism, the shifting also appeared. The Musical point of view and the feelings of co-existence of community in the Yue ji樂記 could be related to the qi gan qian hua. In the “Greater Preface” to the Book of Songs, the value of poetry was emphasized more than the Yue ji, and this concept had potential relationship with the shi yuan qing詩緣情. Xi Kang嵇康''s shengwu aile lun聲無哀樂論was both affected by those two perceptual experience. The critical term “ch''iao kou ssing ssu”巧構形似nearly represented the essence of xing hui ti wu in Wen Xin Diau Lung文心雕龍and Shi Pin詩品.After Tang Dynasty, those two perceptual experiences mingle together and also manifest in the field of Literary Criticism., subsequently integrate into the Chinese Culture and have far-reaching influence on the poet’s concept and thought in the perceptual relationship between people and the world.
|Appears in Collections:||中國文學系|
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