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| Creation, Superposition and Deduction of Image Meaning: Based on the Analysis and Interpretation of the Court Paintings of the Southern |
| Chen Ye |
| Zhejiang Academy of Social Sciences, Hangzhou 310007, China |
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Abstract In the art of painting, including court paintings, the generation of its image meaning is neither entirely determined by the creator’s intention, nor does it stop at the time of its output. Its meaning is a meaning system created through instant creation, diachronic superposition and synchronicity.Due to the special identity and realistic appeal of the painting subjects, court paintings have specific value presuppositions and meaning frames in terms of creative intentions and functional development. It was not only the record of the national construction process and construction achievement, but also the fields, means and participants of national construction. It was planned and organized cultural and even political activities that served immediate needs, which was of greater political significance than literati paintings and folk paintings. As far as the Southern Song Dynasty is concerned, due to its special historical circumstances, political and military structure, and realistic pressure, political significance was particularly valued. It took on more roles in shaping the image of the emperor, maintaining the political unity of the dynasty, stabilizing the political situation and popular sentiment, rebuilding social order, and strengthening the collective identity of the people and served other political and educational functions.National will was an important factor in regulating the political significance of court paintings, but it was not the only factor. When looking back at the court paintings of the Southern Song Dynasty, we can see that in the process of historical transmission of paintings, different subjects such as creators, the public, and the cultural value system all resort to their cultural power to advocate, interact and blend, and participate in the generation of the meaning of paintings. The process presents three dimensions, and forms a cultural space with superimposed meanings from a deeper, wider, richer, and more complex level.The meaning of paintings also comes from the re-examination of the concept of work by using text theory, the reference and application of the concept of text after this review, and the resulting public space for meaning deduction. The so-called “public nature” means that the painting works have been tempered by history, in terms of themes, techniques, schemas, etc., to condense classic elements, which are separated from the author, travel through time and space, and exist independently, and become public resources in the tradition of painting art. These classic elements shared by different periods and different subjects in creation of paintings, providing infinite and diverse possibilities for the continuous interpretation of image meaning.Taking the court paintings of the Emperor Gaozong and Emperor Xiaozong of Southern Song Dynasty as a case for analysis, this paper attempts to interprete the political, cultural and textual meanings of painted images accumulated in the complete life course of instant creation, time-superposition and multiple convergence, as well as the three-dimensional and multiple image meaning structures formed correspondingly. On the basis of the analysis, the paper is meant to reveal the common generation path and universal internal mechanism of images to acquire sustainable life vitality.
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Received: 13 July 2023
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2023, Vol. 53 
