诗与画是人类情感表达的两种方式,它们既是独立的艺术形式,同时又是可以相生的。图像的创作常常以诗歌为题材,因此绘画中的形象与叙事与诗歌中所创作的形象和叙事之间就会形成为一种互生的关系。作为以“存形”为主的绘画,会通过线条、色彩、笔墨等来展现诗歌的内容,使抽象的语言形象化、直观化、感性化,增加了读者的兴趣,有利于诗歌的广泛流传。诗歌创作的流传和接受有多种形式,诗歌图像化传播是其中重要的形式之一。但是面对众多的诗歌,画家是如何选择和转译,直接影响着诗歌的传播程度,反射出其背后的审美文化及价值观。文章以白居易的长篇叙事诗《长恨歌》与《琵琶行》为例,探讨视觉图像对诗歌传播与接受的途径及其文化意义。 Poetry and painting are two ways of expression of human emotions. They are both independent artistic forms and can be mutually compatible at the same time. The creation of images often takes the theme of poetry, so the image in the painting forms an inter-relationship with the narrative and narrative created in the poetry. As a painting based on “form ”, the contents of poetry are expressed through lines, colors, ink and brush, etc. to visualize, visualize and sensitize the abstract language, which increases the interest of readers and is conducive to the development of poetry Wide spread. There are many forms of the spread and acceptance of poetry creation. The poetry image transmission is one of the important forms. However, in the face of numerous poems, how artists choose and translate them directly influences the spread of poetry and reflects the aesthetic culture and values ​​behind it. This article takes Bai Juyi’s long narrative poem “Everlasting Sorrow” and “Pipa” as an example to discuss the way of visual images transmitting and accepting poetry and its cultural significance.