The Study Of The Connection Between Language And Picture Of Li Gonglin's The Picture Of Xiyuan Gathering And Mi Fu's The Prefatory Remarks Of Xiyuan Gathering

The study of the connection between meaning and picture of Li Gonglin's the picture of xiyuan gathering and Mi Fu's the prefatory remarks of xiyuan gathering. The work of the painter of the North Song Dynasty Li Gonglin, and the work of Mi Fu are involved in the relation of picture, writing and history. According to the records of the addendum of Bao Jin Yingguang set, after the creation of Li's the picture of xiyuan gathering, in order to elucidate the condition, content, and reason of the painting, Mi created the prefatory remarks of xiyuan gathering which was based on and closely related with the meaning and painting of the picture of xiyuan gathering. From the macro perspectives, the picture of xiyuan gathering was on the background of the North Song Dynasty history, which owns much artistic of the literati. However, the prefatory remarks of xiyuan gathering was more inclined to literature. Just because of this, the development of concept of xiyuan gathering became more diversified, not only spread through the art of painting, but also spread the literary system through literary inscription. Under the specific background of the mutual development of the imperial-court decorative painting of Song Dynasty and the literati painting, Li was invited to create the picture of xiyuan gathering for the prince consort Wang Shen. It could be regarded as a new chapter of writings about the congregations of scholars which possess unusual realistic meaning and breed the new literati spirit. The painting had become the link between the meeting of scholars in the Lan Pavilion and Yu Shan literati gathering. After Li created the picture of xiyuan gathering, the prefatory remarks of xiyuan gathering which based on Li's and created by Mi had provided more sufficient sources to the later generations. They were keen on the creation and copying of this theme, for instance, Ma Hezhi The Compendium of Works of Past and Present, Art four eight six, Picture copybook seven nine zero, the prefatory remarks of xiyuan gathering), Zhao Boju the picture of Hong Wen gathering), Zhao Mengfu (Yan Fu set , the fortieth roll, collected in the palace museum in Taipei),Chou Ying (copies of Li Longmian's xiyuan gathering, the fourth painting) and so on. According to the investigation of Ellen Laing, there were 47 paintings of the picture of xiyuan gathering through the record of all previous dynasties,and she has seen the extant 41 paintings, which was 81 in total. The theme of Scholar Gathering had been more profound that make people feel the deep cultural deposits.The gathering theme of literati paintings could be regarded as the products of the Chinese literature and drawing. The thesis is under the specific historical background of mutual development of the Song Dynasty's imperial-court decorative painting and literati painting and the flourished period of the meaning and picture which formed by the influence of special community and painting. It studied the tableau and writing between Li's the picture of xiyuan gathering and Mi's the prefatory remarks of xiyuan gathering from a micro perspective which analysis the connection of complementation and conversion, and then broaden the perspective to the literature and picture created through the theme of Scholar Gathering. By this way, it reveals the new concept of "picture cause meaning" which was motivated from the Chinese ancient painting and literature.Meanwhile, it will study the general rules of the meaning and picture between Li's the picture of xiyuan gathering and Mi's the prefatory remarks of xiyuan gathering that in order to find their best combination. It will provide theoretical support to the realistic research of modern "unbalance of meaning and picture relation".