Study on the Oil Painting Language Study of the Image of Lotus in Ancient Poems

Take the image of lotus in ancient poems as the carrier, and analyze the cultural implication of lotus imagery. Through the internal connection between lotus visual text and image language, the metaphorical image of lotus in ancient poetry and the image interpretation of lotus in oil painting language are used as the starting point to describe the artistic conception in literary works in an image way. There are four parts to study the image of lotus in ancient poems. Observing the state of things and experiencing the feelings of things; using the spirit of lotus and lotus to express the spirit of poetry, finding the aesthetic conception of poetry, co-constructing the strategy of image and text isomorphism, and fitting the personalized oil painting creation language with both pictures and text, it can help readers to build a new aesthetic perception and poetic comprehension to realize the cross-cultural resonance of poetry and painting imagery.

provides readers with space for association, and jointly undertakes the task of communicating thoughts and feelings. Jiang Yin understood "imagery" in "Modern Interpretation of Classical Poetics" as: "The image structure composed of one or more image images processed by the poet's feelings and consciousness and possessing a certain poetic self-sufficiency constitutes a poetic text" (Jiang, 2003). Imagery relies on the object image and is based on the object image, but it is not the true restoration of the object image. Although the object image remains the same, different images are formed due to the integration of different subjective feelings.
The image of lotus has rich image connotation, symbolic meaning and expression methods in ancient Chinese poetry: prototype image, natural image, aesthetic image, and so on.

The Cultural Implication of "Lotus Image"
The theme of lotus is favored by men of literature and writing. It carries an important archetype image in ancient Chinese poetry culture: the image of gentleman of lotus; the image of beautiful lotus; the image of love and marriage of lotus; lotus represents beautiful things and beautiful situational images; the image of sorrow, sadness and resentment of lotus; the image of nostalgia and nostalgia of lotus are presented in a dynamic trend.

Origin of Lotus Imagery
In the earliest book of songs in China, lotus image appeared, which means women, and men and women love. In Quyuan's Chu Ci, lotus form: one is a gentleman with high quality; the other is a symbol of melancholy and sad love.
Lotus, as a "fragrant flower", symbolizes the poet's character and political destiny. Until the Wei, Jin, southern and Southern Dynasties continued to Tang Dynasty, lotus was also known as a gentleman; the Fu of Luo God by Cao Zhi, a literary scholar in the Three Kingdoms period, reflected the symbol of lotus continuing his sad and sad love. In short, "Lotus" means the symbol of gentleman and love. Like plum blossom, orchid, bamboo and chrysanthemum, it carries people's desire for love and a better life, expresses the eternal love and life, and consolidates the soul.

The Lotus Image in Song Ci (a Type of Lyric Poetry in Song Dynasty)
The image of lotus in "Complete Song Ci": "Lotus" symbolizes beauty; entrusts auspicious and beautiful ideals; borrows lotus verses to convey love, mainly lingering lovesickness, with exquisite rhyme and eternal charm. Zhou Dunyi's "Lotus" in "Love Lotus" is likened to "the gentleman of flowers".

A Probe into the Language and Image
Language of "Lotus Imagery"

A Probe into the Context of Poems and Images
Vision is our way of life. We are facing the era of visual culture. Cultural symbols tend to be images. Image production involves the political, technological, commercial and aesthetic themes of modern society. The "Image Age" changes people's reading habits. Modern and contemporary is an "image world era".
From the perspective of iconology, interpreting text with images as objects, and studying the artistic conception in literary works is a relatively new research field. Drawing images is an intuitive way of visual presentation. Images and text are like a systematic project. It integrates image, text, and ideology, and is a concentrated presentation of physical images and inner spiritual images of things themselves, including images, spirits, and words. Image text does not exist in isolation, it is intertwined with images.
"The Book of Songs" describes the natural ecology of the "Lotus" landscape, showing the relationship between man and man, man and nature. The "Lotus" in "Chu Ci" reflects the primitive charm of totem worship, the cultural custom sion, matching with relevant picture information will make the text content more vivid and easy to interpret. This expression of language and time and space reflects the interrelationship between language and culture, thinking and action.
We will explore how language and image art turn from time to space, from depth to plane, from the whole to fragments for reasonable imitation and reference. From the cultural system of lotus and lotus poems, we can look for the visual representation of lotus and lotus imagery and the formal characteristics of verbal expression: to coordinate and resolve the contradiction between "form" and "content" between the tension of "language" and "image". The conversion and integration of "text" and "context" explores the "language image" and "graphic image" produced by poetry culture and visual art oil painting, as a research platform between literature and image.

The Relation between the Culture of Lotus Poems and the Image Language of Oil Painting
Our country's lotus and lotus poems have a rich cultural heritage, based on lotus culture; we should grasp the essence of Chinese poetry and poetry. Only when we have a deep understanding of the traditional culture of lotus and lotus poems, a solid foundation, and sufficient confidence, and transform the cultural connotation into our own self-cultivation, can we have depth, breadth, and thickness in our creations, and achieve the goal of taking the cultural heritage of the national lotus and lotus poems. The two have both commonality and individuality. The cultural heritage of poetry is the foundation of creation and innovation. The same is the subject of "Lotus". There are many works in China that express the image of lotus and lotus in Chinese painting, but few people use western oil painting techniques. However, no matter what method is adopted, it depends on personal emotional factors. Don't indulge in the photocopying of "graphics", understand the growth habits of lotus and lotus, observe its four seasons growth patterns, and continue to accumulate experience. The morphological expression of all objects conforms to the heart, corresponding to the meaning of the "Lotus" image, and is confident about its attitude and posture, breaking the shackles of traditional painting, establishing a new system, and presenting a new dynamic picture development situation.

Poetic and Painting Metaphors of the Image of Lotus in Ancient Poems
The art form of "Fu Bi Xing" in "The Book of Songs" is ingeniously corresponding to the lines of line drawing, fine brushwork and freehand brushwork of Chinese painting, and the sketch, realism and abstraction of oil painting. Through the poetic lotus context, the painting meaning of lotus in ancient poems and painting the poetic meaning of the image of lotus in the middle is revealed, and the homogeneity of poetry and painting is found, and the integration and difference between poetry and painting are explored.
The ancient poet Wang Wei proposed that "there are pictures in poems" and "there are poems in pictures". Pan Huanlong mentioned in "Woyuan Poetry", "In the past it was said that there were paintings in poems and poems in paintings. However, those who paint water cannot paint the sound of water, those who paint objects cannot paint shadows of objects, and those who paint people cannot paint people. Poetry cannot be painted, so it is more wonderful than painting things". It means that Chinese poetry and painting have the same origin: poetry is art of time, painting is art of space. The two have a common way of thinking, a common structure and a common pursuit of artistic conception. The image language is the virtual object recorded by the medium of poetry, the reproduction and creation of the poetic context, and it belongs to experience. In the process of dissemination, there are also constraints of the creators' self-cultivation,

Analysis of Oil Painting Language of Lotus Image
French impressionist painter Monet's "Water Lily" works, in free time and space environment, makes full use of natural external light, and depicts the internal connection between water, color and form through the points, lines and surfaces produced by brushstrokes Water lily form. The two-dimensional lotus and lotus works expand the depth of the visual space. The air is filled with lifelike lotus scenes, which have obvious oriental freehand colors, vivid and harmonious, and give people a beautiful enjoyment.
Wu Guanzhong's "Lotus" works "Red Dragonfly". He advocated "exploring nationalization in oil painting and seeking modernization in ink and wash" to alleviate the contradiction between lotus and lotus culture and language images (Yin, 1983 Ouyang abides by the principle of the same source of painting and calligraphy, using fiction to bring truth, sentiment to bring pen, freehand brush, to blend dryness, wetness, coldness and warmth, lightness and severity, shape and color into one, casting spirit and affection in one furnace. The oil painting "Pool" uses a poetic pen to transform the context of ink painting into the language of imagery oil painting. It combines traditional Chinese ink painting techniques with the light and color of impressionism through the techniques of "being well-informed" and "creating the environment". Oil painting images give oriental charm, creating meaningful graphical language to express the artistic conception of lotus and lotus. Monet's "Water Lily" works maintain the original appearance of the object, pursuing the charm of light and color. The two use different artistic concepts and creative methods to express the disagreement of the same object.

The Oil Painting Language Exploration of the Image of Lotus
From the vertical and horizontal aspects, systematically analyze and sort out the development and evolution of the painting language of ancient Chinese poetry, lotus and lotus, focus on the practice creation of lotus painting language, and find a new oil painting language suitable for personal development from the cultural context of ancient poetry.

If You Can't Do It, It's Your Own Method: To Observe the State of Matter and Experience the Situation
Images and language are both carriers that show the poetry. The presentation of lotus and lotus images meets the aesthetic needs of understanding the literary image of lotus and lotus poems. The image is the "virtual finger" and the language is the "real finger". The image serves as a tool and carrier, and the creator understands the physical condition by observing the physical state. From the pursuit of objective reproduction of the image, the realization of "lotus painting does not draw the shape", learning from the heart of the ancients and the ancient ruins, the prototype is lifelike but not full of spirit. Using the observed objects to extract the carrier images of emotional expression, creating a mood, and con-  Through the reading of poems, the contained lotus, fish, enchanting lotus, and dense lotus leaves are used to express lifelike objects in the form of oil paintings, so that visual images and words resonate, convey the poetic mood, and entrust beauty and love.

Intangible, Intentional, Silent and Sound: To Write the Spirit in Form and Express the Spirit with Emotion
The "Dance of Lotus" series of works explore the situation, mood, and gestures in his paintings from the visual psychological characteristics, and work together to form the "force" movement of the work: from the contrast between reality and existence; detailed and general contrast; strong and weak Contrast between traditional culture and modern discourse. The natural growth pattern of the lotus from rooting, budding, flowering, and fruiting withering, highlights the stubborn and upright character of the lotus. The emotions of art creators come from the individual's different understanding of the state of nature: using lotus lotus as the carrier, the individual has a special affection for lotus lotus, observing and experiencing with heart, moving with "emotion" and borrowing Born to work with "emotion", build emotional bridges, transmit power, and record its state. In the form of expression, emphasis is placed on planeness, consciously neglecting space, and the traces of the creation pattern are weakened, annotating new modern language symbols-coquettish flowers, graceful and graceful torso, vigorous lotus, red and heavy lotus leaves and other painting elements are harmonious. Naturally enter the cultural context of his own painting image language, showing his individuality.

Conclusion
National culture is facing the impact and collision of world culture, and the language is turning to the trend of diversification. We study the language of oil painting creation based on the image of lotus and lotus in ancient poems, explore the artistic conception in literary works from the perspective of images, looking for a poetic aesthetic conception, co-constructing the strategy of image and text isomorphism, and matching the personalized oil painting creation language interpretation method with both pictures and texts, help readers construct brand-new aesthetic cognition and poetic comprehension, and find spiritual support in the form of combination of text and image in terms of values, thinking styles and cultural concepts, so as to achieve cross-cultural resonance between poetry and painting imagery. This is the discussion of the creation language of lotus painting in China. At the same time, it also provides research ideas for us to explore and develop the oil painting creation language on related themes.

Fund Project
The key project of Sichuan Provincial Department of Education "The Study of the Language of Oil Painting Creation of "Lotus" in Ancient Poems" (18SA0219).

Conflicts of Interest
The author declares no conflicts of interest regarding the publication of this paper.