Abstract
With the further blossom of urban economy and cultural consumption, Song Ci shows deeper civic cultural identity on the aesthetic interest and the theme in Song dynasty. To some extent, according to the city’s cultural production movement, Song Ci not only vividly represents the popular festivals, folk entertainment, and urban cultural landscape of Linan (Hangzhou) at that time, but also demonstrates the cultural conditions of Hangzhou. In the aspect of the cultural consumption of festival custom, the typical works of Lantern Festival and ZhongQiu Festival fully demonstrate the popularization trend in Hangzhou’s cultural consumption of festival custom in Song dynasty as well as the commercial characteristics of cultural consumption based on the booming economy. In the aspect of the folk entertainment of Hangzhou’s city culture, Song Ci describes the tile members of the public culture and entertainment, such as tea house and vacherie, typically expresses that Ci is influenced by the public interest and the way of aesthetic in the creation and aesthetic taste. However, the lyrics which is led to the porn sex and slang, fully reflects the consumption of Hangzhou’s urban culture and the consciousness of cultural production and shows the characteristics of focusing on individual aesthetic freedom, and even sensory sinking rather than paying attention to the political and ethical. In the aspect of city’s cultural sights, the Song Ci not only becomes an important carrier of Hangzhou urban sights, but also offers different cultural imaginations for people to appreciate and understand the city Hangzhou. Especially represented by Liu Yong, Ci creates much more urban styles when people appreciate and imagine the city Hangzhou. Not just are the Qianjiang Chao and Osmanthus grand and beautiful, but also the civic activities filled with urban cultural air have the subjective initiative.
Key words: Song Ci；
