What is the flower language of the other shore flower
In the mysterious picture of oriental culture, the other shore flowers always bloom in a unique attitude. What contradictory cultural codes does this Lycoridaceae plant, whose flowers and leaves never meet each other? Let us explore the cultural metaphor that spans life and death through the different colors of flower language on the other side. The binary opposition of the cultural symbols of the Bi 'anhua The dialectics of life and death in the traditional context of China, the Bi' anhua carries bipolar interpretations. The early "Qunfangpu" recorded its alias as "Red Arrow", symbolizing the auspicious sign of eliminating evil spirits. The scene of a lady holding a lily in the Tang Dynasty murals confirms its role as a carrier of pure beauty. However, in the modern context, its nickname "Hellflower" is more widely known. This cognitive change is closely related to the evolution of funeral culture during the Ming and Qing Dynasties. The spatio-temporal metaphorical botanical characteristics of staggered flowers and leaves strengthen the cultural symbol-the characteristic of the flower stems sprouting only after the leaves of the other side withered, and evolved into a visual symbol of "forever farewell" in the Ukiyo-e of the Edo period. The proverb "Ye Jian Na, Hua Jian Na" recorded in Japan's "Zhencao Zi" has become a classic image in the aesthetics of object mourning. This biological feature is consistent with the Buddhist theory of "cause and effect reincarnation", making it an important sacrificial flower for the Oolanbon Festival. The emotional projection of the white mandala is milky white and the flower language is even more poignant and beautiful. "Fa Hua Jing" records that the mandala flower "blooms on the edge of pure land." This religious image has derived a modern interpretation of "a letter from heaven." Jiangsu and Zhejiang still retains the folk custom of wearing white lily flowers during the white dew season. The alkaloids secreted by the flower stems have analgesic effects and are in line with the material basis of "soothing lovesickness."
In contemporary film and television creation, white lotus flowers often appear as tragic love symbols. Wong Kar-wai's film "In the Mood for Love" uses it to metaphor love in dislocated time and space. This artistic expression has given new life to traditional flower language.
From tomb decoration to modern gardening, the other shore flower has always wandered between auspicious signs and taboos. When we understand the dualism of its cultural symbols, we can understand the deep code of the cycle of life and death in Eastern philosophy. This contradictory beauty is the source of charm of the other shore flower through thousands of years.