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Visions in verse: dialogues across cultural realms

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Visions in verse: dialogues across cultural realms

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Content Copyright 2024 Hansha Zhao
VISIONS IN VERSE:
DIALOGUES ACROSS CULTURAL REALMS
by
Hansha Zhao
A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ART AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF FINE ARTS
(DESIGN)
May 2024

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Acknowledgments
I would like to thank my committee members, Professor Ewa Wojciak, Peter Robbins,
and Laurie Burruss. Their support and guidance integral throughout the entire project, providing
constructive feedback in both online meetings and in-person tutorials. During moments of
confusion in the design process, they invaluable companionship and patient guidance mean a lot
for me.
Further, I would like to express my sincere thank to Professor Jason Ellenburg. He
offered varied help in the early stage, including design strategies, sources of inspiration, and
theoretical analysis. In addition, I appreciate the psychological counseling services provided by
Sarah Schreiber, LCSW, encouraging me overcoming the stress of graduating.
Lastly, I would express my deepest gratitude to my family and friends, who have been
the motivation behind my continuous efforts. Also, special thanks to myself for unwavering
perseverance.

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Table of Contents
Acknowledgments........................................................................................................................... ii
List of Figures................................................................................................................................ iv
Abstract........................................................................................................................................... v
Introduction..................................................................................................................................... 1
Chapter 1: Limits of Translations in Cross-cultural Communication............................................. 4
1.1 Schema Theory ..................................................................................................................... 4
1.2 Cross-Cultural Communication ............................................................................................ 5
1.3 Cultural Default .................................................................................................................... 7
Chapter 2: Tang Poetry: The Essence of Chinese Culture............................................................ 10
2.1 Development History .......................................................................................................... 10
2.2 Concept of Imagery with Examples.................................................................................... 11
2.3 Imagery Analysis with Figure-ground Theory ................................................................... 14
2.4 Emotional Analysis............................................................................................................. 17
Chapter 3: Inspiration ................................................................................................................... 20
3.1 Expressionistic Layout........................................................................................................ 20
3.2 Visual Translation............................................................................................................... 21
3.3 Visual Narrative .................................................................................................................. 22
3.4 Eastern-style Illustration ..................................................................................................... 23
Chapter 4: Design Methodology................................................................................................... 25
4.1 Identifying and Empathizing with the Target Audience..................................................... 25
4.2 Conceptualizing the Designs – Composition and Intent..................................................... 25
4.3 Implementing a Design Process for Consistency and Meaning.......................................... 26
Chapter 5: Visual Outcome........................................................................................................... 30
5.1 Visions in Verse Series Video Storyboard.......................................................................... 30
5.2 Motion Design .................................................................................................................... 37
Conclusion .................................................................................................................................... 38
Bibliography ................................................................................................................................. 40

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List of Figures
Figure 1: OCT2023 Overview of Social Media Use, by Datarportal. ............................................ 7
Figure 2: Jianggan Xueji Tu, by Wang Wei. ................................................................................ 17
Figure 3: French Fries, by Warren Lehrer, 1984. ......................................................................... 21
Figure 4: Bergen Art Book Fair 2019 – Final Stage, by Hezin O, 2019. ..................................... 22
Figure 5: Lagon inside page, by Anna Haifisch. .......................................................................... 23
Figure 6: Illustration for the Wall Street Journal Magazine, by Whooli Chen, 2016................... 24
Figure 7: Traité fragmentaire de la religion manichéenne............................................................ 27
Figure 8: Cover of 300 Tang Poems (Classical Chinese Poetry and Prose Series) (English
Version), Published by Wuzhou Communication Press, 2011..................................................... 28
Figure 9: ANLAN, XINGLAN, and KUISHANHUANG from Zhongguose. ............................. 28
Figure 10: Love Seeds Storyboard, Designed by Hansha Zhao, 2023. ........................................ 30
Figure 11: Thoughts on a Tranquil Night Storyboard, Designed by Hansha Zhao, 2023. ........... 31
Figure 12: Written on a Rainy Night to My Wife in the North Storyboard, Designed by Hansha
Zhao, 2023. .................................................................................................................................. 32
Figure 13: Mooring by Maple Bridge at Night Storyboard, Designed by Hansha Zhao, 2023.... 33
Figure 14: Spring View Storyboard, Designed by Hansha Zhao, 2023........................................ 34
Figure 15: Visiting an Old Friend’s Cottage Storyboard, Designed by Hansha Zhao, 2023. ...... 35
Figure 16: The Sad Zither Storyboard, Designed by Hansha Zhao, 2023. ................................... 35
Figure 17: At Parting Storyboard, Designed by Hansha Zhao, 2023. .......................................... 36
Figure 18: Gazing at Mount Tai Storyboard, Designed by Hansha Zhao, 2023. ......................... 37
Figure 19: Love Seeds_Motion Draft, Designed by Hansha Zhao, 2024. .................................... 37

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Abstract
Visions in Verse
Hansha Zhao
Tang poetry is considered an irreplaceable literary masterpiece in China, and in the era of
globalization, it has gained recognition internationally. However, its complicated and profound
artistic characteristics present considerable challenges for learners, especially those whose native
language is not Chinese. Using Tang poetry as a reference, this thesis explores the phenomenon
of cultural gap in cross-cultural communication and attempts to promote educating and
communication among multicultural audience through visual graphics.
This project presents a series of visual instructional videos on Tang poems, making use of
digital media to overcome language barriers and promote the poetic art. Based on the analysis of
how individuals engage in the dynamic process of reading, comprehending, and memorizing, this
thesis explores the positive influence of visual narrative on information transmission.
Keywords: cross-cultural communication, visual narrative, Tang poetry

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Introduction
At the age of 7, in my first-grade Chinese language class, I had my initial exposure to
Tang poetry. I learned “咏鹅” (“Chanting Goose”) by Luo Binwang. The opening line, “鹅, 鹅,
鹅” (“Goose, goose, goose”), which sounds similar to the honking of a goose in Chinese
pronunciation, making it deeply etched in my mind. I still remember that it takes an entire 45
minutes class to learn a single Tang poem since our knowledge of Chinese characters was poor
in primary school. The teacher would introduce the poet, explain the meaning of the poem,
analyze its style and expressed emotions. Finally, the teacher would read a line, and the students
would follow suit. As I progressed to higher grades, the teacher gradually removed the guided
reading section, focusing more on the poem analysis. I could progressively study two to three
poems in one class. From first grade to sixth grade, the course objects shifted from emotionally
reading aloud to being able to memorize and recite 300 Tang poems.
Moving on to middle school and high school, where I encountered more challenging
work such as “论语” (“The Analects of Confucius”) and classical Chinese prose, the pedagogy
continued. I began by comprehending the meaning of short phrases and unfamiliar words,
followed by learning the literary techniques and emotional expression, and eventually,
memorizing the content.
Tang poetry, as a compulsory course in Chinese elementary education, is regarded as the
foundation for cultivating literary appreciation abilities and aesthetic consciousness. In other
words, appreciating Tang poetry is an introductory course for every Chinese child studying
traditional literary works.
This thesis uses Tang poetry to explore the cultural gap in cross-cultural communication.
The theoretical research process can be divided into the following parts. First, reviewing the

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literature provides a deeper understanding of how the translation process frequently leads to
translation errors and cultural defaults. Emphasis is placed on analyzing the impacts of schema
theory, and globalization trends on cross-culture communication. Second, it explores the process
of perceiving meaning in text which focuses on imagery and emotional analysis within Tang
poetry. Last, the practice of the process of transforming text into visual narratives helps to
compare how individuals differ in their reception of information – both emotionally and
graphically.
In terms of methodology, the target audience is defined as non-native Chinese speakers
with an interest in Chinese poetry and culture. Two ancient poems were chosen for their
patterned forms such as five-character quatrains, seven-character quatrains, five-character
regulated verses, seven-character regulated verses, five-character ancient poems, and sevencharacter ancient poems. Including a total of 14 Tang poems created during the Early Tang, High
Tang, and Late Tang periods such as “静夜思” (“Thoughts on a Tranquil Night”), “相思”
(“Love Seeds”), and “望岳” (“Gazing at Mount Tai”). These poems employ a concise and
intuitive design strategy, creating a series of instructional aid videos. The accurate portrayal of
the poetic essence of Tang poetry is the main point of the overall design. By incorporating
elements, cultural symbols, and aesthetic perspectives, these videos visualize the imagery,
scenes, rhythms, and emotions of the poetry. Vividly rendering, they explicate the content,
structure, and theme, with a particular emphasis on the historical significance and cultural
importance. It addresses the several aspects: How can imagery be connected to the historical
characteristics and cultural significance of the Tang Dynasty? How can elements be organized to
achieve effective narratives, assisting the audience in comprehending, and discovering the in-

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depth meanings of poetry? In which way can meaning be conveyed to the audience’s perception
of the relevance of poetry within a short timeframe?
This project aims to improve the efficiency of learning Tang poetry, simplifying the
process typically involved in translating classical Chinese into Mandarin and then into English,
and providing a more straightforward visual solution. In conclusion, in the context of
globalization, visual narrative approaches play a vital role in aiding audiences to cognize and
appreciate diverse cultures, greatly contributing to cross-culture communication.

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Chapter 1: Limits of Translations in Cross-cultural Communication
To better meet the needs of audiences with diverse cultural backgrounds, this thesis
analyzes three fundamental concepts: schema theory, cross-cultural communication, and cultural
default.
1.1 Schema Theory
Schema theory is a cognitive psychology framework used to explain mental processes,
and its origins can be traced back to the German philosopher and psychologist Immanuel Kant.1
He argued that concepts only have substantive meaning when they are connected to an
individual's existing knowledge.2
"Beach," for instance, can easily be associated with related
terms like "blue ocean," "white clouds," "sandy shore," "vacation," and "surfing." As people
encounter the word “beach,” they combine a series of words and images to create a complete
mental imagination of what a “beach” entails.
The term "schema" was first used by the Swiss cognitive theorist and psychologist Jean
Piaget. He believed that schemas are elements within an organism's cognitive structure. With a
particular schema in place at a given time, an organism can interact with the physical
environment.3 He considered schema as the potential of humans. Every living organism’s
cognitive framework structure is slowly established through interactions with the objective
world, which can be achieved through environmental stimuli, conditioned reflexes, autonomous
learning, and other mechanisms.
1 Xiang Gao, “试论图式理论的心理机制,” Journal of Donghua University (Social Science) 6, no. 3
(September 2006): 11.
2
John A. Downing and Che Kan Leong, Psychology of Reading (New York: Macmillan, 1982), 214-215.
3 Xiang Gao, “试论图式理论的心理机制,” Journal of Donghua University (Social Science) 6, no. 3
(September 2006): 12.

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British psychologist Bartlett applied the concept of schemas to the study of memory and
knowledge structures, significantly advancing schema theory. He believed that to remember a
discourse, one must first have an impression of the entire story, and this impression is used to
reconstruct details, which is essentially the reconstruction of the schema of understanding. He
treated schema theory from a holistic viewpoint. He suggested memorizing from the whole, then
drawing the story’s structure from the overall impression, and subsequently extending to the
details. His process moved from large to small, from whole to the parts. This is like to the roots
coming first, followed by the branches, and lastly the leaves. Modern educational models are
impacted by Bartlett’s methodology. In Western, there is an art course called the “David Gypsum
Statue Sketch,” which requires practicing in steps: first developing the rough shape, then
determining the position of facial features, and finally detailing. In Chinese language exams, a
common question is often asked: “what emotions does the author convey in this article? Please
provide examples.”
In general, schema theory investigates how knowledge is represented and how these
representations, with their specific structures, facilitate the application of that knowledge.
1.2 Cross-Cultural Communication
Culture is learned social values, beliefs, and customs that some people accept and share
collectively. It includes all the broad knowledge, beliefs, art, morals, law, customs, and other
experiences and habits acquired by man as a member of a particular society. 4 Cross-cultural
communication is a main method to facilitate understanding and resonance, allowing diverse
cultures to thrive together. The development of globalization increased communication and
4 1. Stella Aririguzoh, “Communication Competencies, Culture and Sdgs: Effective Processes to CrossCultural Communication,” Humanities and Social Sciences Communications 9, no. 1 (March 23, 2022),
https://doi.org/10.1057/s41599-022-01109-4, 1-11.

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collaboration among people from different countries with diverse cultural backgrounds, making
cross-cultural communication a trend of times.
The process of cross-culture communication is fraught with challenges. When dealing
with multicultural audiences, it is critical to build a shared consensus on the same subject matter
and comprehend one another’s ideas. Only by implementing these measures can individuals be
able to integrate their existing cognitive frameworks to understand the intended message and
ultimately achieve the communication objectives successfully.
To promote effective cross-cultural communication, there is a need to upgrade the
communication channels, including digital media, print media, traditional media advertising,
interactive media, as well as other medium that present visual images, audio, video, and symbol
language. Figure 1 shows that there are 4.95 billion people around the world using social media
by October 2023, accounting for 61.4% of the total population. Among internet users, 93.5% are
engaged with social media, with adults occupying 80.8%. This illustration demonstrates that
social media has become a contemporary mainstream media, with a sizable user base. This
implies that, under the trends of globalization, social media is a crucial channel for cross-cultural
communication. Instagram, as a globally oriented social media platform, is an excellent example
of how digital media adapts to enhance cross-cultural communication. It targets to build a
community that transcends time and space to attract international audiences. Users from different
regions and countries can independently search, view, connect, and have conversations on this
open platform. In addition to Instagram, additional platforms such as Twitter, YouTube,
Duolingo, Zoom, and others have also undergone upgrade to provide convenience for online
cross-culture interactions, experiences, discussions, and education.

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Figure 1: OCT2023 Overview of Social Media Use, by Datarportal.
https://www.smartinsights.com/social-media-marketing/social-media-strategy/new-global-socialmedia-research/.
1.3 Cultural Default
In addition to digital media, text translation, as a widespread method for print media,
provides people with content in multiple languages. The publication of newspapers, magazines
and literary works significantly support cross-cultural communication. However, translators are
unavoidably from a certain culture, and different cultures emphasize different values. It means
that in the translation process, the lack of cultural aspects from the target language can easily
lead to the audience’s failure to grasp the intended meaning, resulting in misunderstandings and
reinforcing stereotypes. This is what is referred to as the “cultural default” phenomenon.
The translation issues arising from cultural differences can be reflected in English
translations of Chinese poems. Chinese poetry excels in using exaggeration and vague numbers
to enhance the emotional effect. In Li Bai’s poem, “飞流直下三千尺，疑是银河落九

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天。”(“Flying waters descending straight three thousand feet, Till I think the Milky Way has
tumbled from the ninth height of Heaven.”),
5
the meaning is that a waterfall on a cliff seems to
drop down for several thousand feet, making one wonder if it’s the Milky Way falling from the
skies. The phrase“三千尺”(“three thousand feet”) is not meant to give an accurate description of
the waterfall’s height. Instead, it is employed to emphasize the swift flow of the waterfall and the
majestic nature of the cliff which convey Li Bai’s wonder at the magnificent natural scene. Even
though the understanding of the poem's meaning is quite straightforward, directly translating the
number in this poem as “three thousand feet” provides only an objective depiction of the
waterfall’s height, thereby diminishing the original poem’s artistic impact.
The use of allusion is another form of expression in Chinese poems. “蓬山此去无多
路”(“To the three fairy hills it is not a long way”)6
is from the poet Li Shangyin’s poem “无
题”(“ To One Unnamed”), and it references a historical anecdote found in “Shu Ji ·Feng Shan
Shu.” “The three fairy hills” is a mythological name from ancient Chinese mythology, not a real
mountain. It is applied to represent a mysterious place. Similarly, the phrase “庄生晓梦迷蝴
蝶”(“Dim morning dream to be a butterfly”)7
in Li Shangyin’s “锦瑟”(“The Sad Zither”) refers
to the story of Zhuangzi’s dream of being a butterfly, a well-known narrative from the ancient
Chinese philosophical classic “Zhuangzi.” This allusion expresses the poet’s feeling that life is
like a dream. If a translator lacks knowledge of literary works and culture, it can be challenging
to grasp the meaning of such lines, thus leading to omissions in the translation. However, the use
5 Yuanchong Xu, 300 Tang Poems (Classical Chinese Poetry and Prose Series) (English Edition) (Beijing,
China: Wuzhou Communication Press, 2011).
6 Yuanchong Xu, 300 Tang Poems (Classical Chinese Poetry and Prose Series) (English Edition).
7 Yuanchong Xu, 300 Tang Poems (Classical Chinese Poetry and Prose Series).

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of allusions in Chinese literature is a unique cultural phenomenon with deep historical value and
distinct cultural and national features.8
It is necessary to reflect this in the translation.
Translating literature, especially poetry, from various culture is a difficult endeavor that
involves not only linguistic forms but also thoughts and emotions. Qian Zhongshu introduced the
concept of “化境” as the highest ideal in literary translation, aiming to transform a work from
one language into another without leaving any obvious traces of stiffness or awkwardness due to
differences in language customs, all while preserving the original flavor of the work. 9Achieving
this state of “化境” is still a goal that translators continue to pursue.
8 Shuling Wang, “试论文化差异引起的唐诗在英译中的缺失与遗漏现象,” Writer Magazine, 2012.
9 Yukun Gao, “论唐诗英译,” 国际关系学院学报, no. 4 (1994): 21–29.

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Chapter 2: Tang Poetry: The Essence of Chinese Culture
Research was conducted on an understanding of Tang poetry’s historical development,
imagery, and emotional analysis helps the reader better comprehend the literary significance of
Tang poetry.
2.1 Development History
Tang poetry refers to poems written during the Tang Dynasty, from AD 618 to 907.
Political, cultural, historical, and social factors affected its development.
In terms of politics, the early Tang Dynasty was relatively stable with fewer wars,
conflicts, and revolutions. Motivated by Confucianism, the government emphasized benign
governance and cared for the people’s well-being. Tang Dynasty officials were appointed based
on their grades in a rigorous examination system that was reformed during this period. In this
imperial examination, the selection government officials were made fairer by taking their
capacities and expertise into consideration. In addition, the government actively encouraged
intellectuals to participate in political issues, therefore making progress both in terms of culture
and education. Economically, the era encountered an effective agricultural sector, a rising
handicraft industry, and the expansion of manufacturing. The enormous land-based
transportation network and the extensive water-based transpiration system gave the smooth
transit of goods across the country, accelerating trade and commerce. This economic boom, that
sprang from several transportation hubs, drove the country into a time of fast economic growth
Such a prosperous and stable pattern for 200 years provided good conditions for more literati to
create at ease and indirectly promoted the formation and development of Tang poetry.10
10 Jianzhuang Li, “唐诗形成的历史动力因素,” 黄河，黄土，黄种人, accessed January 15, 2024,
https://www.zzqklm.com/w/sklw/29602.html.

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The development can be divided into three phases: Early Tang poetry, High Tang poetry
and Late Tang poetry. In the High Tang period, poetry reached its highest mountain. Poets who
emphasized reflecting their emotions related to everyday life, frequently poured their deep
concerns into their works. During this time, several poetry styles emerged, such as landscape and
pastoral poetry, lyric poetry, and historical poetry, enriching both the form and content of typical
Chinese poetry. As the Late Tang era went on, societal unrest and instability began to influence
poetry, resulting in a more dark and melancholy tone in works. “题兴化寺园亭” (“My Lord’s
Garden”) by Jia Dao is a representative work of this period. It satirizes the extravagant and
luxurious lifestyle of politicians who disregard the interests of the common people, expressing
grief and helplessness towards the struggling times.
In general, the creation of poetry in the Tang Dynasty was largely built upon the
foundations of the genres, forms, linguistic expressions, and musical rhythms found in the poetry
of the Six Dynasties period. From the perspective of composition and structure, it imparts a sense
of smooth and flowing elegance, rich in mellowness and emotional resonance. Tang poetry with
its distinct artistic characteristics, differs from previous styles of poetry that were either plain or
overnate, instead opting for a completely new approach characterized by brevity, precision,
shallow yet profound emotions, a harmonious fusion of form and content, and a vibrant sense of
vitality.
2.2 Concept of Imagery with Examples
In fact, imagery is an inherent concept of ancient Chinese literary and artistic theory.
11
The term “Imagery” refers to the concrete, specific components that make up the poetic
11 Xingpei Yuan, 中国诗歌艺术研究, 创世中文网 (Beijing, China: Peking University Press, 2009),
https://chuangshi.qq.com/read/592213/5.

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atmosphere, which are attached to words, phrases and objective objects infused with subjective
emotions.12 This literary method involves describing a particular object to evoke feelings.
Imagery can be categorized into five major types: natural, societal, human, human-made, and
fictional.13
Tang Dynasty poets prefer applying natural imagery. Li Bai, known as the “Poetry
Fairy”, who thrived during the early Tang and High Tang Dynasty, frequently employed natural
imagery in his works. In the poem “静夜思” (“Thoughts on a Tranquil Night”), for example, the
phrase “举头望明月” (“Looking up, I find the moon bright.”),
14 describes the scene of himself in
the late night, unable to fall asleep. He cannot help but think of his family back in the hometown,
expressing the deep homesickness by featuring the natural imagery of the “moon”. Another
poem “蜀道难” (“Hard is the Way to Shu”) :
又闻子规啼夜月，愁空山。
And hear home-going cuckoos weep,
Beneath the moon in mountains deep.
15
The phrase utilizes imagery of the “cuckoos” to emphasize the silent and vast mood of the
mountain and forest, while also setting the backdrop for a lonely and desolate atmosphere. “红豆
生南国” (“Red berries grow in southern land.”)16 is from the poem “相思” (“Love Seeds”) by
12 Xiaohui Liu, “大学古代文学(唐宋阶段 )诗歌作品探索和研究——唐宋诗作的文学特点及其成因剖
析,” University Education, November 2013, 71–72.
13 Xingpei Yuan, “唐诗风神,” Journal of Peking University (Philosophy and Social Sciences) 41, no. 5
(September 2004): 77.
14 Ibid, LI BAI.
15 Ibid, LI BAI.
16 Ibid, WANG WEI.

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another renowned poet Wang Wei. By describing the origin of the red berries, he subtly hints
that the southern land is also the place where his friend resides. This poem sets the stage for
conveying missing for his friend.
Apart from natural imagery, Tang poetry also contains human-made imagery. “登鹳雀
楼” (“On the Stork Tower”) by Wang Zhihuan:
白日依山尽，黄河入海流。
欲穷千里目，更上一层楼。
The sun along the mountain bows;
The Yellow River seawards flows.
You will enjoy a gander sight
If you climb to a greater height.17
The first two lines demonstrate what the poet sees when he is in the Stork Tower: the sunset,
continual mountains, and the Yellow River rushing towards the sea. The last two lines depict the
poet’s ambition. To further view, one needs to find a way to stand higher. Through the imagery
of the “tower”, Wang Zhihuan points out a positive attitude of continuous exploration hinting at
the favorable state of societal stability and its development during the High Tang era.
After long periods of cultural inheritance and poetic creation, the imagery in Tang poetry
gradually has symbolic meaning.18 Elements such as the moon and red berries are used to
express longing. Flowers, grass, insects, birds, and other creatures are metaphors applied to
represent the poet’s situation. Weather conditions like wind, rain and snow play a role in
capturing emotions. The richness of imagery serves to make abstract thoughts more tangible,
17 Ibid, WANG ZHIHUAN.
18 Xingpei Yuan, “唐诗风神,” Journal of Peking University (Philosophy and Social Sciences) 41, no. 5
(September 2004): 77.

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providing a vital vehicle for poets to express their subtle inner feelings. Furthermore, these
imageries are merged creating a poetic atmosphere that enhances the overall mood of the poem.
Particularly, the use of natural imagery prompts readers to engage in rich associations and
imagination, fostering empathy with the poet. In conclusion, imagery effectively makes the
intangible tangible, leading to emotions, and affording better comprehension of the poetry.
2.3 Imagery Analysis with Figure-ground Theory
Figure-ground theory is originated from psychology and was then introduced to cognitive
linguistics. It is a way used by Gestalt psychologist to study perception and describe the manner
of spatial organization. The basic principle of figure-ground theory is proximity. When people
take notice of something, that thing is automatically prominent in their perception and the
surrounding environment is regarded as background accordingly.19
From the perspective of figure-ground theory, the organizational patterns of poetic
imagery play a crucial role in capturing the mood and leaving room for the reader’s imagination.
“钱塘湖春行” (“On Lake QianTang in Spring ”) by Bai Juyi:
孤山寺北贾亭西，水面初平云脚低。
几处早莺争暖树，谁家新燕啄春泥。
乱花渐欲迷人眼，浅草才能没马蹄。
最爱湖东行不足，绿杨阴里白沙堤。
West of Pavilion Jia and north of lonely hill,
Water brims level with the bank and clouds hang low.
Disputing for sunny trees, early orioles trill;
Pecking vernal mud in, young swallows come and go.
A riot of blooms begins to dazzle the eye;
Amid short grass the horse hoofs can barely be seen.
I love best the east of the lake under the sky:
19 Li, Chen, and Wrenching Gao. “Interpretation of Image in Poetry from a Perspective of Figure-Ground
Theory.” Journal of Literature and Art Studies 12, no. 5 (May 2022): 427–33. https://doi.org/10.17265/2159-
5836/2022.05.003.

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The bank paved with white sand is shaded by willows green.20
The poet guides the reader’s view from the north of “lonely hill” to the west of “Pavilion Jia,”
and in the space between these two imagery, “Lake QianTang” is presented. The description sets
the scene of lake, depicting its location and the rising water, connecting it to the sky. The next
two lines switch the horizontal viewing angle to a top-down viewpoint by moving from an
upward perspective (“Disputing for sunnt trees, early oriols trill;”)21 to a downward view (“A riot
of blooms begins to dazzle the eye; Amid short grass the horse hoofs can barely be seen.)
22
.
While lake remains the backdrop, the description gets more specific, conveying the flourishing
beauty of early spring. The poem ends, “The bank paved with white sand is shaded by willows
green,”23 as the poet lingers on the white sand bank surrounded by willow trees, turning into one
with the scenery of the east of the lake. This poem, through its depiction of spring, leads the
reader to experience the natural beauty of QianTang Lake by starting with imagery and then
narrate every flower and grassland. Finally, at the white sand bank, it takes in the entire
landscape. The reader embarks on an imagined tour following Bai Juyi’s springtime journey. “钱
塘湖春行” (“On Lake QianTang in Spring ”) uses the technique of changing scenes as ones
moves, which means there’s no fixed observation point, resulting in scenery shifts according to
the poet’s movement or change in location.
20 Ibid, BAI JUYI.
21 Ibid, BAI JUYI.
22 Ibid, BAI JUYI.
23 Ibid, BAI JUYI.

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Another common technique is the use of whitespace. This method is similar to the artistic
approach in traditional Chinese painting, where whitespace is incorporated to draw attention to
the main elements and create a certain mood. Figure 2 is a landscape painting by Wang Wei. He
employs precise brushstrokes to portray the foreground figures, rocks, and hills, while
simplifying the outlines of the distant mountains and horizon, creating a sense of space by
whitespace. This method draws the viewer’s focus to the foreground, establishing a visual
hierarchy. The use of whitespace, along with the casual lines, imparts a harmonious unity to the
painting, conforming to his serene state of mind in his later years. The phrases “遥望洞庭山水
翠，白银盘里一青螺” (“Afar, the isle' mid clear water without a break Looks like a spiral shell
in a plate silver-white.”)24 from Liu Yuxi’s “望洞庭” (“Lake Donating Viewed from Afar”)
perfectly characterizes the scenery of Donating. Mountains are described as a delicate spiral
shell, and the water as a silver-white plate. He focuses on the overall view, leaving out details of
the mountains and water, in which way highlight the serene landscape under the moonlight.
24 Ibid, LIUYUXI.

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Figure 2: Jianggan Xueji Tu, by Wang Wei.
https://www.chinafetching.com/chinese-painting.
According to the figure-ground theory, typically, imagery represents the figure, and the
environment in which imagery is set serves as the ground. However, based on various creative
techniques, the role of figure and ground can interchange. Ultimately, it aims to enhance the
depth of the poem, pointing out the themes and emotions.
2.4 Emotional Analysis
Traditional poetry written before the Tang dynasty evolves over time. It expresses the
emotional changes witnessed during a journey. In other words, the writing process utilizes a
specific sequence. After describing the immediate scenery or experiences along the way, the
poets relate how these scenes touched their emotions. The poem moves from the objective
depiction of external objects to the subjective expression of feelings that are associated with the
poem’s setting. By the time of the Tang Dynasty, even more creative writing techniques were
employed, resulting in richer structural and lyrical patterns.

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“登鹳雀楼”(“Written on a Rainy Night to My Wife in the North”) by Li Shangyin:
君问归期未有期，巴山夜雨涨秋池。
何当共剪西窗烛？却话巴山夜雨时。
You ask me when I can return, but I don't know;
It rains in western hills and autumn pool o'erflow.
When can we trim by window side the candlelight
And talk about the western hills in rainy night?25
This poem reads like a conversation between the poet and his wife than a poetry. The wife asks
about Li Shangyin’s return, but he is now in the Daba Mountain and is unsure of when he is able
to be back. The poem conveys a strong longing for his wife, while the autumn rain intensifies the
sense of loneliness. The last two lines are the poet’s musings. He imagines that if he were to
return home, he would enjoy a warm and intimate night with his wife, sharing his feelings on this
rainy night. The current feeling of solitude and the anticipation of a joyful reunion are combined.
The word descriptions are straightforward, while the emotions portray true and delicate honesty.
Another example comes from Liu Zongyuan’s “江雪” (“Fishing in Snow”):
千山鸟飞绝，万径人踪灭。
孤舟蓑笠翁，独钓寒江雪。
From hill to hill no bird in flight;
From path to path no man in sight.
A lonely fisherman afloat
Is fishing snow in lonely boat.26
This landscape poem incorporates a highly distinctive artistic method. It starts with a vast and
distant viewpoint, using objects like “千山” (“From hill to hill”) and “万径”(“From path to
25 Ibid, LI SHANGYIN.
26 Ibid, LIU ZONGYUAN.

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path”), to create an atmosphere of desolation, tranquility, and emptiness within the environment.
The contrast between this enormous scenery and the tiny “孤舟” (“lonely boat”) and “蓑笠翁”
(“ A lonely fishman”) highlights the latter, which represents the poet himself: austere, solitary
and isolated from the world.
In addition, Tang poetry featured many varieties of innovative writing techniques. “登幽
州台歌” (“On the Tower at Youzhou”) by Chen Zi’ang directly expresses a melancholy tone
without describing the current surroundings. “咏柳” (“The Willow”) by He Zhizhang uses the
willow tree as a way to praise the wind, in directly celebrating one item while praising another.
“别董大” (“Farewell to a Lutist”) by Gao Shi is full of parting sorrow, yet it ends with the line,
“天下谁人不识君?” (“There is no connoisseur on earth but loves your song.”)27
Creative techniques broadened the ways in which poetry could communicate inner
emotions. Feeling of longing, the agony of parting, contemplation of life and death, criticism of
politics, and various other emotions found vivid expression in Tang poetry.
27 Ibid, GAOSHI.

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Chapter 3: Inspiration
This analysis of expressionistic typography, visual translation, visual narratives, Easternstyle illustration, and calligraphy examines how Tang poetry was visualized.
3.1 Expressionistic Layout
Expressionistic layout is an aesthetic form that explores symbolism and metaphor. It
departs from the traditional Bauhaus grid style by breaking the order and rules to create visually
impactful compositions. Distorted letters, bright colors, various textures, and handwritten
elements are key features.
Warren Lehrer, an American writer and artist, is a master specializing in visual books and
multimedia projects. In the work French Fries, he tells the story of what happened at the
DREAM QUEEN restaurant. Warren freely arranges symbols, graphics, images, and texts to
create lively narrative scenes. He carefully applies the spacing between elements, color contrasts,
overlays, and the placement of white space to convey diverse emotions, encompassing feelings
of warmth, tension, and fear (see Figure 3).

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Figure 3: French Fries, by Warren Lehrer, 1984.
https://warrenlehrer.com/french-fries-1984/.
3.2 Visual Translation
Visual translation is an artistic method that makes use of visual communication elements
rather than words to convey information. It is particularly valuable when the audience has a
variety of cultural backgrounds, as it makes meaning and intention of the artist, writer, or
designer more understandable and promotes cross-cultural communication.
Hezin O is an emerging designer from South Korea. In an interview with ‘It’s Nice That,’
she mentioned that translation is the core of her graphic design work. She believes that when
creating a visual language, designer should consider how to work with text, imagery, or a
combination of the two to convey information and create moods. Figure 4 is the poster she
designed for the Bergen Art Book Fair in 2019. This poster directly delivers its message about

Copyright 2024 22 Hansha Zhao
book fair without the need for professional interpretation. Books are represented by rectangles,
with dozens of rectangles placed to form the shape of a ladder, expressing books as the ladder of
human development. The background text shows details on the book fair’s time and location.
Hezin efficiently and clearly communicates the poster’s purpose—to publicize the book fair via a
poster made of simple geometric shapes.
Figure 4: Bergen Art Book Fair 2019 – Final Stage, by Hezin O, 2019.
https://ohezin.kr/BABF-Final-Stage.
3.3 Visual Narrative
Visual narrative is a form of storytelling in which visual elements are arranged and
combined to achieve narrative goals. This artistic convention helps artists tell stories and express
emotions.
Lagon is a publication that features the illustrations of contemporary French artists. It
focuses on exploring the possibilities of visual narratives that involve both linear and non-linear
approaches. Additionally, it attempts bold compositions utilizing printing techniques and
bookbinding methods that demonstrate a forward-thinking approach (See Figure 5).

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Figure 5: Lagon inside page, by Anna Haifisch.
https://revuelagon.com/plaine/#plaine.
3.4 Eastern-style Illustration
Eastern-style illustrations have unique characteristics that reflect Eastern aesthetic
principles and values. They have symbolic meanings, based on traditional literature, history, and
ancient legends. Smooth lines are frequently used to outline detailed contours. The arrangement
of elements emphasizes visual balance. Negative space is commonly employed to boost contrast
and create a sense of depth.
Whooli Chen is an illustrator based in Taiwan whose works employ in natural elements
such as landscapes, flowers, and plants, Chinese elements like kites, tea sets, and courtyards. Her
brushwork is delicate, and the lines flows smoothly. The overall color palette is low in saturation,
conveying a sense of subtlety and restraint. The colors are vibrant, but they are nicely
harmonized, resulting in a balanced composition (See Figure 6).

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Figure 6: Illustration for the Wall Street Journal Magazine, by Whooli Chen, 2016.
https://www.behance.net/gallery/35854059/editorial-illustrations-2016.

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Chapter 4: Design Methodology
4.1 Identifying and Empathizing with the Target Audience
The target group is non-native Chinese-speaking enthusiasts who have a strong interest in
Chinese traditional culture, especially Tang poetry.
As they try to comprehend Tang poetry, they encounter problems such as
misinterpretation of words and meanings and a bias in the understanding of emotions. Some of
them are attracted to oriental art forms such as calligraphy, ancient painting, or other forms of
art. They actively participate in pertinent exhibitions, seminars, and knowledge-sharing sessions.
They hold a deep appreciation for a wide range of cultural expressions and are eager to delve
into the historical and social contexts within Chinese poetry and art through their dedicated
studies.
To assist them in overcoming the challenges they face during the learning process,
something aim to provide visual solutions that cater to the audience’s appreciation for Tang
poetry, thereby fulfilling their desire to better understand and connect with these cultural forms.
4.2 Conceptualizing the Designs – Composition and Intent
The composition is using Tang poetry as the design object, creating a series of dynamic
visual poems through the combined application of dynamic graphics, animated typography, and
expressionistic layout to facilitate the effective learning and dissemination of Tang poetry in a
cross-cultural setting.
For a comprehensive study, the selected poems span three historical periods: the Early,
High and Late Tang Dynasty. They include representative works from multiple poets and cover
seven major forms: five-character quatrains, seven-character quatrains, five-character regulated
verse, seven-character regulated verse, five-character ancient poetry, seven-character ancient

Copyright 2024 26 Hansha Zhao
poetry and Yuefu. Furthermore, the poems vary in emotions. “静夜思” (“Thoughts on a Tranquil
Night”), drawing on the imagery of the moon, shows the longing for hometown. Both“相思”
(“Love Seeds”) and “夜雨寄北” (“Written on a Rainy Night to My Wife in the North”) express
the miss, but the objects of affection differ: the former is a friend, while the latter is the poet’s
wife. “枫桥夜泊” (“Mooring by Maple Bridge at Night”) and “春望” (“Spring View”) both
convey a sense of worry, yet the former is more about the poet’s sadness at living in turbulent
times without a stable residence, while the latter expresses resentment and sorrow toward the
continuous warfare. “送别” (“At Parting”) contrasts the two lifestyles of withdrawing into the
mountains and indulging in worldly affairs, while “望岳” (“Gazing on Mount Tai”) centers
around the poet’s lofty aspirations.
The series of 14 dynamic visual poetry videos aims to intuitively present the beauty and
depth of Tang poetry. To share China’s unique poetic art with global audience, historical stories
and cultural richness behind the verses are also narrated through contemporary visual
communication forms.
4.3 Implementing a Design Process for Consistency and Meaning
The poetry of the Tang Dynasty was shaped by a multitude of factors, including political,
economic, cultural and impact on society. It means that appreciating Tang poetry purely without
the perspective of other factors is restrictive. Therefore, Visions in Verse is dedicated to
incorporating elements of the Tang Dynasty, covering cultural characteristics and historical
significance.
The overall video draws inspiration from Tang Dynasty scrolls, utilizing a vertical
scrolling display format (see Figure 7). The graphics progress from right to left or from top to
bottom, making it possible for the audience to experience the reading habits of the Tang

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Dynasty. The visual composition refers to the traditional Chinese painting style. The use of
whitespace organizes the scenes, maintaining consistency with the rhythmic flow of the poetry.
To create an artistic atmosphere, the dynamic interpretation of each element follows the poem’s
emotional changes, relying on overlap, interplay, separation, and speed of movements.
Figure 7: Traité fragmentaire de la religion manichéenne.
https://en.wikipedia.org/wiki/File:Traité_fragmentaire_de_la_religion_manichéenne.jpg.
Information transmission is one of the primary purpose of Visions in Verse. Considering
that the audience consists of non-Chinese native speakers, the text in the video is presented in
English, a language with widespread reach. To maintain both accurate and poetic expression, the
text in Visions in Verse is sourced from the famous Chinese translator Xu Yuanchong’s “唐诗三
百首(汉英对照)” (“300 Tang Poems: An Annotated Edition with Commentaries (ChineseEnglish)”), published by China Translation Corporation in 2007 (See Figure 8). Cultural and
historical associations were avoided in the choice of fonts. Source Sans 3 VF was chosen as a
sans-serif font and Times New Roman as a serif font, taking into account the sense of series and
consistency of the video. The color is derived from the website “Zhongguose”, which refers to

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the color spectrum defined and published by the Nomenclature Room of the Scientific and
Technological Information Institute of the Chinese Academy of Sciences. Color palettes are
chosen based on the individual topic of each poem. Take “静夜思” (“Thoughts on Tranquil
Night”) as an example, the selected colors are ANLAN, XINGLAN, and KUISHANHUANG
(See Figure 9).
Figure 8: Cover of 300 Tang Poems (Classical Chinese Poetry and Prose Series) (English Version),
Published by Wuzhou Communication Press, 2011.
https://www.amazon.com/Poems-Classical-Chinese-Poetry-English-ebook/dp/B007TPGVVG.
Figure 9: ANLAN, XINGLAN, and KUISHANHUANG from Zhongguose.
https://drive.google.com/file/d/1xgbvTKRVyQjAR0Ff3X9bqMHedKCpdwsi/view?usp=share_link.
Social media, as a vital channel for information consumption and cross-cultural
communication, fits well with the needs of Visions in Verse, Therefore, the visual approach opts

Copyright 2024 29 Hansha Zhao
to share content via social media platforms, primarily Instagram. To ensure effective
dissemination, the visual strategy follows standardized guidelines: Each video section is limited
to 20 to 30 seconds in length, depending on the content of different poems. Dimension is chosen:
the Instagram rotation video size of 1080px*1080px.

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Chapter 5: Visual Outcome
5.1 Visions in Verse Series Video Storyboard
The red berry is the frequently used symbol throughout the entire poem “相思” (“Red
Seeds”), thus, the design strategy for this poem is simplifying the shape of the red berry into a
geometric circle. It is repeated in various arrangements to correspond with the text. To align with
the imagery, the color palette is picked from the red spectrum. The audience’s visual focus is
guided by a red circular element, which employs movements such as scrolling, dropping,
decreasing, enlarging, and morphing to present the verses and visuals.
Figure 10: Love Seeds Storyboard, Designed by Hansha Zhao, 2023.
https://drive.google.com/file/d/1I2wRWZ-E_-4Gu1NBZu0v9cZZ9uaW6rRu/view?usp=sharing.
“静夜思” (“Thoughts on a Tranquil Night”) applies a predominantly cool color palette to
set up a tranquil atmosphere. Some texts are enhanced with outer glow and shadows to simulate
the moonlight. Only a bright moon in the pitch-black night stands out, highlighting the poet’s
great longing for his distant hometown. The poet’s viewpoint shifts between looking up at the
moon and looking down at the moonlight on the ground. Therefore, the verses containing these

Copyright 2024 31 Hansha Zhao
two actions are spatially organized in the order of first looking up and then down, corresponding
the viewing sequence.
Figure 11: Thoughts on a Tranquil Night Storyboard, Designed by Hansha Zhao, 2023.
https://drive.google.com/file/d/1_38MDTHjg1SeXURQVQm_BWfly9Z2TMO_/view?usp=share_lin
k.
“夜雨寄北” (“Written on a Rainy Night to My Wife in the North”) was written on a rainy
night, and rain serves as the primary symbol representing the poet’s miss for his wife. To further
demonstrate this point, the text is reconstructed to be an irregular downward movement,
imitating a rainfall. Since this poem reflects the emotions naturally, without excessive
embellishment, the visual storyboard stresses simplicity and clarity.

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Figure 12: Written on a Rainy Night to My Wife in the North Storyboard, Designed by Hansha
Zhao, 2023.
https://drive.google.com/file/d/1FSNt2xX1douzYMwHmtSVJg4xuGo9yqsj/view?usp=share_link.
“枫桥夜泊” (“Mooring by Maple Bridge at Night”) displays the night scenery of deep
autumn in Jiangnan, with imagery including crows, the moon, with frost, the Wu Song River,
maple leaves, Cold Hill Temple, Suzhou city, and the sound of bells. Accordingly, the strategy of
this poem focuses on expressionistic layout. For instance, in the depiction of “江枫渔火对愁眠”
(“Dimly lit fishing boats’ neath maples sadly lie”), the transparency of certain text parts varies,
resembling the flickering lights on a fishing boat. To convey the spatial volume of “姑苏城”
(“the city wall”), the words “city” and “wall” are titled at a standing vertical angle, developing a
three-dimensional sense in the two-dimensional plane. The overall color tone is deep brown,
complemented by the yellow of the maple leaves, which correlates to the seasonal characteristics
portrayed in the poem.

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Figure 13: Mooring by Maple Bridge at Night Storyboard, Designed by Hansha Zhao, 2023.
https://drive.google.com/file/d/1tpP2lUQtg_0UjowTRdrUALRBJyPCkTQZ/view?usp=share_link.
“春望” (“Spring View”) expresses the lament and wrath of war. Despite the title
implying spring, there is no vitality of life’s resurgence in the current season. Instead, there is
only the continuous fire of war, the sorrow separation from family, and the heartbreaking fall of
the nation. A grayscale devoid of color, with dark red are chosen as the main tone. The
background incorporates scratches and fractured textures. Supported by this backdrop, the color
red no longer represents warmth and brightness but rather blood and tears, creating a gloomy
environment.

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Figure 14: Spring View Storyboard, Designed by Hansha Zhao, 2023.
https://drive.google.com/file/d/109RWThEW2PnWhLk3gF_bgh5BPsp9GnWu/view?usp=share_lin
k.
“过故人庄” (“Visiting an Old Friend’s Cottage”) conveys peaceful rural life and
appealing countryside scenery. The color palette is based on the “绿树” (“green trees”), “场圃”
(“field and ground”), “酒” (“wine”), and “菊花” (“chrysanthemums”) that mentioned in the
poem. The first half part is presented from an overhead perspective, with a combination of
vertical and horizontal layouts, allowing the word “trees” to fill the full frame, bringing attention
to the setup of the “场圃” (“field and ground”).

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Figure 15: Visiting an Old Friend’s Cottage Storyboard, Designed by Hansha Zhao, 2023.
https://drive.google.com/file/d/1b_VmOcDV_7taC2EK2zzHm_icQXv2vmnV/view?usp=share_link.
In the storyboard of “锦瑟” (“The Sad Zither”), the font employs the effects of
dissolution, dispersion and blurring to fit with the poet’s intention of portray the fleeting and
dream-like essence of life.
Figure 16: The Sad Zither Storyboard, Designed by Hansha Zhao, 2023.
https://drive.google.com/file/d/1K8tni60YIp6jWG5VdF1JP8uzCsYoZTXT/view?usp=share_link.

Copyright 2024 36 Hansha Zhao
The application of low-saturation colors acts as the foundation for showing the subdued
sentiments of “送别” (“At Parting”). In terms of layout, combining white space and contrast
approaches improves the overall effect.
Figure 17: At Parting Storyboard, Designed by Hansha Zhao, 2023.
https://drive.google.com/file/d/1Ch6MIJ11tETGstW0p7mhQ20TOGSKBK4y/view?usp=share_link.
“望岳” (“Gazing at Mount Tai”) expresses emotions through scenery which means the
main body of this poem is about natural landscape. As a strategic approach, this part is
emphasized to capture the essence of the imagery. To present the natural movement of the birds
flying into the mountains, an arc effect is applied to the word “birds”, with the repeating word
moving from the upper right to the lower left corner. In terms of color, drawing inspiration from
the phrase “one boundless green,” the primary color palette is centered around green.

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Figure 18: Gazing at Mount Tai Storyboard, Designed by Hansha Zhao, 2023.
https://drive.google.com/file/d/10qRdGdSGt7PytjP4-hnLGV5nkKoWSW3U/view?usp=share_link.
5.2 Motion Design
Figure 19: Love Seeds_Motion Draft, Designed by Hansha Zhao, 2024.
https://youtube.com/shorts/1e06B-9xpFw?feature=share.

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Conclusion
In conclusion, Tang poetry is an integral part of my cultural identity. It allows me to trace
back to a flourishing era thousands of years ago, gaining insights into nature and societal
dynamics. Learning Tang poetry establishes study methods and enriches our knowledge
framework, and it also helps to contribute in the preservation of traditional culture. By designing
the Visions in Verse, I am committed to sharing this outstanding cultural heritage and
encouraging cross-cultural contacts.
From a design perspective, Visions in Verse is a series of visual narrative videos about
Tang poetry. By employing expressionistic layouts and dynamic graphic design, it transcends the
boundaries of language and text communication, assisting audiences from diverse culture
backgrounds in gaining an in-depth understanding of Chinese poetry. Focusing on the culture
characteristics of the Early Tang, High Tang and Late Tang periods, the series goes into the
information of dynasty, poets, and allusions, methodically exploring the artistic value of Tang
poetry. The videos emphasize the accurate expression of poetic sentiments and the sensory of
artistic conception. Design strategies conform to principles associated with the poetic meaning,
highlighting rhythm and emotional fluctuations, creatively offering a new approach to learn Tang
poetry.
Digital media serves as the visual medium for graphic design, relying on the content and
values produced by design, becoming a mainstream channel for global information sharing in the
contemporary era. The cultural symbols and aesthetic forms presented by digital media have a
significant impact on audiences’ perceptions of multiculturalism. This phenomenon illustrates
the interaction between digital media, globalization trends, and graphic design, requiring designs
to increasingly consider the particular conditions of diverse audiences.

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Graphic design plays a powerful role in advancing cross-culture communication, it has
the potential to overcome the limitations of texts, rapidly and accurately conveying information
in a more intuitive and intelligible form, propagating the Chinese Tang poetic art worldwide.
Currently, I have selected 14 representative masterpieces of Tang poetry, focusing on the
expressive form of motion graphics. The next step is to expand the scope of the design objects,
exploring deeper into the interpretation of other outstanding Tang poems. In the future, the
project will produce a series of prints, including posters and guidebook. In addition, 3D
modeling technology will be integrated to construct three-dimensional poetic scenes, creating a
more diverse visual experience. Simultaneously, collaborations will be strengthened with digital
media platforms to produce richer promotional materials, providing people with more channels
to see, learn, and appreciate Tang poetry.

Copyright 2024 40 Hansha Zhao
Bibliography
Downing, John A., and Che Kan Leong. Psychology of reading. New York: Macmillan, 1982.
Gao, Xiang. “试论图式理论的心理机制.” Journal of Donghua University (Social Science) 6, no. 3
(September 2006): 11–14.
Aririguzoh, Stella. “Communication Competencies, Culture and Sdgs: Effective Processes to CrossCultural Communication.” Humanities and Social Sciences Communications 9, no. 1 (March 23,
2022). https://doi.org/10.1057/s41599-022-01109-4.
Wang, Shuling. “试论文化差异引起的唐诗在英译中的缺失与遗漏现象.” Writer Magazine no. 2,
2012.
Gao, Yukun. “论唐诗英译.” 国际关系学院学报, no. 4 (1994): 21–29.
Liu, Xiaohui. “大学古代文学(唐宋阶段 )诗歌作品探索和研究——唐宋诗作的文学特点及其成因剖
析.” University Education, November 2013, 71–72.
Yuan, Xingpei. “唐诗风神.” Journal of Peking University (Philosophy and Social Sciences) 41, no. 5
(September 2004): 74–81.
Li, Chen, and Wen-cheng Gao. “Interpretation of Image in Poetry from a Perspective of Figure-Ground
Theory.” Journal of Literature and Art Studies 12, no. 5 (May 2022): 427–33.
https://doi.org/10.17265/2159-5836/2022.05.003.
Yuan, Xingpei. 中国诗歌艺术研究. 创世中文网. Beijing, China: Peking University Press, 2009.
https://chuangshi.qq.com/read/592213/5.
Li, Jianzhuang. “唐诗形成的历史动力因素.” 黄河，黄土，黄种人. Accessed January 15, 2024.
https://www.zzqklm.com/w/sklw/29602.html.
Xu, Yuanchong. 300 Tang Poems (Classical Chinese Poetry and Prose Series)(English Edition). Weread.
Beijing, China: Wuzhou Communication Press, 2011.
https://weread.qq.com/web/bookDetail/69032140716c4dac690ef1f.

Abstract (if available)

Abstract Tang poetry is considered an irreplaceable literary masterpiece in China, and in the era of globalization, it has gained recognition internationally. However, its complicated and profound artistic characteristics present considerable challenges for learners, especially those whose native language is not Chinese. Using Tang poetry as a reference, this thesis explores the phenomenon of cultural gap in cross-cultural communication and attempts to promote educating and communication among multicultural audience through visual graphics.

This project presents a series of visual instructional videos on Tang poems, making use of digital media to overcome language barriers and promote the poetic art. Based on the analysis of how individuals engage in the dynamic process of reading, comprehending, and memorizing, this thesis explores the positive influence of visual narrative on information transmission.

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Asset Metadata

Creator Zhao, Hansha (author)

Core Title Visions in verse: dialogues across cultural realms

School Roski School of Art and Design

Degree Master of Fine Arts

Degree Program Design

Degree Conferral Date 2024-05

Publication Date 03/07/2024

Defense Date 03/06/2024

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag cross-cultural communication,OAI-PMH Harvest,Tang poetry,visual narrative

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Wojciak, Ewa (committee chair), Burruss, Laurie (committee member), Robbins, Peter (committee member)

Creator Email 1043257697zhs@gmail.com,hanshazh@usc.edu

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