Ci can be traced back to the Sui Dynasty, and it flourished in the Tang and Song Dynasties. During these two or three hundred years, the genre of words has been changing constantly. Whether it is Huajian Ci School, Southern Tang Ci School, Yan in the early Northern Song Dynasty, Zhou Bangyan and He Zhu, graceful poets in Qin Dynasty, great poets in the late Northern Song Dynasty, and Li Qingzhao and Xin Qiji in the Southern Song Dynasty, we can all understand them in their ci.
Tang and Song Ci are good at expressing sorrow and don't hate the parting between friends and lovers. There is a kind of sadness of a boudoir young woman; There are poor people's sorrows, and there are sad people with no talents; There are people with lofty ideals who care about the country and the people, and there is no way to serve the country. The History of Tang and Song Ci can be said to be a long scroll of human suffering interwoven with "sadness" and "sorrow".
1908, the publication of Wang Guowei's Ci Poetry on Earth marked the transformation of Ci poetry research from modern times to modern times, and unprecedented achievements have been made in the research and criticism of Ci poetry in the next 30 years. Wang Guowei made a textual research on the origin of Tang and Song Ci, and thought that "Li Houzhu's Ci was really written with human blood" and "Buddha and Christ bear human sins", while Yan Shu and Feng Yansi's Ci were "worried about life" and "worried about the world" (Wang Guowei believed that Tang and Song Ci not only inherited the mental burden of anxiety accumulated in the previous generation of literature, but also "absorbed" the anxiety newly released in the current dynasty.
In the 30 years after the founding of the People's Republic of China, before 15 years, due to over-emphasis on the discussion of the external law of Ci, the categories and terms of special criticism of Tang and Song Ci hardly increased, on the contrary, most of the original ones were ignored. Later, with the diversification of Ci criticism, some special categories and terms of Ci criticism in Tang and Song Dynasties were formed. For example, Yang Haiming's History of Tang and Song Ci first introduced the sense of hardship into Ci criticism to explain the sentimental color of Tang and Song Dynasties, and others such as narrow and deep style, artistic conception literature, genre style, multiple personality and sad beauty. Nalan Xingde once said: "Poetry is more difficult than happiness. Happiness is often better than trouble. " This reveals the close relationship between "Ci" and "worry (psychology)".
The study of Tang and Song Ci in 1980s showed a macroscopic vision and distinctive academic character. The surge of modernization leads to the variation of academic thoughts, and the waves of method fever, root-seeking fever and cultural fever make the study of Tang and Song Ci present a multi-perspective and multi-method situation. New and old researchers have established their academic status with their creative work, showing their unique personality. The aesthetic research of Tang and Song Ci has made a qualitative leap in depth and breadth and a quantitative leap, especially in the sense of judging sadness. In terms of quality, the middle-aged researchers, on the basis of absorbing and inheriting the research results of the older generation, made bold innovations, produced many new research results and put forward many new research theories. For example, in Ye Jiaying's Poems of Jialing, the author successfully connected the western theory with China's traditional theory of Ci. China's traditional theory of Ci poetry, as well as the new generation of Ci poets such as Yang Haiming, Deng, Liu Zunming, etc., have made many achievements beyond their predecessors, especially the theory of "taking sadness as beauty", which embodies a qualitative leap. From the quantitative point of view, there are more and more researchers in the sense of judging sadness in Tang and Song Ci, and there are more and more research works in this field. For example, Wu Mei, the older generation, and Wan Yunjun, a student from Wu Mei, wrote A General Theory of Ci Poetry and A Record of Frost Cliffs. Taking Wan Yunjun as an example, Wounded Spring is the main theme of Tang and Song Ci. This paper traces the origin of the theme of Wounded Spring. The rising stars of the theory of poetry and music are Wu's General Theory of Tang and Song Ci, Seventeen Lectures on Tang and Song Ci, Yang Haiming's Style Theory of Tang and Song Ci, History of Tang and Song Ci, On the National Aesthetic Psychology Accumulated in Tang and Song Ci, and Beyond Poetry-On the Cultural Taste and Aesthetic Characteristics of Literati Ci in the Middle and Tang Dynasties.
In particular, Mr. Wang further explained the sentimental color of Tang and Song Ci in the History of Tang and Song Ci, and explained his examination of the "sad" color of Tang and Song Ci from the perspective of a reader and researcher in the article "On the national aesthetic psychology accumulated in Tang and Song Ci" published by 1987. He said that this is a "sad and beautiful pleated color", and Yang Haiming will think that the "sadness" expressed in the whole Tang and Song Ci is complicated.
The study of mourning consciousness in contemporary Tang and Song Ci shows a trend of multi-methods, multi-angles and multi-sides. For example, from the perspective of genre change, explore the consciousness of judging sadness in Tang and Song Ci; Some are studied from the perspective of combining national psychology with the background of the times, and some are studied from the connotation of mourning consciousness in Tang and Song Dynasties. It has formed a distinctive and unique research style, expanding its scope and advancing its depth. There are many outstanding achievements among them. For example, Deng began to trace back the cultural genes and aesthetic factors of China literature, explore the characteristics and manifestations of the aesthetic form of Ci literature, and reveal the existing state and prototype significance of its tragic inner beauty; For example, Wu Huijuan's Aesthetic Photograph of Tang and Song Ci, Deng's Aesthetic Appreciation of Tang and Song Ci, Yang Boling's Aesthetic Cultural Interpretation of Tang and Song Ci, Tong Qingbing's Sad Judgment of Tang and Song Ci, etc. For example, the professor's interpretation of the aesthetic culture of Tang and Song Ci is rooted in China's ancient poetic tradition and can be surpassed. It is a comprehensive work with profound theoretical support, close to the composition of ci, profound and meticulous analysis, high theoretical generalization and integration of Chinese and western cultures. In this book, with a broad cultural vision, the author not only explains the aesthetic cultural characteristics of Tang and Song Ci, but also extends to the evolution and acceptance history of aesthetic cultural concepts of Tang and Song Ci, especially in the chapter on the consciousness of judging sorrow in Tang and Song Ci, and comprehensively discusses the artistic characteristics of the consciousness of judging sorrow in Tang and Song Ci. Combined with the text of Tang and Song Ci, it is explained in detail from the following four aspects: 1. Second, the relationship between the style of Tang and Song Ci and the change of life situation; Third, the analysis of the consciousness of judging sadness in the life of Tang and Song Ci; Fourthly, the tragic artistic features of lonely images created by Tang and Song Ci have deepened our understanding of the artistic features and styles of Tang and Song Ci.