Research On The Aesthetic Image Of The Poem On Painting Of Court Ladies In Ancient Times

The poem on painting integrates poetry, calligraphy and painting. Its uniqueness has not only attracted a large number of poets and artists to create, but also has obtained great attention and research in the academic field. Especially in recent twenty or thirty years, there are thousands of literature about the poem on painting and hundreds of relevant articles.This paper analyzes the poem on painting of court ladies from the perspective of image by adopting the statistical method and, works analysis and other research methods. The first chapter is the introduction, mainly summarizes the research status of the poem on painting and the painting of court ladies. The second chapter combs the development process of the painting of court ladies and the poem on painting. The painting of court ladies first appeared before the Wei and Jin Dynasties and initially formed in the Wei and Jin Dynasties. It became prosperous and popular in the Tang Dynasty and declined in the Song and Yuan Dynasties. Finally it revived in the Ming and Qing dynasties. The development pace of the poem on painting of court ladies is not synchronized with the painting of court ladies. In the Tang Dynasty when the painting of court ladies was flourishing, the poem on painting of court ladies was just at the starting stage; in the Yuan Dynasty when the painting of court ladies was at a low ebb, the poem on painting of court ladies was really thriving. The third chapter carries out specific empirical research on the image of court ladies-the most core image of the painting of court ladies and the poem on painting. It makes an analysis from the angles of the hairstyle, makeup and clothing of the court ladies in every dynasty, as well as the angle of the inner sentiment. In addition, it summarizes a development clue of the aesthetic trend in the successive dynasties. The fourth chapter analyzes the other images in the painting of court ladies and the poem on painting, including the bronze mirror image, plant image, animal image and music image. It analyzes the origin, reason and aesthetic connotation of these images. The fifth chapter takes the plant image as an example, and analyzes the relationship between poem and painting in the painting of court ladies and the poem on painting. It summarizes three relations between the painting of court ladies and the poem on painting of court ladies, including the mutually combined integration, the poem-painting mutually transferred variability, and the Complementary mutual fusion. The sixth chapter summarizes this thesis.The theme selected in this paper mainly starts from the perspective of image and fully absorbs the research results of the poem on painting of court ladies and the painting of court ladies. With the combination of the mutual relationship between them, this paper establishes an overall framework of the research on the aesthetic image of the poem on painting of court ladies in ancient times. This paper aims to expand the research on the poem on painting and excite the interest of the majority of researchers in the poem on painting of court ladies. It also brings new inspiration to the creation of contemporary painting of court ladies.