1) 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。
2) responsory with drinking and writing
诗酒唱和
4) exchanges of poems
诗词唱和
1.
Liu Yazi, the author puts forward his own point of view on reading Mao and Liu,s exchanges of poems.
作者对孙有光《周恩来批评柳亚子牢骚太盛》一文的严重失实提出质疑,并根据毛泽东的《七律·和柳亚子先生》公开发表时的一些细节,对正确解读毛、柳的诗词唱和阐述了自己的看法。
5) poetry and Cifu responsory
诗赋唱和
6) 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。
补充资料：城南唱和诗卷
城南唱和诗卷
杨维桢《城南唱和诗卷》，行草书。
论元代书法形态的奇崛古朴，杨维桢当数第一。这与他倔强的个性、深厚的学养又联系在一起所以，非常人所及。杨维桢的行草书，其风格在元代书史上也是独树一帜的。
元代章草的复兴是从赵、邓开始的，但他们未能对章草这种书体作出什么创新，而以章草笔法杂以汉隶和今草笔法成功运用到行草书创作并形成自己独特风格的，独有杨维桢一人。
《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。
说明：补充资料仅用于学习参考，请勿用于其它任何用途。