Shu Ting’s poems attach importance to the expression of personal feelings and show concern for individual value. Although this was not in line with the mainstream ideology of the times, Shu Ting’s poetry did not carry out direct confrontation and rebellion, but radiated the external world through the observation of inner feelings. In this creative process, the poet uses rich images and makes these images multi-directional through metaphor. Based on this, interpreting the images in Shu Ting’s poetry from the perspective of conceptual metaphor can help readers go deep into the text and have a deeper understanding of the internal meaning of Shu Ting’s poetry. From the perspective of conceptual metaphor theory, this paper makes a cognitive interpretation of the flower image in Shu Ting’s poetry from three aspects: flower is human, flower is spirit and flower is life experience. While supplementing previous studies, it provides a new perspective for the in-depth interpretation of the flower image in Shu Ting’s poetry. In Shu Ting’s poetry, a plump flower image is constructed through conceptual metaphor, the cognitive domain of flower image is expanded, the internal tension of flower image is enhanced, and it presents people’s inner demands in the context of the new era on the basis of classical significance, which has modern significance. By analyzing the conceptual metaphor of flower images in Shu Ting’s poetry, we can deeply understand the multiple aesthetic connotation of Shu Ting‘s poetry.

The purpose of the study was to the Cognitive Interpretation of “the “White” System Words in Shuo Wen Jie Zi” Terms. The results revealed Based on Conceptual Blending Theory, the paper concluded: “the “White” System Words in Shuo Wen Jie Zi” Terms, is looking for more this word, and then by metaphor, metonymy activate the synthesis of new cognitive meaning empty, meaning the formation of a new color. Such a series of “hidden word refers specifically to look for” a lot of the later “refers to identifying the dominant word” generation preparations were made on semantics (a) Colors and nominal objects usually have a fusion form in ancient times and a batch of phraseologies take place in mediaeval times consisting of color terms plus original word with color acceptation having spillage over the original word due to the latter’s wearing away and expansion for accurate expression or because of word shapes, rhetoric and perceptions. The study findings may serve as a guide for further research on Chinese color terms system and culture of Chinese.