Abstract
The construction of the history of Qing poetry cannot be separated from an emphasis on typical events. The most notable event, namely Cao Yin's construction of the Lian (“Chinaberry”) Pavilion and his inscriptions of pictures and texts, was accompanied by the spatial construction of multiple ethical, literary and aesthetic implications of the Lian Pavilion as a “house”. Cao Yin regarded the pavilion space as his sanctuary and attempted to construct his memory of the life in Jinling, the southern capital, and his living situationafter moving there. On the one hand, he used the image of filial piety to describe his living space and condition, and added the image of meeting friends and secluded life in order to create his self-image. On the other hand, when constructing his social identity and living pattern, Cao Yin spread the elegant lifestyle by collecting poems about the pavilion and reciting them at banquets, thus completing the process of artistic writing. This literary event was part of the wave of poetry exchange in the early Qing dynasty, and it also led to a resurgence of the tradition of scholar gathering. The open metaphorical implication space of the pavilion called upon jiangnan scholars to participate in the construction of the historical memory of Jinling.
Keywords
the Lian Pavilion;Cao Yin;“house space”;Jinling;social gathering
First Page
215
Last Page
226
Recommended Citation
Zhu, Zhiyuan. 2023. "The Construction and Artistic Writing of “House Space” in the Lian Pavilion." Theoretical Studies in Literature and Art 43, (3): pp.215-226. https://tsla.researchcommons.org/journal/vol43/iss3/22
