Author(s)

Xiaorong Jiang

Corresponding Author

Xiaorong Jiang

Abstract

Japanese Chinese poetry has been actively imitating and learning Chinese poetry since the beginning of its tenacity, because Chinese poetry is the poetry written by Japanese in Chinese. Although it is written in Japan, it must always be learned in China, otherwise it will not develop, which is an objective law. In terms of the order of the times, the earliest Nara Dynasty was keen to learn the poems of Wenxuan and the early Tang Dynasty. Later, in the Ping'an Dynasty, they learned the poems of Bai Juyi in the middle Tang Dynasty, followed by the poems of song and Yuan Dynasties in the Kamakura era, and extensively studied the poems of Ming Dynasty and Qing Dynasty in the Edo era. Each era has its own religion, and each era has its own specific style of poetry, which often depends on which era and School of poetry to learn from in China. As far as the Han poetry of Edo is concerned, it was deeply influenced by the poetry of Ming Dynasty in most of the Edo period. Under this influence, the poetry circles of Edo successively formed the YingYuan school headed by Di Sheng zulai and the fresh spirit school represented by Shanben Beishan and the Jianghu poetry society. The former follows the literary trend of reversion of the seven schools of Ming Dynasty, such as Li and Wang. The latter criticizes the literary creation of YingYuan school to suppress the theft in ancient times. Guided by the theory of spirit of the public security school, the former advocates that the poetry should write the reality around and express the true nature, while not denying the Tang poetry, it also pushes the Song poetry. Yingyuanpai and qingxinxinglingpai are the most influential and representative poetry schools in the field of Jianghu poetry. To some extent, they basically reflect the overall development and change of Jianghu Chinese poetry.

Keywords

Edo Japan, Chinese Poetry, Research