A Study on the Artistic Images of Lyricist of Li Sao. Longhui Shen 1. Abstract

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1 2017 3rd International Conference on Social Science, Management and Economics (SSME 2017) ISBN: A Study on the Artistic Images of Lyricist of Li Sao Longhui Shen 1 Abstract It is the magnificent ancient and modern political lyrics, thousands of years deeply shocked people's minds. The whole poem is characterized by the pursuit of the progressive ideals, and the expression is then characterized by the positive romanticism. Li Sao is Qu Yuan's masterpiece, but also the culmination of the Songs of Chu, according to Wang Yi said, explained as parting sadness, Li Sao for the ancient Chinese only seen the first left the author name long lyric poems, the whole poem three hundred and seventy- The four thousand four hundred and the ninety-four words, the content of the broad and profound, indignant and compassion, narrative as that the style of the mysterious majestic, is a new form of poetry from the show. This paper gives the new understanding of the issues and in the future, more in-depth review will be finalized. Keywords: Artistic Images, Chinese Literature, Li Sao. Introduction In the history of the ancient Chinese literature, Li Sao is one of the far-reaching works. It is the magnificent ancient and modern political lyrics, thousands of years deeply shocked people's minds. The whole poem is characterized by the pursuit of the progressive ideals, and the expression is then characterized by the positive romanticism. In the "Li Sao", Qu Yuan with its profound knowledge, outstanding talent and noble personality, ingenuity to inherit and develop the "Book of Songs" in the Fu, than the expression of the way, the natural environment of the vegetation birds and animals And the social life of the basic necessities of life, the real world between the real things and the fantasy of the gods are extremely clever combination in one, so as to build a colorful, swaying world famous world. And the features of the Li Sao can be generally summarized as the follows. o Qu Yuan in the lament of the world for the praise of the people in his sinister environment, and the self-sustaining, self-improvement, to die martyrs, do not follow the wave of character, and adhere to the ideal, and the spirit of unremitting struggle. o Li Sao is Qu Yuan's masterpiece, but also the culmination of the Songs of Chu, according to Wang Yi said, explained as parting sadness, Li Sao for the ancient Chinese only seen the first left the author name long lyric poems, the whole poem three hundred and seventy- The four thousand four hundred and the ninety-four words, the content of the broad and profound, indignant and compassion, narrative as that the style of the mysterious majestic, is a new form of poetry from the show, the poet with a colorful language, rich imagination, anger For the pursuit of their own ideal, reflecting the poet on the motherland, the people of faith and for the realization of the ideal struggle in the end of the precious spirit of the word between the lines are permeated with the author's blood and tears. 1 Jiangxi College of Engineering, Xinyu, Jiangxi, China 198

2 o Qu Yuan proposed the essence of the United States, that is, "regardless of the basic, to select the talented people to govern the country, so that the motherland rich and powerful unity." The abolition of the nobility of the world Qing, Shi Lu and the monopoly of the elite. o Li Sao is not only to the greatness of ancient Chinese poetry garden, and the poet Qu Yuan is hydrophobic, the patriotic passion of full written in blood and tears of sad song of resentment, read a jiggled liver crack bravery, clear conscience is a magnificent romantic poems Therefore, in this paper, we will analyze the study on the artistic images of lyricist of Li Sao. In the following to sections, we will discuss these issues in detail. The Proposed Methodology Artistic Images of Lyricist. For the specific different clothing, they reflect the political symbolic meaning and ethical symbolism is different from each other, to make these specific different clothing can be successfully and accurately reflect their respective political and ethical significance, ultimately, they are in the clothing shape clothing materials, clothing color, clothing and other aspects of clothing to make different arrangements and treatment to play a positive customs, governance world, political stability of social education function. Looking from the cultural soil and implements both religions, philosophy, institutional, economic and cultural diversity of artistic expression, and closely related with technological progress that is not only the technology, art is the art of technology. From the language form, material language can be with the help of the gold, silver luster and texture, show the cultural features of its symbol as the structure language available space shaping, interpretations of the designer's cultural concept and technical language, technology and art fusion can be depth express the ideas of the author. Function direction explicit, takes the parent substance by the material language, by the material combination and the spatial distribution as language extending with the expansion special language form is one serves society's language culture system, simultaneously also is one the entire social culture shape, the historical development stage restriction limited qualitative language culture system. And we can analyze these issues from the listed aspects. Gold and silver implements social language is the material form after implements functions, its natural language in social and cultural system of the extension, escape and metaphor. The implements of social language is no longer a simple material language, and is endowed with new social and cultural connotation, such as rare, noble, riches and honor, etc. Both in the language and natural language corresponding to one side, and in the other side of the different social and cultural environment development extension. Golden, the silver natural language that is the money utensil art language connotation, but the utensil social language is its artistic language extension. Natural language, source in humanity to material nature feeling, but the social language needs to receive the space and the time dimension the restriction. In other words, in the different historical period, the different region environment, under the different cultural context, the money utensil social language can along with it change with the social language difference can affect naturally the money utensil art language esthetic expression. In the body, the golden warm materials because of its surface, people can produce a volume of continuation and expansion feeling on the vision; but because of the cold tone silver material surface, make people feel and reduce the volume of convergence. The connotation of visual language derived from the natural attribute of gold and silver 199

3 materials gradually evolved into the natural language of gold and silver materials, thus becoming a part of human culture. Figure 1. The Artistic Images of Lyricist of Qu Yuan. One of the biggest differences between the classical period of the development of Chinese costume and the modern period is that the Chinese costume art in the classical period has formed a set of Chinese crown system (the statute of honor) that directly affects its development. This statute of lords can be roughly divided into two components, first of all strictly "mark the political grade of the points" part, that is, "clothing system" it is deliberately invented by the ruler, with the nature of enforcement: Followed by the "mark the general characteristics of the points" part, it is naturally formed, with the characteristics of folk customs tradition, no mandatory, this part of the content in fact before the emergence of the statute in the growth and development. These two parts act as institutional, instrumental, and traditional elements of the imperial power rule, and exert influence on the daily life of all the citizens of the country. System of Chinese traditional costume is just what I the real place of the humanist spirit of the Chinese nation that is mainly influenced by Chinese philosophy, which formed deep inner spiritual meaning. Clothing design in addition to chapter twelve patterns it survives, dress as a symbol of the ruling class power and status, meaning more strong. To this end, all kinds of craftsmen in order to meet the needs of the rulers, on the design of apparel pattern with more artistic aesthetic value, the design has not only reflected by is content with the various natural object, the deformation of the but to meet the needs of the ruling class. On the choice of design modelling, highlighted the meaning of the dragon and the general phoenix. Li Sao s Perspectives. Qu Yuan had served as the Chu "left", this time it is also the king of Chu as the first six years of the first few years. Qu Yuan engaged in "deal with the princes" of diplomatic work, is certainly the year round non-stop running around the six countries, upstream and downstream, said the coordination of vertical and written. Since then, the poet has had a "sparse" a "put" experience, a "sparse", refers to the general way he has no confidence and alienated. Time is probably in the king of sixteen years, that is, about 23 years of Qu Yuan. Was removed the "left" duties of Qu Yuan left the Ying are, travel to Yicheng, Han North area. The beginning of the road is not difficult, it is today's Jianghan plain area but close to Yicheng, into the mountains northwest of Hubei. Han North is the derivative of the Qu family, but also the 200

4 northwest of Chu to resist the fortress of the Qin. In short, the poet this period of time running around in the northwest of Chongshan hills, between the male and dangerous, the road is difficult to walk, you can imagine. On the Qu Yuan's "put", there are time between the king and the king of the reign of the two arguments. It should be said that the study of "Lisao" name of the performance techniques, naturally should not abandon the "Book of Songs" Fu, than, Xing of the traditional argument, because "Li Sao" was clearly "Book of Songs" Fu, than the impact of Xing. However, the performance of "Li Sao" is better than the simple inheritance of the Book of Songs, but the creative development. In this regard, Zhu in the note "Li Sao" has been recognized, put forward "Fu", "Fu than", "than", "than the Fu" four kinds of argument. Obviously, his four statements are not only for the purpose of sub-section, but also intentionally reveal the "Lisao" four different performance techniques from following aspects. Natural objects accompanied by the rotation of the sun and the moon and the replacement of the season, from the growth, aging to the death of the process, showing from the branches of the leaves to the dead branches and leaves, from the vibrant to the dead features. Therefore, the change of the image is the passage of time, in other words, the image is also the external manifestation of time. However, in the primitive minds of the early people, the changes in the natural objects and the changes in human life have a natural similarity, so they "cast these phenomena into the human existence, as in the mirror as to comprehend these phenomena. The relationship between the mythical time to produce feelings, this feeling in the subjective form of life and the objective and intuitive of nature set up a bridge between the scenes". It is in the role of time consciousness, Qu Yuan by the material simply think of the people's impermanence, from the United States from the ugly think of people from good to bad, from the cultivation of student think of the cultivation of talent. However, Qu Yuan did not indulge in the kind of involuntary sad depression in the emotional swim, but to cause the cause of the good cause of a rational analysis. "Li Sao" chooses the "walker" image as the hero is deeply influenced by the potential creation of consciousness. In particular, this is the subconscious "latent image", through the creation of the main hand, evolved into the art of the image, it is "through the latent image of the changes and emerges to reflect the way of life experience a way. It is more natural in the latent process and the kernel rhythm corresponding to, and more concentrated to reflect the subject of life in all directions of the aesthetic discovery, and thus the success of the latent image deformation that has become the key to artistic breakthrough. In the "Lisao", the performance of the image of the space is very rich, visible, gives a sense of immersive. Of course, these spatial images are not isolated, still, but with the changes in the poet's journey, showing a complex, changing characteristics. Xiao Bing has noticed this: "Li Sao 'sense of time' is indeed prominent. Space transformation has been the pursuit of time together and the structure is multidimensional, three-dimensional. In the "Lament", Qu Yuan will time term And the space image directly linked to, such as "toward the hair tough in Cangwu Xi, Xi Yu Yu County Park", "towards me will be from the water Xi, Dengge wind and then horse", "Come, toward the irrigation is clear," "toward the hair tough in Tianjin Xi, Xi Yu to the West", "Road is not weeks to turn around, refers to the West Sea" and other words, through Cangwu, county garden, white water, Such as the wind, the poor stone, the southern plate, Tianjin, the West pole, the West Sea and other space images of non-stop conversion, both expressed the time as arrows to fly away, but also reflects the poet in the process of continuous search for the urgent, Look, anxious mood. From the cultural background, "Chu" is a birth in the 201

5 forest dense Mao, mountains in the ancient country. "Chu" the shape of the word, apparently with the "forest". Chu's ancestors of the road, "founding the loss of" hardships, as a cultural factor, deeply soaked in the blood of Chu people has become a "collective unconscious." It is difficult to make the road difficult, Chu ancestors of the original consciousness and there is a free, light flying "birds" of the enterprise Mu. "Feng" is Chu people think fly the fastest and most beautiful auspicious birds. Today in the Chu unearthed antlers phoenix bird that is a ancestor of Chu totem. Its shape must have been from the deer and the speed of birds and beyond the obstacles that focus. The above two aspects, the formation of the creation of the main cultural and psychological accumulation and this is just like Rudolph, Arnheim said: "Expression is the inherent nature of the perceptual style itself." Understand this reason, we can easily understand why "Lament" created a search for up and down image". Conclusion In the history of the ancient Chinese literature, Li Sao is one of the far-reaching works. It is the magnificent ancient and modern political lyrics, thousands of years deeply shocked people's minds. The whole poem is characterized by the pursuit of the progressive ideals, and the expression is then characterized by the positive romanticism. This paper proposes the new idea on the issues and in the later time, we will apply the proposed perspective to read in-depth of Li Sao. Reference [1] Cochran, David. "Harriet Hyman Alonso. Yip Harburg: Legendary Lyricist and Human Rights Activist. Middletown, CT: Wesleyan University Press, 2012." Peace & Change 39.2 (2014): [2] Mordecai, Pamela. "Miss Lou A personal remembrance of Louise Simone Bennett-Coverley: Poet, folklorist, community worker, lyricist, stage and movie actress." Kunapipi 29.1 (2014): 3. [3] Appler, Vivian. "Yip Harburg: Legendary Lyricist and Human Rights Activist by Harriet Hyman Alonso (review)." Theatre Journal 66.4 (2014): [4] Ismail, Rini Zahlifah. "SIA's composer, lyricist are tops in contest." Daily Express (2014): 6. [5] Hagberg, Garry L. "The Approach of a Lyricist." Common Knowledge 20.2 (2014):