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Jiang Kui (1154-1221), whose courtesy name was Yaozhang and his pseudonym was Baishi Taoren, a Han nationality, and from Poyang, Raozhou (now Poyang County, Jiangxi Province). He was a writer and musician of the Southern Song Dynasty.

He was lonely and poor when he was young, and failed to pass the exams. He never served in his life. He moved to the world and relied on selling words and friends to support him. He was versatile, proficient in music, able to copy music, and his lyrics were rigorous. His works were famous for their ethereal and subtlety. Jiang Kui was good at poetry, prose, calligraphy, and music, and was another rare artistic genre after Su Shi. Jiang Kui's poems have a wide range of subjects, and when he was touching, he expressed his feelings, chanting things, love, describing scenery, recording travel, sequence, friendship, and rewards. In his poems, he expressed his thoughts of being in trouble when he was wandering in the world, describing his wandering life, expressing his depression of being frustrated in the world and in love, and his personality of being extraordinary and unrestrained, as well as his lonely clouds and wild cranes. Jiang Kui lived in West Lake, Hangzhou late at night and was buried in the West Horse Village.

There are books such as "Baishi Taoist Poems Collection", "Baishi Taoist Song", "Summary of the Book", and "Jiang Tieping" that have been passed down from generation to generation.

As famous as Fan Chengda, Yang Wanli, Lu You and You Mao. Because of his appreciation of Jiang Kui's talent, he specially betrothed his niece to Jiang Kui. In the winter of 1186 AD (the 13th year of Chunxi), Xiao Dezhao was transferred to Huzhou, and Jiang Kui also decided to accompany the Xiao family. In the late spring of the next year, Xiao Dezhao officially went to Huzhou to take office. He passed by Hangzhou and introduced Jiang Kui to meet the famous poet Yang Wanli. Yang Wanli praised Jiang Kui's poems and praised him. He "worked in everything for literature", which was very similar to Lu Guimeng, a famous poet of the Tang Dynasty, and also became friends with him. Later, Yang Wanli also wrote a special letter, recommending him to another famous poet Fan Chengda. Fan Chengda was once appointed as the Chief Political Affairs Officer (Deputy Prime Minister). At that time, he had already returned to his hometown of Suzhou to recuperate. After reading Jiang Kui's poems, he also liked them very much, thinking that Jiang Kui was elegant and transcendent, and his calligraphy and calligraphy were cool, and his figures were liked by the Wei and Jin Dynasties.[1][2]

Live in Huzhou

He was praised by Yang and Fan, and Jiang Kui was very famous. He has lived in Huzhou for more than ten years. The scenery of Bianshan in Huzhou was beautiful. In 1190 AD (the first year of Shaoxi), he officially lived in Baishi Cave Heaven in Tiaoxi, Bianshan, and his friend Pan Dejiu called him "Baishi Taoist".

Jiang Kui was a man of unrestrainedness and unruly, and he believed in Lu Guimeng. At that time, celebrities and officials all rushed to make friends with him. Even the great master Zhu Xi also had a bright eye for him. Not only did he like his articles, but he also admired him for his deep knowledge of rituals and music. The famous poet Xin Qiji was deeply impressed by his lyrics and once wrote lyrics with him and sang them together.

Incorporating the music, creative style and aesthetic ideals of lyrics into certain rules, clearing the original unintentional connection, and combining the sacred elegance into one, forming a new style of lyrics. The theory and creation of the Jianghu Ci School of Southern Song Dynasty interpret and popularize this lyrics style. Based on his understanding of the spirit of music, he transformed the Tang and Song dynasties and made the urban and civil music communicate with the spirit of traditional elegant music; he summarized and used the rules of talent and learned, drew their common meaning from many allusions, and sublimated the specific emotions into ethereal and vague interests; he used subjects that were close to the vulgarity to show elegant and righteous emotions. He started from the characteristics of the lyrics, guided according to the situation, and refined according to the customs, making clear and elegant, forming a new style of lyrics. The Song people learned from talent As a lyrics, the emotions expressed are relatively empty. They are lost in the world and away from political turmoils, which makes the emotions expressed by the lyrics of Jiang Kui are mostly elegant. The emotions expressed by Jiang Kui are the interests of flying alone in the wild, leaving no trace. Because it has no specific meaning, the theme of "Dark Fragrance" and "Sparse Shadow" has not been concluded for more than a thousand years. Although the poems of Shidazu, Wu Wenying, Zhou Mi and other minor officials have a certain realistic feeling, they are mainly lyricism and have the characteristics of structure as empty. Zhang Yan, Wang Yisun and others express the pain of the demise of the Song She house and the sadness of the old people. This emotion is difficult to implement on specific events. It is scattered in the rivers and lakes, which are relatively separated from social reality, which promotes the combination of ethereal emotions and elegant character.

The creative style of Ci sect in the Song Dynasty tends to be "empty", while aesthetic ideals tend to be "sau-elegant". Only in Jiang Kui's writing did they tie them together. Jiang Kui adhered to his true nature and started from the rules, which made the combination of empty and sau-elegant become a necessity. Jiang Kui comprehensively refined the style of ci. The poets in the middle and late Southern Song Dynasty were extremely skillful and did not leave Jiang Kui's territory, and each had a certain style characteristic of Jiang Kui. Later, these similar styles were gathered together to form a ci study school. This is the Jianghu Ci School in the Southern Song Dynasty with Jiang Kui as the model. The three ci study styles of the Jianghu Ci School, two ci selections, and frequent ci sects and club gatherings were all practicing and conveying Jiang Kui's study styles of emptied study. Such a ci study school that has five factors such as ci study, ci study, ci theory, and ci study. It is rare in the history of ancient Chinese literature.

Jiang Kui engages in the creation of Ci with a intentional attitude and carefully discusses the various rules of Ci. Therefore, later generations collectively called some Southern Song poets represented by Jiang Kui the "Sao Ya School". These include Jiang Kui, Wu Wenying, Shi Dazu, Gao Guanguo, Zhang Yan, Wang Yisun, Zhou Mi and others in the middle and late Southern Song Dynasty. This is another ci school formed after Xin Qiji. They are different from the graceful and weak school, and they are also different from the bold school since Su Xin. They pay more attention to the arrangement of artificial thinking and are more similar to Zhou Bangyan. However, they have a clearer and more conscious pursuit in style, and pay more attention to the traditional tradition of "elegance" and "sau". The so-called "elegance" means that they are all influenced by the times, proclaiming elegance, and taking elegance as aesthetics.

Ideal. The so-called "Sao" refers to the lyrical tradition of using the poet's brushwork into the lyrical style, focusing on inheriting the lyrical tradition of using "Li Sao" as the pioneering and representative, and expressing one's subjective description as the main purpose. Focusing on expressing the state of mind is an important feature of this school of poets, and it is also the development and contribution of this school of poets to Ci. The sacred school of poets strengthened the ability of Ci to express themselves, enriched the lyrical means of Ci, and had certain pioneering achievements in the history of Ci. However, in order to pursue Sao Ya, he embarked on the path of being too obscure, small, broken, lacking open artistic conception and open means, and brought Ci into a narrow world, which played an unfavorable restrictive role in the development of Ci. Jiang Kui is the highest representative of this Ci school. [8-9]
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