Xiao Yuncong’s Research On The Relationship Between Text And Picture In "Chu Ci Tu"

The poetry of "Chu Ci" is unrestrained,with peculiar imagination,rich in Chu characteristics and mythology.Among them,the imagination of traveling in the sky and the mysterious and treacherous stories have attracted painters of the past dynasties to show them through paintings: Li Gonglin in the Song Dynasty,Zhang Wo in the Yuan Dynasty,and Chen Hongshou in the Ming and Qing dynasties painted the "Nine Songs Picture",and the single block-printed version of the Chu Ci Tu was started from the "Li Sao Picture" by Xiao Yun in the Qing Dynasty.Image is a kind of visual expression,compared with textual expression,it has the advantages of intuition and clarity.Through the expression of pictures,the initial impression of the text of "Chu Ci" can be obtained intuitively.The painter’s different depictions of scenes and images depend to a large extent on the differences in understanding and acceptance of "The Songs of Chu".Based on the images of Chuci,with Xiao Yuncong as the starting point,to study the characteristics of Xiao Yuncong’s images in the Ming and Qing Dynasties,this is an aspect of the acceptance of Qu Yuan’s images in the past dynasties.Different from the previous paintings that only cut fragments of paintings,Xiao Yun used "The Songs of Chu" as a draft from the image creation of "Chu Ci",and drew three photos of the doctor and the fisherman together;"Nine Songs" nine pictures;"Astronomy" 50 Four pictures;far travel pictures;vanilla pictures.In order to cater to the preferences of the people at the time,woodcut prints were used,but only 64 pictures were left due to the military disaster.Xiao Yuncong’s composition of "Chu Ci Tu" is creative.He pays much attention to the image and atmosphere created by the text of "Nine Songs",arranges the characters in a reasonable layout,and is also quite mindful in portraying the surrounding scenery.The representation of images to texts is not simple and random.Xiao Yun’s conversion from "Chu Ci Tu" to texts and images mainly presents the worlds in Qu Yuan’s works through two ways of expression: single and comprehensive.Xiao Yun used the techniques of white space and juxtaposition to achieve the appropriateness of graphic content,characters,etc.The way of co-annotation of the text and pictures also gives the viewer a new way of reading,which is also a kind of re-creation for the text.However,from the perspective of the difference between the text and the picture,the image is not only an interpretation of the text,but also a departure from the text.The beauty of emotion and imagery in the poem will also dissipate in the image unconsciously.The creation of Chuci images reached the peak of innovation in Xiao Yun from here,and the preface and postscript of more than 8,000 characters became Xiao Yun’s original work of editing and editing.Analyzing the content of the preface and postscript,it can be seen that Xiao Yun’s "Chu Ci Tu" has three purposes: one is to respect "Sao" as "jing";the other is to preserve rules and remonstrances;and the third is to care about chaos.Obviously,the ci learning was highly prosperous,and Xiao Yun accepted Qu Yuan’s patriotism and the spirit of loyalty to the emperor and indignant resistance from the "Chu Ci".His paintings of Chuci images inherited Li Gonglin and Zhang Wo,and learned the technique of line drawing;compared with the works of Chen Hongshou of the same time,each has its own merits;and then became the blueprint of the Qing Dynasty gate Yingzhao’s supplementary paintings,which is a link between the past and the next in the history of Chuci images.Case analysis of the relationship between text and pictures,taking Tianwen as an example.Xiao Yun’s creation of "Heaven Questions" is the first time this text is transformed into an image,and it has reached the pinnacle of artistry.The backdoor Ying Zhao version of "The King-Destined Supplementary Painting of Lisao" is Xiao Ben’s supplementary painting,but there is a huge difference in style.In addition to the biggest difference in the subject of creation,there are more differences in the influence of the times on Xiao Yun’s call from Hemen.As a “Shunchen”,Men Yingzhao cannot understand Xiao Yuncong’s sorrow as a "deceased person",nor can he fully retain the national worries in the original work.Xiao Yuncong’s "Heavenly Questions" pays attention to the layout of the picture and clarifies the relationship between the primary and secondary characters through various compositions,and carefully researches to grasp the spirit of patriotism and loyalty of Qu Yuan.The pictures and colors are all gorgeous and complex,lacking the portrayal of the character’s spirit.