Zhou Bangyan

Zhou Bangyan

Zhou Bangyan (1057-1121), a Muslim, was born in Qiantang (now Hangzhou, Zhejiang). He was a writer of the Northern Song Dynasty and one of the representatives of the "graceful and restrained school" of Song Ci.

Zhou Bangyan was a young man, but he was diligent in reading. Song Shenzong became a student of Taixue and wrote Biandu Fu to praise the new law. He was appreciated by Shenzong and promoted to Taixue Zheng. Since then, he has been drifting abroad for more than ten years, and successively served as professor of Luzhou and magistrate of Lishui County. After the third year of Shaosheng (1096) of song zhezong, he returned to Bianjing and took the post of chief bookkeeper of Guozijian and xiaoshulang. When Huizong of the Song Dynasty, he raised Dasheng mansion (the highest musical organ) to be responsible for composing Ci and music and offering it to the imperial court. They also transferred to Shunchang Prefecture, Chuzhou and other places. Later, he died in yingtianfu (now Shangqiu, Henan Province) in Nanjing at the age of 66. As a gift to doctor Xuanfeng.

Zhou Bangyan is proficient in temperament and has created many new tunes. Most of the works are about boudoir and travel, and some are about things. The rules are strict, the language is elegant, and the long tune is good at narration. Later, it was adopted by metrical CI poets. The works have long been regarded as "authentic" among the graceful poets. In the old CI theory, he was called "the crown of Ci writers" or "the old Du in Ci". He was recognized as a CI poet with "negative pronoun name", and had a great influence in the Song Dynasty. There is a collection of Muslim Jushi, which has been lost, and now there is a collection of Pianyu.

Life of the characters

be a brilliant man of wide learning

Zhou Bangyan was born in the third year of Jiayou (1057). The history of the Song Dynasty says that when he was young, he was "lax and lax" (which means that he lived a wild life and didn't abide by etiquette), and he was not valued by the state. However, he was quite diligent, so he was able to get involved in hundreds of books.

Give a gift and get a reward

In the early years of Yuanfeng (1078-1085), Emperor Shenzong of Song Dynasty, Zhou Bangyan traveled to Kaifeng, the capital of Northern Song Dynasty.

In the sixth year of Yuanfeng (1084), he presented the seven thousand word Biandu Fu to Shenzong. After reading it, Shenzong was very surprised. He called him to zhengshitang and ordered Li Qingchen, the academician of Hanlin, to recite it in you Ying Pavilion. There are many ancient and strange words in Fu, but Li Qingchen didn't know them, so he had to read some of them. This is a great Fu which imitates the two capitals Fu and Erjing Fu of Han Dynasty, and its scale is similar to Han Fu. In the Fu, the dialogue between the hypothetical characters "faweizi" and "Yanliu" is used to describe and praise Biandu gradually. In the meantime, Wang Anshi's new deal is also praised, which is greatly appreciated (this is closely related to his later bumpy official career, he is different from the old party's Sumen Ci poets, who are politically inclined to reform of the new party).

Bumpy official career

After the spread of the act of offering Fu, Zhou Bangyan became famous all over the world, and his official position was promoted to taixuezheng from taixuezhusheng. But after that, he "stayed at the age of five" and devoted himself more to literary creation.

After the death of emperor Shenzong of Song Dynasty, the old party came to power, and all the gentlemen of the Soviet Union returned to the imperial court one after another. Zhou Bangyan was expelled from the capital and became a local official. He first served as a professor in Luzhou (now Hefei, Anhui Province) and then transferred to Lishui County (now Lishui, Jiangsu Province).

After song zhezong ascended the throne, Zhou Bangyan was transferred back to Bianjing as the master of the state. Zhe Zong ordered him to recite Biandu Fu again, and then gave him the title of secretary Sheng Zhengzi. Since then, Zhou Bangyan has been working in Beijing for a long time. He has experienced the official school Shulang, kaogong member wailang, Wei Wei Shaoqing, Zongzheng Shaoqing and discussed the review of Li Bureau. He also went out of zhihezhong prefecture (now Yongji, Shanxi Province) with zhilongtuge. But song Huizong wanted Zhou Bangyan to finish the ritual book, so he stayed in the court. It took more than a year for Zhou Bangyan to leave Longde prefecture (now Changzhi, Shanxi).

Later, he changed to Mingzhou (now Ningbo, Zhejiang Province) and was transferred back to Kaifeng, where he was under the supervision of the secretary. His later official, Huiyou Pavilion, took over from Cai you's Office (Central Conservatory of Music). Because he was unwilling to cooperate with Cai Jing, he was expelled from the imperial court in his later years. He even knew Shunchang prefecture (now Fuyang in Anhui Province) and Chuzhou (now Lishui in Zhejiang Province).

In 1121, Zhou Bangyan died in Nanjing (now Shangqiu, Henan Province) at the age of 66. As a gift to doctor Xuanfeng.

Main impact

style of art

Zhou Bangyan is a master of graceful Ci, inheriting predecessors, absorbing, refining, carrying forward, and making contributions to the development of graceful CI. "A graceful writer of the Northern Song Dynasty, Zhou was the latest to come out. He was a philosopher, a sage and a great success" (< I > Tang Guizhang < / I > < I > preface to the dictionary of appreciation of Ci Poetry of the Tang and Song Dynasties < / I >). Zhou Bangyan created the style of the metrical School of straightening words and sentences, which made the graceful Ci to the peak in art.

Although Zhou Bangyan had been down and out in his early days, his official career was on the rise. He gradually became a magistrate until he became a "music official" of Dasheng mansion established by Huizong of Song Dynasty. He lived a comfortable life of "professional creation". Although he was born at the end of Northern Song Dynasty, his country's collapse took place behind him.

As a graceful CI poet, his ci content has been renovated to the extreme by Su Shi, so he is bound to excel in artistic skills. He is good at music and has been engaged in "professional creation". Therefore, he is able to carve carefully, study pronunciation and refine words. He has done a lot of precise sorting work in revising the intonation, expanded the field of music, and made a lot of new innovations in the skills of ci writing. He was more able to make music by himself and created new words such as "six clowns". In a word, he inherited the achievements of Liu Yong, Qin Guan and others, opened the precedent of metrical CI school, and made contributions to the artistic form of CI.

Zhou Bangyan's Ci is indeed superior in artistic skills. The scenes of the past, present and future intersect with each other. The techniques are changeable, but they can be referred to back and forth. The structure is strict and tactful.

His Ci is rich in artistic image and beautiful in language. He is good at carving, and he can create new ideas in carving, which gives people a deep impression. He is also good at melting the ancient poetry into his own works, which is ingenious and natural. The artistic style of his Ci is rich, classic and meticulous. His style of CI had a great influence on shidazu, Jiang Kui, Wu Wenying, Zhoumi, Zhang Yan, etc. in the Southern Song Dynasty, "before the end of the Soviet Union and Qin Dynasty, the beginning of the history of Jiang and Shi began again" (< I > "Bai Yu Zhai CI Hua" < / I >), which opened the school of metrical CI after the Southern Song Dynasty and played a very important role in the history of CI.

Artistic contribution

Zhou Bangyan's Ci works are nothing more than the traditional themes of love between men and women, don't worry about leaving hate, life sorrow and so on, reflecting the social life is not broad enough. His achievements mainly lie in his eclecticism, absorbing the strong points of various schools, abandoning their disadvantages, and leading the creation of CI gradually to the road of rich beauty and exquisite craftsmanship. In his Ci, there are not only Wen Tingyun's beauty, Wei Zhuang's beauty, but also Feng Yansi's lingering, Li Houzhu's deep and graceful, Yan Shu's implication and Ouyang Xiu's elegance. As for Liu Yong's narratives, we can see some of them. At the same time, he also tries to avoid some shortcomings of graceful words and bold words. Therefore, Zhou Bangyan's Ci is highly appreciated by later generations and has a wide influence.

In the Northern Song Dynasty, the style of CI represented by Su Shi, while vigorously opening up the field of CI expression, often became "the one who cannot be bound in the music", showing the trend of gradual separation of Ci and music as written works. However, Zhou Bangyan developed in another direction, attaching great importance to the coordination of Ci and music, which further standardized and refined the rhythm mode of CI. It should be said that each direction has its own achievements. When he was promoted by Ren Dasheng's office, Zhou Bangyan, with his knowledge of tonality and the experience of folk musicians, collected and approved more than 80 kinds of tunes popular in the previous generation and at that time, determined that the four tones of each word in each tone, as well as the ascending, descending and entering tones of tonal tones, could not be mixed, and created many new tunes, such as liuchou, huaxuyin, Huayan, Gepu lianjinpai, etc. The rhyme of his Ci is naturally very strict, such as the double tug of the head in Rao fo Ge · dark dust Si Lian

Dark dust four convergence, Louguan completely out, Gaoying lonely hall. Clear leakage will be short, tired of hearing the night long signature sound move Book curtain. < I > < I > Guihua < / I > < I > is full, leisurely walking on grass, preferring seclusion. The flowers are pure and graceful, and you can see the river bank in the shade of the city.

In this way, each word has four tones, which are cadenced, varied, harmonious and tactful. There is no place where it is difficult to pronounce. This kind of word itself is full of musical beauty, and can be perfectly matched with the music. Therefore, at that time, all the nobles, scholars, musicians and singers loved to sing Zhou Bangyan's Ci.

Since Liu Yong, more and more people have made long tune. But this kind of words is long and the layout is very careful. When many people write long tunes, they fill in some beautiful algae in the middle, or tighten the front and loosen the back, or perfunctorily write one or two good sentences. In this respect, Liu Yong's strength lies in his ability to narrate in an orderly way, Su Shi's strength lies in his unrestrained mood, and Zhou Bangyan is more particular about the composition than them, and can meticulously write a poem in a relaxed and winding way.

For example, "Lanling king · Liu" is a poem with three fold and three head changes, and the rhyme and rhythm are very complex. Zhou Bangyan's writing is very stable and appropriate, so he is especially loved by musicians. According to Mao Kai's records of qiaoyin, until the early Southern Song Dynasty, "duxia was still in vogue," and "the West Tower and the South tile were singing, which is called" Weicheng Sandie. " Its content is just to say goodbye to the guests, to express the feeling of tiredness and parting, and the arrangement is very ingenious. In the first section, memories are drawn from the scene in front of us, and then we turn back to ourselves to point out the theme of farewell, and then we turn back to the past of seeing off guests from the broken willows. Between the changes of opening and closing, we can write about the boredom of living in Beijing. In the second section, we start to write about the old journey, and soon connect the scene of last night's farewell banquet with the word "you", sighing that there is no one old friend left, and then use imagination to write about friends leaving and being separated from each other The third section begins with two short sentences, in which a cavity of sorrow is gushed out in the rapid rhythm, and then the rhythm slows down, describing the sunset after leaving the boat, and I am still at home

Chinese PinYin : Zhou Bang Yan