This term refers to the most influential school of poetic criticism of the mid-Qing Dynasty named after its leader Zhang Huiyan（1761-1802), a scholar from Changzhou. He compiled the Anthology of Ci, containing 116 ci poems by 44 poets from the Tang, the Five Dynasties, and the Song periods. His aesthetic criteria for ci poetry included portraying rich emotional content in concise language, and the painting of mood and feeling through subtle associations beyond the words themselves. Thanks to his commentaries, the literary status of the ci form was considerably elevated. Zhou Ji (1781-1839), who came after Zhang, not only continued in the same practice and theory but also expanded on his ideas and compiled the Selected Poems of Four Poets of the Song Dynasty. Zhou proposed a number of theories about writing ci: for beginners, to acquire the technique of ci writing, it is essential to learn to express their feelings through material references; but to achieve the true depth of the form, material references must not be contrived, and the emotions they represent should both infer yet transcend them. Another theory was “blending.” Tan Xian (1832-1901), Chen Tingzhuo (1853-1892), Kuang Zhouyi (1859-1926) were the third generation of this literary school. Their works Writings on Ci by Futang, Remarks on Ci Poetry from White Rain Studio, Notes and Commentaries on Ci by Huifeng further enriched and refined the art of writing and critiquing ci poetry. The most important contribution of the Changzhou School was to demonstrate from a theoretical angle the value of the ci form in expressing philosophical thoughts as well as ambitions and aspirations. This placed it on a par with other classical poetic forms.

Ci itself is not a very important poetic technique, however historically it can be traced to both the Northern and Southern Song dynasties, so it is logical that today, there should be two major schools: the Changzhou School (in Jiangsu) and the Zhejiang School. Since Zhang Huiyan and Yun Jing, who came from the same prefecture as me, opened up new paths for ci writing by proposing The Book of Songs and Li Sao as literary references for ci, ci writing has regained the artistic features of the poetry of Wen Tingjun, Wei Zhuang, Zhou Bangyan, and Xin Qiji. Many other ci poets have appeared. The best examples of the various styles have been compiled by Dong Shixi. (Zhou Ji: Collection of Ci from Cunshen Studio)

Zhou Ji’s Critique of Ci is a fine work of instruction. In it he clears up many confused notions, and probes into the origins and evolution of ci. Thanks to the commentaries in his Selected Poems of Four Poets of the Song Dynasty, he has shed a bright light into the world of ci composition. (Zhu Zumou: To the Tune of Wang Jiangnan)