Painting Poems On Journals Of Modern Shanghai

Since modern times, Shanghai was burgeoning its periodical industries. Among so many journals in Shanghai, there were numerous published Poetry and Lyrics, which mixed with numerous poems on paintings. Poems on painting calligraphy flourished with a strong atmosphere of Shanghai closely. As late as the1930’s, the old Shanghai among the literati circles, still faced the prevailing winds of the title figure. This paper was intended to take Blue Crane as an example and a clue, and outlined around the Blue Crane. The Shanghai area with populations of old literati paintings that explored the text showed a broad narrative space. Poems on paintings were always published in the specific historical fate, and the publication focused on different phenomena or duplicate publication of the magazine at a certain magazine. It is worth pondering historical events behind the poems on paintings, which is related with the rich cultural history. Journals of Modern Shanghai selected, organized, and published images and text, through its unique way to build their unique worlds of words with particular styles, characterization traditional paintings and the old body of Chinese literature to represent the laugh and weep of legacy literati groups in the age of Reading Pictures. This paper tried to put the original poems on paintings of sociability among the specific fields, focusing on the moments of life of literati and artists which poems and paintings captured, and the efforts to render the travel process the image and text behind interactive graphic which scholars and painters constructed in narrative pictures and text. This article focused poetry on paintings such as Moxueqing Huayin Tu, Dixiangzhai Shoujing Tu and many portraits, performed text reading, and intended not only to show the traditional literati art reproduction habits of deposit of Fengya through the historical context, but also to mine rich cultural and historical connotations of title figure ethos among old literary circles, deliberately in the outside space of The New Literature and the inside part of the Big Literary History.