On Relationship Between Literature And Image In Southern Song Palace Arts

The Song dynasty was the age of the integrations of language and image,as well as poetry and painting.Language and image together constituted a single text,and formed a type of intertextuality between them.In previous studies,scholars focused on areas of Wenren Hua(???).However,palace painting was the mainstream in two Song dynasties,which was also a significant driving force for the integration of poetry and painting.Literati in the Northern Song proposed ideas like "coexistent of poetry and painting" and "combination of poetry and painting".The Xuanhe imperial art academy in the Northern Song once made poetry the examination questions of painting,and the Emperor Huizong inscribed poems in paintings at times.Poems and paintings therefore appeared on the same interface and formed deep interactions in meanings.The Southern Song witnessed the continuity of poetry-painting integration,which was represented in the Emperor and Empress's poems on painting and the massive appearances of poesie.The existing number of poems on painting and poesie in this period was largely outnumbered than that in the Northern Song,and paintings with inscribed poems were also extensive.In addition,there were many famous artists in arts academy,whose art works were at high artistic levels.As such,the palace art in the Southern Song can be seen as a representative of the poem-painting integration in palace.This study is grounded in the theory of text-image relationship and investigates the poetry-painting relationship in the Southern Song palace art.The conclusions are as follows:In general,compared to Wenren Hua's poetic expressions of sentiments,palace art in the Southern Songwas originated in the cultural and political contexts of palace,indicating that artists should comply or cater to emperor's intentions.Emperor and empress's inscriptions included their intentions.Therefore,emperor's intention became the joint point of poem and painting,which can be viewed as poem-painting intertextuality.From perspective of the function of the painting,emperor's intention existed in the tension between political implication and appreciation.The first aspect of emperor's intention was conveying political implication Political implication was mainly about political activities in palace,including emperorship,emperor and bureaucrats,and emperor and his Harem and other power relationships.The second aspect is the dominator's appreciation about literati's poetic interest.This kind of appreciation is not simply an admiration,but implied the emperor and empress's recognition and transformation of literati's poetic interest.The third aspect is the emperor's inspection about folk custom.This inspection suggested,on the one hand,the emperor's empathy about ordinary people's life,and on the other hand,his generous enjoyment of folk culture.Under different emperor's intentions,the internal linking mechanism between poem and painting demonstrated certain disparities,and formed respective poem-painting intertextuality.It was developed at the level of symbol's signification,and was put down at the level of"verbal icon-image icon".First,in the Emperor's intention of conveying political implication,the poem-painting relationship was mainly manifested as "the mutual interpretations of poem-painting to convey political intention".Verse inscription dominated this kind of interpretation,while painting echoed the political intention via direct demonstration and metaphor.The mutual interpretation did not only stay at the surface meaning of symbols,but also went deep in political implication,and transmitted intentions like favoring powerful ministers,comforting idling officials,and pandering to the Emperor and so on.Second,in the Emperor's intention of appreciating and enjoying literati's poetic interest,the poem-painting relationship was mainly manifested as "poem transforms to painting and painting changes the meaning of poem".Image was not a repetition of the poem's artistic conception,but was based on the mutual manifestation of verbal icon and image,and then changed the poem's conception.From the deductive perspective,because painting is spatial arts,poetic space and figures are more easily demonstratedand the elaborations more powerful,this study separates it from discussion of time and scenario.In terms of poetic space and figure,artists either changed the spatial scenario of poetic conception to palace places,or portrayed poetic figures that complied to the palace interests,such as introverted Song Confucians and enlightened monks.In contrast,poetic time and scenario needs to demonstrate slow-moving time.Therefore,artists presented poetic time in images,such as watching the clouds up(?????)and theperception of slow time in quiet mountains(????),and formedrelative image spectrum.With regard to the image representation of poetic scenario,it concentrates in images about Zen(??)story.Artists tried to depict the birth of poetic Buddhist chant and expressed Zen gusto.Furthermore,the four different types of image deduction were in fact a whole and overlapped in a single painting.In order to clarify the internal mechanism of language-image relationship,this study chose typical images as cases to explain.Finally,the emperor's inspection of inspecting folk custom,the poem-painting relationship was mainly demonstrated as "painting showing ordinary life,poem showing policy's success and failure".Specifically,palace custom painting demonstrating the hardship of ordinary people implied expostulation and admonishment;paintings showing joy of village life suggested eulogy and praise;some other paintings expressed the penetration of folk festival custom into palace life,indicating meanings of festival joy.Correspondingly,the emperor and empress in the Southern Song inscribed verse and formed interactions between poem and painting.In conclusion,the poem-painting relationship in the Southern Song's palace art is a type of intertextuality based on the emperor's intention.Although this type of intertextuality belongs to the integration of poem-painting,it still demonstrates certain disparities in terms of the internal mechanism of art works,social context and detailed comparisons between poem and painting.Based on the above analysis,this study attempts to clarify the internal mechanism of poem-painting relationship in the Southern Song palace art,to make up the inadequacy of relevant research,to extend discussion about ancient language-image relationship,and to contribute to the scholarly construction of the history of language-image relationship in China.In the meanwhile,the study tries to embed the semiotics-based language-image relationship into discussion about traditional art phenomenon,and to promote the ontologizationof the theory of language-image relationship.In addition,this study provides comparative perspectives to examine ancient palace arts.