On The Visual Communication Of Modern Chinese Poetry

In the context of "the visual turn", visual media have involved in the shaping of modern Chinesepoetry's ecology. The visual communication has become the important communication form of modernpoetry. The vivid practice of modern Chinese poetry's visual communication offers a new field ofacademic research for modern Chinese poetics studies. Integrated and systematic studies of modernChinese poetry's visual communication have yet to be further development. This article would pushforward the in-depth study of modern Chinese poetry's visual communication through the followingfour topics:First, there is a study about inheriting classical tradition of the combination between Chinesepoetry and painting in modern times. In the study of modern Chinese poetry's visual communication,we need to backtrack and view this tradition. The cryptic clue of variability inheritance of classicaltradition is hidden in modern Chinese poetry's visual communication. The revival and inheritance ofclassical tradition is modern poet's active choice for the development of modern Chinese poetry's visualcommunication. Therefore, the tradition of the combination between poetry and painting can beregarded as a kind of "invented tradition". Along with the modern transformation of Chinese culture,modern Chinese poetry and Chinese painting embark on the journey of the modernity's implantation.The overall development trend of Chinese poetry and painting is committed to the performance ofmodern people's "emotional structure", they move toward the direction of spiritual (artistic conception)fusion once again. The relations of cooperation between poetry and painting show a change fromobvious to latent. The direct combination has tended to decline. In modern times, poets cooperate withpainters to "invent" the classical tradition of the combination between Chinese poetry and painting.They create a modern poetry-painting art which is a juxtaposition of poetry and painting. This kind ofart is an important form of inheriting tradition. Modern Chinese poetry and painting communicate witheach other in the respects of image creation and emotional expression. They created their own stylethrough learning from each other. The art traditions of "painterly poetry" and "poetical painting" are tocontinue in modern times. In addition, the issue of Chinese characters image and modern Chinesepoetry's visual modeling also involves "the invention of tradition". This paper will pay close attention toit.Secondly, there is a study about the reform of visual media and the visual communication ofmodern Chinese poetry. New visual media emerge in an endless stream, and the visual communicationform of modern Chinese poetry experienced several changes. From static to dynamic, from real tovirtual, from one-way mode to interactive mode, the visual media technology changed rapidly. It givespoets and artists more freedom for artistic creation. Modern Chinese poetry interacts with many types ofvisual media, showing complex combination methods. The poets and artists created photography poetry, poetry television (PTV), hypermedia poetry and many other new comprehensive arts. These are theimportant forms for constructing and exploring "image poetics". Through in-depth analysis of theformation mechanism and intrinsic logic of these comprehensive arts, we can find out the complexinteraction between modern Chinese Poetry and new visual media while this interaction can bedescribed as cooperation and confrontation. In addition, we can recognize the evolution traces oftraditional schema in the comprehensive art's "poetic schema". Therefore, these comprehensive arts canbe seen as a variant of tradition.Thirdly, there is a study about the poetic construction of geographical space, the spatial writing inimages, and the construction and reshaping of poetic landscape. Geographical space is the mainintersection and common theme of poetry and visual media. Through the study of "poetic geography",we can explore the rhetorical devices and actual dilemma of photography, film, television and othervisual media in handling the lyrical theme. The study would provide enlightenment for the visualcommunication of lyrical style, especially of poetry. The shaping of poetic landscape and the gaze on itis another dimension of connection between modern Chinese poetry and visual culture. Accompanied bythe formation of modern Chinese poetry's classic quality and enhance of its popularity, modern Chinesepoetry construct many landscape poetically and remodeling them subversively. Under the background oftourism industry booming development, the role of poetic landscape will become more and moreobvious in poetry's visual communication. Therefore, the landscape's poetic construction andremodeling is a covert channel of modern Chinese Poetry's visual communication.Finally, there is a study about the creation and imagination of modern poet's image. Modern poetsmake the display of their visual image as a strategy of poetry communication. The mass media exploitpoet image as a cultural resource, and some movies and television dramas are involved in theinterpretation and fiction of poet image. The creation and imagination of poet image is directly relatedto the construction of poetry ecology and the cultivating of poetry audience. Therefore, the study of poetimage is an important part of the visual communication study of modern Chinese poetry. In contrastwith the positive image-building in poetry circles, mass media portray poet image beyond recognitionfor their own purposes, turning it into "contaminated statue". The fictional movies and televisiondramas intensify or magnify poet's stereotype which is shaped by mass media and the public. Poetimage has become a "cookie cutter" in the personage gallery of movies and television dramas. Overall,the creation of poet's image is a complicated encoding process which interweaves truth with fiction. Inthis process, confrontation coexists with collusion.