A Study Of "Language-Graph" Relationship In Su Shi’s Painting Poetry

As a literary form inspired by paintings,inscription poetry continues to develop in the direction of a high degree of integration between language art and image art."There is painting in poetry,and there is poetry in painting",as the origin of Su Shi’s artistic concept of blending poetry and painting,penetrates implicitly or implicitly in all aspects of his inscription poem creation,resulting in him being able to construct a complex relationship between poetry and painting,or language and image,from theory to practice in his inscription poem.The study of the "language-graph" relationship stems from the problem domain formed in the era of reading maps,and a new academic system often obtains its foundation and nutrients by going back to the classics,so as to compare with the present.The relationship between the "language-figure" of inscribed poems is essentially a problem of symbols,and the different symbols used in poetry and painting art cause different formal representations between the two sides.However,on the basis of the difference between the linguistic symbols and the image symbols,there is a possibility of transformation into each other.This paper introduces Su Shi’s pictorial poems into the current perspective of the relationship between literature and images,and attempts to explore the hidden "language-picture" relationship form and the law of "language-picture" integration in Su Shi’s inscription poems with the thinking and research mode of mutual reflection between ancient and modern and Chinese and Western,so as to provide a reference for the construction of the aesthetics of poetry and painting,and promote the process of research on the relationship between Chinese literature and image to a certain extent.Firstly,the background,form and ideological basis of Su Shi’s inscription poems are reviewed.By examining the development process and definition of pictorial poetry,it can be seen that Su Shi’s pictorial poetry travels between broad and narrow definitions,so it can be regarded as an important research object to explore the relationship between literature and images.The "melancholy" Northern Song Dynasty promoted the generation of Su Shi’s inscription poems from the perspective of social,cultural and aesthetic thoughts,and the ideas of Confucianism and simple artistic dialectics provided them with rich ideological soil,prompting Su Shi’s inscription poems to form an open and growing meaning field under the interaction of multiple subjects and artistic media.Secondly,the concept of facultativeness is introduced to explain the "language-diagram" relationship of Su Shi’s inscription poems.According to the view of "all poetry and picture books are uniform" put forward by Su Shi in the inscribed poem,it can be concluded that there is a mutual fatiful relationship between poetry and painting,that is,language and image art,which is mainly reflected in: the stylistic duality of Su Shi’s inscribed poems "language-figure",the "language-picture" creation facultivity and the aesthetic duality of "language-picture".The combination of poetry and painting has made the inscribed poem evolve into a style that combines image and language,and has obtained the facultative characteristics of the spiritual ontology of "language-picture" on the basis of "text with Dawuyi and painting with Wuxin".In the dimension of "language-picture" creation theory,Su Shi emphasized the "sameness" of "wonderful ideas" and "copying objects" in the creation of poetry and painting,which connected the "emptiness and stillness" of the subject’s spiritual realm,the "body and bamboo" of the imagination link,the "bamboo in the chest" of the conception link,the "giving shape to things" in the creation of imagery,and the pursuit of the unified art form of form and god of "not painting flesh and bones",thus restoring a relatively complete "language-picture" duality creation path."Tiangong and Freshness" corresponds to the facultative characteristics of Su Shi’s inscription poems on the aesthetic thinking of language and images,and the disassembly of "Tiangong" and "Freshness" can be seen in the commonality of Su Shi’s ideal aesthetic standards of language maps.Thirdly,based on the perspective of the boundary of Lessing’s poetry and the aesthetics of Chinese poetry and painting,this paper analyzes the phenomenon of "language-picture" gap and bridge in Su Shi’s inscribed poems.The so-called "language-picture" gap of inscribed poetry refers to the cracks and gaps between inscribed poetry and painting,because there are certain asymmetrical characteristics in the two different media expressions of language and image,resulting in cracks and gaps in the process of imitating and integrating two different texts.The "language-picture" gap in Su Shi’s inscribed poems is mainly reflected in the extrasensory description of poetic language,the advantages of poetry as a language art in describing time,and the construction of art space by poetry.It is precisely because of this "gap" that there is always a blank space on the way of the fusion of poetry and painting,where the viewer can display his unlimited imagination,that is,constantly imagine the meaning of the painting through the evaluation of poetry,and continue to understand the poetry according to the viewing of the painting,so as to continuously obtain aesthetic pleasure.Finally,from the perspectives of theory and practice,the intrinsic artistic value of the "language-picture" relationship of Su Shi’s inscription poem and its enlightening significance to current related research are considered.The fastituity and gap of the "language-image" relationship in Su Shi’s inscription poem make it compatible with the theoretical connotation of intertextuality and intertextuality,and thus form a node of harmonious integration of language and image,thereby providing experience for the construction of a harmonious relationship between literature and image.In terms of artistic creation,Su Shi’s inscription poem "language-diagram" relationship reveals a big artistic concept based on general law thinking and connotating artistic cross-border consciousness,which brings breakthrough and innovative enlightenment to our current artistic creation.In addition,by analyzing the "language-picture" relationship of Su Shi’s inscribed poems,a new answer can be made to Qian Zhongshu’s question about "poetry is sublime,painting is still empty",that is,the difference in the so-called "authentic" and "high-quality" poetry and painting standards is,to a certain extent,a vacant space for reciprocity,mutual penetration and interaction for poetry and painting,thus retaining the activity and growth of the two different arts.