Study On Feng Zikai’s Literary Works And Paintings

With a burgeoning science and technology and network media, as well as the fast-paced modern life, people tend to pursue a simpler spiritual life than a complicated one, which gives image opportunity to occupy our life in every aspect. That is, image replaces language. The negative effects of the overuse of image on the public make thinkers at home and abroad put forward ideas of culture crisis, social crisis, and literature crisis. But to the author, these ideas are deliberately exaggerated and not worth worrying about in China. Besides, the author’s study of "literary creations and paintings of Feng Zikai" reflected the fact that literature is still the indispensable intellectual and artistic product of the human being for hundreds of millions years. As an outstanding person in Chinese modern literature and painting creation, Feng Zikai produced works featuring "picture in words, and words in picture", which broke the traditional poem and painting’s old pattern of pure "self-entertainment", and forms an open "poem and painting medium" with social responsibility which guides a healthy life. It includes not only similar functions of commercial images, but also the authenticity of art.Apart from the introduction and summary, this essay can be divided into five chapters:The introduction part, firstly explains that the purpose of Feng Zikai’s literary creations and research of paintings is to open up new horizons for the current social aesthetics, then gives a careful summary for the current research status of Feng Zikai, and finally concludes the research methods and basic thoughts which may be applied during the writing of essays. The summary part gives a review for the whole essay.Chapter one gives a brief introduction of the development vein of the combination of Chinese literature and painting, and of Feng Zikai’s teachers and friends who led him to the direction of combining literature and painting together. This chapter firstly describes the prerequisite of the combination of ancient Chinese poem and painting, elaborates the positive role that Confucianism, Buddhism and Taoism played in combining poem and painting, and states the tradition of the combination of poem and painting. Then, this chapter pictures regarding Feng Zikai’s study experience, and what he gained from his overseas study tour, as well as his experience in exchanging with overseas learners.The purpose of this chapter is to explain the development of Feng Zikai’s literary and artistic style.Chapter two mainly investigates integration of Feng Zikai’s prose writings and his caricatures. Starting from the content and ideology of his prose, it classifies Feng’s prose into such three categories as "children’s cartoon prose","students’ comic prose", and "Buddhism comic prose". Next, from the perspective of painting techniques, it talks about techniques in Feng’s writings, including "realistic writing method","metaphoric writing method", and "highlighting writing method". Finally, after in-depth exploration, it is found Feng’s prose writing also applied the five writing styles of Chinese calligraphy, namely regular script, seal character, clerical script, running hand, and cursive script, connotation of which is also interpreted in this chapter. This part proves painting techniques can thoroughly penetrate into modern literary works.Chapter three is mainly about the narrative features of Feng Zikai’s poems on paintings. It first introduces the realm of life conveyed by Buddhism spiritual and Feng Zikai’s religious doctrine to real life. This is for poems on paintings such as "Hushen Paintings". Next, this chapter reveals Feng Zikai’s artistic concept with realistic spirit in his poems on paintings. This is for poems on social comics. At last, this chapter also discusses some of Feng’s poems on paintings regarding scholar temperament and interest. Finally, it extracts the experience and inspiration of life in poems on paintings. The purpose of this chapter is to illustrate the life value and spiritual function when poems integrate with visual patterns.Chapter four mainly discusses the covers and illustrations Feng Zikai created for writers. A decoration for text though, image is an indispensable part of an article. This chapter discusses the functions of image in text from the aspects of comic, illustration and cover. The key of this chapter is to illustrate and analyze, from three aspects, how Feng Zikai’s images help in narration for text:first of all, this chapter discusses the inter-presentation relationship between text and image by analyzing Feng Zikai’s comic "Yatou"(Girl) in Zhu Ziqing’s essay "Ernv"(Children); secondly, this chapter studied the narrative style of text and image by analyzing Feng Zikai’s illustrations in Zhou Zuoren’s "Ertong Zashi Shi"(Children Chore Poems); lastly, this chapter discusses book covers created by Feng Zikai during the first decade after the new Chinese literature was born. It explored the language co-generated by book cover itself and text content by analyzing book cover created by Feng Zikai for Sun Lianggong’s "Hai De Kemuzhe"(The Sea Lover) and Wang Tongzhao’"Huanghun"(Dusk), and then by comparing and analyzing the book cover creation concept of Nu Xun and Feng Zikai, found the medium purpose of Feng Zikai’s book cover.Chapter five mainly discusses the nourishing impact that the poem and painting medium has on current multimedia creation. It starts from the Chinese culture’s nature and cultivation. Then, from the perspective of the similarity of paintings and poems, it proposes the concept and three types of "poem and painting medium". With examples of Feng’s poems and paintings, it interprets the simple aesthetic character of poem and painting medium. Next, the sense of social responsibility of bodies of the poem and painting medium is investigated, which reveals the strong awareness and standpoint in taking on social responsibility of modern scholars. Finally, it talks about the culture crisis that the current commercialized picture-reading era brings, and explains the significance of the poem and painting’s noble aesthetic character.