1) responsory poetry with the same subject
同题唱和诗
1.
The Song Dynasty s responsory poetry with the same subject was not only communicative,sportive and competitive,but also had the complementarity and the profound cultural connotation.
宋代同题唱和诗不仅具有切磋交流性、游戏性、竞技性,而且具有互补性以及深厚的文化意蕴。
3) painting-poem-sing
题画诗唱和
4) responsory with drinking and writing
诗酒唱和
6) changhe poetry
唱和诗
1.
The Broad Context and Change of Poetry Writing in Changhe Poetry of Song Dynasty:the two occasions and remained changhe poetry on a white rabbit in Northern Song as the case study;
宋代唱和诗的深层语境与创变诗思——以北宋两次白兔唱和诗为例
2.
This text compared Oumei s subject matter of Changhe poetry with Yuanbai s from three aspects and got the conclusion:There were some contents about politics in both Oumei s and Yuanbai s Changhe poetry.
从三方面对元白唱和诗与欧梅唱和诗在题材内容上进行了比较。
3.
Instead of letter,the Zha Shenxing brothers who were the model in family members used poetry to strong relationship and raise poetry level,they made a big contribution to the development of changhe poetry,were the comprehensive expression of changhe poetry.
唱和诗是古代文人间相互酬答之作,至唐代,经元、白、皮、陆等人得到较全面发展,后来经苏轼兄弟又得到进一步发展。
补充资料：杨维桢《城南唱和诗》卷
中国元代书法家杨维桢的书法作品。杨维桢(1296～1370)字廉夫，号铁崖，又号铁笛道人。山阴(今浙江绍兴)人。官天台尹。此卷为纸本,草书, 纵31.6厘米，横216.6 厘米。《城南唱和诗》为杨维桢书南宋张栻的城南二十咏。据诗后杨维桢所述，《城南唱和诗》原为张栻和朱熹之作。此卷书于至正二十二年(1362)。书法行笔怪诞，纵横叠宕，用锋古拙峭拔，似有矫横之意，与元朝赵孟頫圆润书法成为鲜明的对比。卷后有明陈献章、谢肇淛，徐，清孙承泽题跋。《古渠宝笈·三编》著录。现藏故宫博物院。
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
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