This article was published in sanlian life weekly, no. 5, 2018, the original title of the article is "the real Li Qingzhao", it is strictly forbidden to reprint it privately, and infringement must be investigated
Text/Yang Lu
Who Li Qingzhao is depends largely on the interpretation system of later generations, from the real Li Qingzhao to the idol Li Qingzhao, which is a cultural change of thousands of years.
Li Qingzhao (1084~1155)
Li Qingzhao, whose face was blurred
Looking up at the starry sky of Chinese culture, Li Qingzhao (yi anjushi) is not among them because of the scarcity of female lyricists, her light is not dimmed by any male lyricist we are familiar with in the contemporaries. Everyone knows that one of the symbols of Chinese culture, "Song Ci", is divided into the Bold Andying School and the Gentle Sect, and Li Qingzhao is the Sect of Grace. After thousands of years of circulation, her elegant and romantic works, together with her love story and tortuous life, have been published into books, with beautiful and delicate titles such as "Life is just a brilliant flower thing", "Half a life of smoke and rain, half a world of flowers", "May time be shallow, may you be safe" and other beautiful and delicate titles to stir the heartstrings of readers.
Li Qingzhao, who has become "common sense of language", and Li Qingzhao, who has become a popular literary theme for women, need to write again? However, if we enter the rigorous academic research field, we will find that our familiarity with Li Qingzhao may not be so confident. Between the real Li Qingzhao and the idol Li Qingzhao, there is a thousand years of cultural changes, and when she was written into the language textbook, it has gone through hundreds of academic studies and debates, and it is still endless. Therefore, embarking on the road of exploring the real Li Qingzhao is the beginning of officially knowing her.
Starting the journey of getting to know a writer with his works, Li Qingzhao was vague from the beginning. The statistics of Li Qingzhao's works circulated so far in academic papers are often different, the most popular version says that there are 88 songs, and the widely circulated version is more than 50 songs, which are also divided into 53 songs and 59 songs. The reason for these differences is that there have been two collections of Li Qingzhao's works in history, "Shuyu Ci" and "Li Yi'an Collection", and the latest speculation has been lost by the 16th century. The Li Yi'an words we see come from various anthologies and other literature since the Southern Song Dynasty, the most important one is the "Lefu Yazi" compiled in 1146, which is the largest collection of Yi'an words in the existing Southern Song Dynasty, and it is also one that Has been published by Li Qingzhao when he was alive, including a total of 23 Yi'an words. Rao Zongyi believes in the "Dictionary Examination" that these 23 songs are the most reliable Yi'an words. Another anthology of words, "Mei Yuan", contains 5 Yi'an words with the theme of Yongmei, which although it was written earlier than the "Lefu Yazi", it can be suspicious from the beginning, one of which is the words of Zhou Bangyan, and there are Zhou Bangyan's collection of words as evidence, and several poems were not returned to Li Qingzhao's name until the late 16th century.
After these two collections, from the Southern Song Dynasty to the Ming and Qing dynasties, the Yi'an word has been increasing, but it lacks reliable Southern Song Dynasty literature as a basis. In his book "The Tiredness of Talented Women: Li Qingzhao and His Acceptance History", Eronno, a professor of sinology at Stanford University, analyzed that the prestige of writers will attract future generations to tie their works to his name. If a selection of words contains a number of Li Qingzhao's new works, it will attract more attention and buyers. Therefore, it is profitable for the revisers, editors, and booksellers to tie the words to Li Qingzhao's name, not to mention that the original "Shuyu Ci" has long been lost. According to the style to infer the authenticity of these "new" Yi'an words is not reliable, there is a proper noun "Yi'an body", from the Song Dynasty onwards, there is a steady stream of people simulating Li Qingzhao's word style, can not rule out some of the proposed works with the passage of time, selected by later generations of words to be Li Qingzhao's own work.
Issues related to the authenticity of the work are sources of detail in Li Qingzhao's biography. Scholars who have been studying Yi'an's words for many years are willing to believe that the role in Li Qingzhao's words is Li Qingzhao himself. Researcher Chen Zumei, in "The New Biography of Li Qingzhao", described the situation when Zhao Mingcheng first visited Li Qingzhao's home more than 1,000 years ago: when Zhao Mingcheng appeared in the Courtyard of the Li family, Li Qingzhao just jumped off the swing. She was panting, and she didn't bother to wipe her hands clean, when she suddenly saw a guest coming, and in a hurry, she ran off her shoes, hid behind the door with her socks, and the gold noodles on her head also slipped down. This detail comes from "Dotted Lips: Kick Off the Swing":
"Kick off the swing and get up and straighten your hands." Dew is thin and thin, and the sweat is lightly clothed. See the guests come in, the socks shovel gold noodles slip. And shyly walked, leaned on the door and looked back, but sniffed the green plum. ”
The poem first appeared in 1550, and was signed by other authors and anonymous names for hundreds of years until 1880, when it was included in the version of the Shuyu Ci used in many of The Li Qingzhao's collections that are now popular. Chen Zumei did not shy away from the controversy of the word in the academic community in "The New Biography of Li Qingzhao", but she insisted that this word was written by Li Qingzhao in a similar scene from years of studying Li Qingzhao's experience.
"Poetry" is a tradition of ancient Chinese, but the situation of words is different. As a lyric of Harmony, the lyricist's creation is not necessarily his own experience. Elonno believes that the lyricists who write words in autobiographical style are actually a minority, and male lyricists often speak on behalf of women, or use a woman as the object of depiction, and among female lyricists, such as Lady Wei, the wife of the famous minister Zengbu, there are also works with female artists as the theme. In this case, it is difficult to distinguish which are Li Qingzhao's creations based on his own experience.
There are actually very few texts that can be sure of Li Qingzhao's own experience. Chen Zumei's research in the "New Biography of Li Qingzhao" concluded that there are clear records of time and space, or it is easier to compile, and there are only about a dozen poems in existence, and only six or seven texts. In her writings, there are only three clear and clear records of time and space. In addition to the literary imagination of critics and the unverifiable subjective interpretation, these uncontroversial words are the original face of Li Qingzhao left to us, and they are not clear and intermittent.
"New Interpretation of the Flower View of the Hand", by Wang He, a contemporary recreation of the Song painting "The Picture of the Flower View of the Hand". The artist reorganizes the original single static picture into three interrelated pictures, so that the picture produces a dynamic, and through this dynamic process, a feeling of seeing the flowers and taking the day
Why did Li Qingzhao come out in the Song Dynasty
Of course, Li Qingzhao was not invented, and her talent was already famous in the Song Dynasty. Zhu Xi said, "The only women in this dynasty can write, only Li Yi'an and Lady Wei. Although Wang Zhuo of the Southern Song Dynasty criticized Li Qingzhao sharply, he also had to admit that she "had a poetic name since she was a teenager, and her talent was brilliant, approaching her predecessors." There are not many scholars, and if the women of this dynasty are the first."
The Song Dynasty broke the concept of mendi, as long as you read and participate in the imperial examination, there is a possibility of upward mobility. The stars of the literary world shine, and in such a soil, women can read and write and are respected. A Song Dynasty painting illustrating the Book of Female Filial Piety depicts a woman sitting at a table with a book. Yi Peixia, an American scholar who studied marriage and family conditions in the Song Dynasty, analyzed that the painter at that time believed that a model woman could also be an intellectual woman while filial piety to her parents and in-laws and obedience to her husband. Sima Guang wrote in the "Family Fan" that both men and women can only distinguish between right and wrong by studying Confucian classics, and if women have not been educated by the classics, they will unconsciously make mistakes, which is "the wise women of the ancients, there is no difficulty in learning, the left picture and the right history, in order to self-discipline." In the scholarly class, there is culture that makes women more capable and equipped to attract the opposite sex. When Zhang Xiaoxiang persuaded a friend to match his sister and the other brother to marry, he specifically stated that his sister was literate and could recite Buddhist scriptures.
Women in elite families are not generic. Zeng Gong praised Wang Anshi's mother, Wu Shi, for being "studious and strong." Wang Anshi's sister, wife and daughter all wrote poems for people to recite. Ouyang Xiu also wrote the preface to the poetry collection of xie ximeng, the sister of his friend Xie Bochu, who attributed Xie Ximeng's literary accomplishment and talent to the cultivation of her mother, who initially guided Xie Bochu's studies and soon realized that her younger daughter should also be educated.
Li Qingzhao is also a cultural celebrity living in the elite class. Her father, Li Gefei, ascended to the throne in the ninth year (1076) of Emperor Shenzong's reign, and was later known for his articles by The Duanmingdian Scholar and Rebbe Shangshu Su Shi, one of the "Four Later Scholars of Sumen". According to the researcher Mr. Xu Peijun, Li Qingzhao's birth mother was the eldest daughter of Wang Jue, the prime minister of the Song Dynasty, and her stepmother was the granddaughter of Gongchen, the prince of Gengwu Branch, and the "History of Song" evaluated her as "Yi Shanwen". Li Qingzhao's father-in-law, Zhao Tingzhi (赵挺之), was a former minister of the Northern Song Dynasty. Her nepotism is that of a scholarly nobleman who has been selected by the imperial examination.
At the age of 18, Li Qingzhao married Zhao Mingcheng, a 21-year-old Taixue student. Zhao Mingcheng was not "the man behind Li Qingzhao", he had his own cultivation, he received the highest level of classical study in Taixue, was a famous epigrapher and collector of cultural relics at that time, and authored an academic masterpiece on the collection and arrangement of gold stones, "Golden Stone Record", involving 2,000 kinds of golden stone rubbings from Xia Shang zhou to the Sui and Tang dynasties. He read and imitated and surpassed Ouyang Xiu's Jigulu, who was an advocate of the Jinshi Jigu, and Zhao Mingcheng's Jinshilu had twice as many volumes as Ouyang Xiu's Jigulu.
Li Qingzhao and Zhao Mingcheng's marriage is comparable and like-minded. Her "Afterword" for the "Golden Stone Record" is not only a literary masterpiece that has been circulated for thousands of years, but also an essay with an autobiographical nature, detailing the couple's early life preferences, middle-aged chaos, and the situation of Jinshi calligraphy and painting from gathering to dispersing. When the two first married, Zhao Mingcheng was still a Taixue student, and on the first and fifteenth day of each month, he went to the big market of Xiangguo Temple to buy inscriptions, calligraphy and paintings, and then the couple studied together. After Zhao Mingcheng joined the army, the leisure time of the two was to copy and sort out rare classics and dead poems together, and once they found celebrity calligraphy and paintings and Xia Shang Wednesday dynasty artifacts, they were even willing to take off their clothes to change. The game of husband and wife also requires profound knowledge to deal with: after eating, sitting in the return hall to cook tea, pointing to the stacked book history, guessing something in a certain book, a few lines on the first few pages, to guess the winner or loser, for the order of drinking tea.
In this kind of intellectually equivalent partnership, Li Qingzhao has a relaxed and free creative environment, and in Yi Peixia's view, she has no children and has more time to devote herself to writing than other wives. Shortly after Li Qingzhao's death, the scholar Zhou Xuan wrote in his notebook "Qingbo Magazine": "Seeing the words of the Yi'an people, MingCheng was on jiankang day, and Yi'an was on the day of heavy snowfall, that is, the top of the hat was draped, and he traveled around the city to find poetry. The sentence will invite his husband to make peace, and to be sincere in every suffering. Elonor analyzed that there are many rumors about Li Qingzhao and Zhao Mingcheng, and this story is more credible because it comes from her relatives.
A married woman goes out for a walk on a snowy day, brewing creative inspiration, which is different even in the Song Dynasty, which valued culture. The attitude of the Song Dynasty scholars and doctors towards women's education was not bright, although they were happy to praise women's wisdom in learning, they did not want them to fully display and spread their creative talents, but instead thought that giving up poetry was a virtue. When Lu You wrote a biography for his cousin's daughter Sun Shi, he chose an anecdote that could express her good character: When Sun Shi was a teenager, Li Qingzhao volunteered to teach her to compose poetry, but she refused, saying that "CaiZao is not a woman's affair." Cheng Yi recounted that his mother: "Madame is good at writing, not for words." The women who have seen the world have written articles to pass on to others, and they are deeply wrong. Thirty of the poems of his life do not exist. According to Yi Peixia's analysis, this contradictory attitude may be because the wife should not be seen by anyone outside the family, and because the self-expression orientation in literary pursuits does not conform to the image of the wife.
By the late Southern Song Dynasty, Rigaku's opposition to women's creation had been accepted. The poet Yao Mian's wife, Zou Miaozhuang, was born into a family closely related to Zhu Xi, and she received a literary education from an early age and knew how to compose poetry, but never did it, because "it is not a woman's business" either. Yao Mian knew that his wife could write beautiful sentences, and had seen her write them, but still did not say anything because he admired her for not showing off the "deep silence" of his genius.
The popularity of the word Easy
The Song Dynasty documents that have survived record the popularity of Li Qingzhao's words in that year. According to the record of volume II of the Suiyin Manga: "In August of Gengshen, the crown prince asked the two halls of the Palace of Lucky Bengong Qingji Pavilion to appreciate the hibiscus wood rhinoceros, and Chen Pan'er, the head of the Shaobu class, held the tooth plate song 'Seeking for Seeking', which said: 'The words of sorrow are not appropriate to hear, but Chen Zang can write a happy scene "Slow Sound". This anecdote, which occurred in 1260, illustrates from the side that Li Qingzhao's work was sung among singers. It is speculated that the "Yunlu Manhua" is a note published 50 years after Li Qingzhao's death, which also describes the popularity of Li Qingzhao's words: "Li Shi's self-proclaimed Yi'an Jushi, Zhao Mingcheng's room of Defu, Li Wen's uncle and daughter, talented thoughts, articles fall on paper, and people contend for it." The small words are many and popular, and they have been published in the world, and he has few people in the text. ”
Achieving such an achievement is both a literary talent and a credit to her painstaking research. Writing poems and lyrics is not just a literary pastime for a noblewoman for Li Qingzhao. Li Qingzhao's poem "Poetry is like a night magpie, three around failed to settle" was quite popular in the Song Dynasty, according to Wang Zhongwen's evidence, these two poems should be written in the Northern Song Dynasty, and their existence gives posterity a glimpse of Li Qingzhao's creative attitude in the early years. According to Elonor's analysis, "poetic feelings" refers to indescribable poetic feelings, because she cannot "settle" the appropriate words and sentences in the poem, and her "poetic feelings" seek the carrier of language.
Another poem, "Feeling Nostalgia," is about her daily life and writing:
"The cold window has almost no history, and the highway is pitifully closed here." Qingzhou is engaged in Kong Fang's brother, and he has been happy all day long. The poem refuses to talk about the closed door, and the swallow sleep condenses the incense with good thoughts. In the quiet, I am the best friend, and there is a mr. Wuzi. ”
According to the inscription, she had just arrived in Laizhou at that time, met her husband who had gone to work, and had no books to read for the time being. The outside world is chaotic and noisy, and she closes the door, immerses herself in creation, and "has a good idea". In the process of hard writing, Li Qingzhao has formed his own creative style, and the well-known "Slow Sound" "Seeking, Cold and Clear, Miserable and Miserable Relatives" is Li Qingzhao's signature sentence. Zhang Duanyi of the Song Dynasty summed up this style in his notebook "Gui'er Collection": "All of them are into the rhythm of ordinary language." Refining sentences is easy, and it is difficult for those who are bland and tone-deaf. He commented on the sentence "Slow Voice": "This is the sword dancer of Gongsun Da niang." This dynasty is not an incompetent person, and has never had a fourteen-fold character, and uses the fugues of the text." After this, there have been lyric critics in the past who praised this sentence, and Mao Ying of the Ming Dynasty said in his "Words" that this sentence was: "The scene is exquisite, it is really a masterpiece." Later generations will feel inappropriate. Wu Cheng'en commented: "Yi An's fourteen folds of words at the beginning of this word, beyond the transcendent pen and ink path, it is not common in the Shilin." ”
Another famous evaluation of Li Qingzhao is "using simple words and fresh thoughts". Li Qingzhao's lyrics are often spoken folk, "When the sound is slow", "when it is warm and cold, it is the most difficult to breathe", according to the study of "Li Qingzhao's Collection of Proofreadings", "will rest" is not the written language of the literati, it is about the dialect of the Tang and Song Dynasties. "Be dispelled by cold incense, don't worry about people", "Guard the window, how to be born black alone", "The sycamore is more and drizzle, to dusk and drizzle" has also been valued by the Ming and Qing critics, becoming a representative of shallow and deep language and strong expression.
In addition to creation, Li Qingzhao also studied the theory of writing words. She evaluated the shortcomings of the famous poets one by one, believing that Su Shi was "uncorruptive", Yan Jidao was "no laying", Liu Yong was "dusty with words" although he was concortical, Zhang Xian, Song Qi and others had a "broken" structure, He Zhu was "less dian heavy", Qin Guan was "less realistic", and Huang Tingjian was "more defective". Later generations infer from the fact that Zhou Bangyan was not commented on in the article that this was a work she had written before the age of 26. As a young woman, this behavior was seen by the scholars as self-aggrandizing and contemptuous of everything. Hu Zai commented that Yi An li commented on the lyrics of the gong song, all of which were short, and none of them were exempted. This is not fair, and I do not rely on it. Its meaning is that he can be good at his own strengths, and he is a famous artist in Lefu.
At the same time as criticizing, Li Qingzhao put forward her own propositions, and the far-reaching influence on future generations is that she regarded words as an independent style. In Li Qingzhao's view, the aesthetics of words should follow four points: First, do not write words as poems or texts, pointing out that Su Shi's words are "poems that cannot be read in sentences", and the words of Wang Anshi and Zeng Gong are like Western Han articles. Second, words should be consonant, and the lyrics should strictly distinguish between five tones, five sounds, six laws, turbidity and weight. Third, the words should be elegant. She praised the five generations of The Li clan in Jiangnan, so there are good sentences such as "Xiao Lou blows through the Jade Sheng Han" and "Blows a pool of spring water", criticizing Liu Yong's language for being too vulgar. Fourth, words should focus on the use of allusions and laying out narratives.
These views have been evaluated differently by later generations of critics, but Li Qingzhao's works faithfully practice his theory. Just as Yu Pingbo said in the preface to the "Selected Interpretations of Tang and Song Words": "Li Qingzhao advocated harmony in the lexicography, and commented on the northern Song dynasty, all of them were dissatisfied, and it seems exaggerated to say that 'knowing words is not one family, and those who know less' seem to be exaggerated." Now we see that her words are able to implement her own theories quite well, and they are not empty talk. She is good at white painting, good at using colloquial language, not difficult, not vulgar, really so-called 'don't be a family'. ”
Narrative reconstruction of Li Qingzhao
Li Qingzhao's life turned around in the change of Jingkang. In the "Preface to the Golden Stone Record", her narrative suddenly became tense, and in the spring of the second year of the Jing Kang Change, with 15 cars of selected calligraphy and paintings and antiques, the couple began a journey southward migration with the imperial court to avoid chaos. After running around for more than two years, Zhao Mingcheng died of illness. Li Qingzhao's living environment was even more thrilling, and he escaped for his life several times and transferred his collection. Those were both her beloved things and Zhao Mingcheng's entrustment, and he asked his wife to carry the ancestral instrument with him to "survive with her body." It's a very difficult thing to do. Yi Peixia studied the living conditions of widows in the Song Dynasty: Even if the widows of the Song Dynasty wanted to maintain their legal property, they still encountered many obstacles. Some ethnic men will find ways to squeeze wealth from widows, and childless single widows are the most vulnerable targets of exploitation. Li Qingzhao not only had to face such a social atmosphere, but also in a chaotic world of precariousness. Coveting her collection, there are royals, officials, officers, landlords... And her second husband, Zhang Ruzhou.
Widow remarriage was common in the Song Dynasty, and Li Qingzhao was unusual in that she divorced two months after marriage. In Li Qingzhao's letters to relatives, the ins and outs of the farce were revealed: Zhang Ruzhou concealed his true identity, pretended to be an official, coveted her collection after marriage, and beat her. Although the Song Dynasty law provided for the prosecution of the patriarch of the family, the plaintiff was detained for two years regardless of whether the other party was guilty or not, she still accused Zhang Ruzhou of dereliction of duty and dissolved the marriage through his conviction.
The ups and downs of the second half of his life made Li Qingzhao add legendary color to the life of the first talented woman and noblewoman of the Song Dynasty. Elonor analyzed that although the real Li Qingzhao had gone through the turmoil of displacement and remarriage, she still belonged to the circle of high society in her later years, and there were hymns and posts she wrote to the royal family and concubines in her later years, indicating that she restored her identity as a woman of the imperial court. She also visited Mi Yujin, the son of Mi Fu, and asked him to write an inscription for his collection of Mi Fu's works. But people are more willing to accept and spread the story of "half life smoke and rain, half a life and flowers", which has a strong conflict and turn, and dramatizes. The narrative of Li Qingzhao has been reconstructed since the Southern Song Dynasty, and the important Song Dynasty literary document "Biji Manzhi" wrote: "... If the woman of this dynasty, when the word is taken first. Zhao dies, then marries a certain clan, sues and leaves, and wanders away in the late festival..." Chao Gongwu's narrative is: "Marry Zhao Mingcheng first, and have a talented name." ...... However, there is no inspection, and the late festival is lost in the rivers and lakes to pawn. ”
Li Qingzhao went from "the first among women" to the Ming Dynasty, which was comparable to male lyricists. The lexical thought of the middle and late Ming Dynasty believed that the boundaries between words and poetry were clear, and that words should be in harmony with music, which was consistent with the "Theory of Words", and Li Qingzhao's literary status was elevated. The Ming Dynasty literary scholar Yang Shen commented on "Ru Meng Ling" in the "Caotang Poetry": "This word is more feminine than the Zhou word. He believes that Li Qingzhao is more gentle and feminine than Zhou Bangyan, and the Ming Dynasty lexicography promotes the elegance school as authentic, indicating that this evaluation is very high. Yang Shen believes in the "Words": "In the Song people, Li Yi'an is also called the absolute champion. When competing with Qin Qi, Huang Jiu, he is not alone in the boudoir. ”
In the Qing Dynasty, Li Qingzhao became a cultural icon, and people from all genres chased her masterpieces. The early Qing Dynasty critic Wang Shizhen said in "Flowers and Grass Mengshi": "Zhang Nanhu has two schools of discourse, one is gentle and the other is bold. The servant is gentle with Yi An as the sect, and the arrogant is only the head of the young An. He characterized Li Qingzhao in the position of the suzerainty of the Eun-y Yue Sect, and this comment has always affected today. Wang Shizhen himself is also a famous fan of Li Qingzhao, and he has 14 poems with Li Qingzhao, which is one of the lyricists with the most written and rhymed words. His "Butterfly Love Flower and Shuyu Words" has the famous sentence "Lang is like a tonghua, concubines are like tonghua phoenix", which is popular in Beijing and has the reputation of "Wang Tonghua". In the middle and late Qing Dynasty, Li Qingzhao's prestige was even higher, some critics believed that she was better than the male lyricist, and the scholar, publisher, and bibliophile Li Tiaoyuan commented that she "did not look down on the scarf and wanted to overwhelm the eyebrows."
Ming and Qing admiration for Li Qingzhao's literary talent developed to the point of rewriting her life. The literati students of the Ming and Qing dynasties not only admired Li Qingzhao's talent, but also read about the marriage between Li Qingzhao and Zhao Mingcheng's talented daughter from the "Preface to the Golden Stone Record" and the mourning works she left behind, and Li Qingzhao's protection of the two people's collections after Zhao Mingcheng's death, and they were touched by the literati couple. More importantly, during the Ming and Qing dynasties, women's chastity has become a moral bottom line, and Li Qingzhao's remarriage has become embarrassing, so starting from the late Ming dynasty scholar Xu Bo, there have been literati who have stated that Li Qingzhao did not remarry. In the Qing Dynasty, denying Li Qingzhao's remarriage even became a hot topic in the academic community. According to the Combing of the Stanford sinologist Elonor, in fact, no Qing Dynasty scholar has given a complete list of documents involving Li Qingzhao's remarriage, let alone explained one by one. But from their intuition and the worldview of the time, they finally believed that Li Qingzhao did not remarry. The mainstream theory in the Qing Dynasty is that Li Qingzhao was jealous and slandered after his death because of his great literary talent, and now it has finally been clarified. But her remarriage experience gradually became a consensus in the 1990s.
By the time of the Qing Dynasty, in the temple on the shore of Daming Lake, Li Qingzhao had been worshipped as a goddess by the literati. Until the 20th century, she remained a cultural icon and was written into the history of Chinese literature. Elonor analyzed that intellectuals in the "May Fourth" era are familiar with the phenomenon of Western countries listing female writers as classic writers, and if China wants to have a literary history like the West, it is also necessary to re-examine the historical position of female writers. Looking back on the millennium, Li Qingzhao was the first choice. She joined the ranks of classic writers with great male poets, and many of the details of her poems were explained in her own life. A thousand years later, although the true traces of Li Qingzhao were buried intermittently by the ashes of time, her image became more and more plump because of people's reverence and enthusiasm.
(References: "The Tiredness of a Talented Woman, Li Qingzhao and His Acceptance History", by Erano; Notes on Li Qingzhao's Collection, by Xu Peijun; "The New Biography of Li Qingzhao", by Chen Zumei; "Li Qingzhao's Lexical Thoughts", by Tan Weihong; "Research on the History of The Acceptance of Li Qingzhao's Words", by Huang Meiling; "The Aesthetic Meaning of Li Qingzhao's Words", by Gan Shaoying.) Intern Yihong Li also contributed to this article)