On Su Shi's And Huang Tingjian's Poetry Inscribed In The Painting That Follows The Trace Of The Norhern Song Dynasty's Culture

Poetry inscribed in the painting has existed long before, although it is not generally accepted and consciously composed by men of letters. Considering not only the quantity or quality of the poetry, the Song Dynasty can be regarded as the heyday of the poetry that is inscribed in the painting. The deliberate integration of painting and literature in the Song Dynasty is carried out in its general cultural background, therefore between the culture of the Song Dynasty and the development of the painting poetry there must be a certain relevance and connection. The long river of the splendid and manifold culture produces a variety of poems that are inscribed in the paintings, while the cultural connotations that are reflected from these poems also provide the vivid visual images for the later scholars who take research on the culture of the Song Dynasty.This paper takes the connection between the culture of the Song Dynasty and the poetry inscribed in the painting as the research object, and compares the two representative poets Su Shi's and Huang Tingjian's poems inscribed in paintings, and then tries to find the concrete expressions of the Song Dynasty's culture.The former two chapters mainly talk about the major symbols of the painting poetry's entry into the age of literature. The entry is not only the result of Su, Huang and other men of letters'positive promotions, but also the vivid representations of the influence of the Song Dynasty's social and political cultures. Chapter three takes Su's and Huang's poems inscribed in the painting as examples, and analyzes their poems that are originally influenced by the general culture of the Northern Song Dynasty. Simultaneously influenced by this cultural background, there are differences in their creative styles as well as the techniques in composing the poems inscribed in the painting. In the comparison of their poems, some conclusive comments will be put forward, which also echo the former two chapters.The first two chapters discuss that against the cultural background of the Song Dynasty, there emerges the literary and qualitative change in the poetry inscribed in the painting, which is the succession and transcendence of the former painting poems. The reasons for this change is also given in the two chapters, including that in the Song Dynasty the painters'status is improved, painters and men of letters have more contacts, and the poetry interacts more with the painting etc. Chapter three compares Su's and Huang's poems inscribed in paintings, and finds the Northern Song Dynasty's cultural connotations in them, which also push the further development of the poetry inscribed in the painting. For instance, Su Shi's"theory of contour and spirit"and Huang Tingjian's idea of"Yun"have affected the theory of painting very much in the Song Dynasty; some philosophical ideas reflected from their painting poems are also the general psychological feelings of men of letters'who are influenced by the political culture of the Song Dynasty; even the research on Su Shi's embodiment of the Song Dynasty's emphasis on"reason"in his poems and Huang Shangu's poetic expression with the insistence on oddness all reflect the cultural connotations of the Northern Song Dynasty. All these are based on the research of Su's and Huang's poems, and therefore the research will be reasonable and justified.