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A Study of Inscription Literature and Pictorial Conception: the Rain and Umbrella Series Abstract Eulogy, inscriptive poem, inscription, critique and colophon of Chinese paintings are different forms of transformation of words into pictorial presentation. The integration of poetry, calligraphy and painting enhances aesthetic possibility. Poetry is able to transmit human sensibilities through words while pictorial image visualizes the space of scenery. Artistic conception and perception cannot be detached from the common culture and mode of thinking. The study focuses on two aspects. Firstly, the development of relationship among poetry, calligraphy and painting will be discussed chronologically. The subject of this study will be treated as topic of a series of artistic creation. In the written part, archaeological findings are used to investigate the relation of calligraphy and painting. Then, literature helps to demonstrate the development of painting and infer the complementary relationship of poetry, calligraphy and painting. Attention then pays especially on the interaction of inscription literature and pictorial conception. From Tang dynasty Wang Wei started to transfer a poetic landscape into a picturesque one. The idea brought literati painting into a new dimension and this new painting conception and aesthetics were praised highly and adapted not only by the Song literati such as Su Shi, Mi Fu and Huang Ting-jian but also the Emperor Hui-zong. Literati applied brushwork of painting to present poetic aesthetics while Emperor Hui-zong, the representative figure of court painters, used the concept of inscriptive poem to extend the artistic implication further than the painting itself. The advocacy of Zhao Meng-fu of Yuan dynasty advanced the literati spirit of brushwork and unified the ideas and forms beyond images and words. These efforts made poetry, calligraphy and painting become the three excellences of literati painting. The suggestion of South and North School by Dong Qi-chang led such form of literati painting to unprecedented height. After the Qianlong period of Qing, inscriptive poem turned into undividable part of painting and the so-called three excellences became no more than a format. In conclusion, infiltration of poetic language enhances the pictorial conception, however, when the internal connections between words and images have broken, words become nothing but the burden of pictorial conception. Interchange of theme and poetic language grammar is the source of creation of poetic painting. The main objective of the artistic work is to study the transformation of poetic landscape from inscriptive poetry to picturesque one and the adaptation of poetic grammar into artistic technique. The emphasis is to depict the motif, the image and the image of the mind.
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