Answer: The Four Empty Pictures is a summary of the theory of poetic artistic conception in the Tang Dynasty, which is mainly manifested in the following three aspects: First, on the basis of Wang Changling's "thinking about the scenery", Jiao Ran's "taking the strangeness out of the image" and Liu Yuxi's "the scenery out of the image", the theory of "the image outside the image, the scenery outside the scene" is put forward, which holds that the poetic image is both virtual and real, and can be described outside the tangible and concrete scenery. Secondly, on the basis of predecessors' comments on poetry by "taste", this paper puts forward that "taste" is an important criterion of poetry, and that "poetry can be distinguished by taste", and puts forward the theories of "meaning beyond rhyme" and "meaning beyond taste" It is believed that "near but not floating, far and inexhaustible, and then it can be expressed beyond rhyme", which requires that the image of poetry is vivid and vivid, such as before the eyes and ears, but not vague, but at the same time implicit and profound, with endless meaning. In fact, the above two points are mutually causal. The former requires the image of the object, while the latter requires the aesthetic subject. The third is Si Kongtu's Twenty-four Poems, which is a poetic realm of twenty-four different artistic styles. They have the same characteristics in ideological content and artistic expression. Both of them embody the spiritual realm and ideal personality of Laozi and Zhuangzi with the poetic artistic conception of "the image outside the image and the scene outside the scene". In other words, these twenty-four poetic scenes are the organic unity of "the image outside the image" and "the reason outside the rhyme" respectively, which is the concrete embodiment of Si Kongtu's artistic conception theory.
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