苏轼“赤壁”二赋一词使“赤壁”在“历史的赤壁”之外，衍生出“苏轼的赤壁”这一新的属性。这一属性确立的过程，亦是“东坡游赤壁”主题形成和经典化的过程。“赤壁”词赋的文学艺术价值和思想精神境界，苏轼及其团体的号召力和影响力，文人群体的接受与内化，对二者的形成和发展具有不同的作用。

文徵明乃是目前已知表现“东坡游赤壁”主题书画最多的艺术家，其创作集中于致仕之后的晚年时期，显示出其在失意之后的理想转向。文徵明对“东坡游赤壁”图的创作，以原型文本和前代画作为基础，融入个人的情感、志趣与思想，将之重构为更符合自我和同时代文人所需的形态，并在构图或图式上为后世树立了新的典范。文徵明以及吴门书画派的创作和商业化运作，既推动了这一主题在文人书画领域的发展，也促使其更加明显地表现出世俗化和多元化的特征。

“东坡游赤壁”主题的各种文本存在着地位高下之分。文字文本高于图像文本，书法高于绘画。而苏轼“赤壁”二赋一词作为被阐释、解读和表现的原型文本，无疑地位最高。这种现象体现了中国传统的“重文轻图”观念。

最晚自元代开始，在以戏曲为主导的改编和传播之下，“佛印”被引入“东坡游赤壁”故事，推动了这一故事的发展演变及其主题的雅俗分化。晚明时期，以佛印为“客”的“东坡游赤壁”图逐渐兴起。文人画对改编故事图像的接受，说明“东坡游赤壁”图在雅俗分化的同时，又在一定程度上实现了新的雅俗合流。在这一过程中，可以发现禅宗思想文化对文学和艺术产生影响的不同面向。

17世纪的法国画家雅克·林纳德对“东坡游赤壁”纹青花瓷碗的再三表现，使之成为其所绘“五感”或“虚空”画中的象征符号。这三只青花瓷碗在功能、纹饰和寓意上的错位和变异，使“东坡游赤壁”图以纯粹的“图像”身份独立呈现。这三幅画也展现出更加明显的“元图像”或“元绘画”特征。

宋高宗开启了帝王接受“东坡游赤壁”图的历史，清高宗乃是表现最为突出的帝王。因为宋高宗和清高宗所处的历史背景和政治环境有所区别，二者的成长经历、性格和审美取向也存在着差异，所以其接受也呈现出不同的特点。宋高宗乃是帝王模式和文人模式的结合，而清高宗则基本属于帝王模式。

In addition to the attribute of "historical Chibi", Su Shi's "Chibi" fu and ci make "Chibi" derive a new attribute of "Su Shi's Chibi". The process of the establishment of this attribute is also the process of the formation and classicization of the theme of "Dongpo's Tour of Chibi". The artistic value and ideological realm of Su Shi's "Chibi" fu and ci, the appeal and influence of Su Shi and his group, and the acceptance and internalization of literati groups have different effects on their formation and development.

Wen Zhengming is currently known as the artist who has created the most paintings and calligraphy on the theme of "Dongpo's Tour of Chibi". His works are mainly created in his later years after his resignation, showing his ideal turn after his disappointment. Wen Zhengming's painting "Dongpo's Tour of Chibi" is based on the prototype text and previous paintings, incorporating personal emotions, interests and thoughts, and reconstructing it into a form that is more in line with the needs of himself and his contemporaries, and set a new model for future generations in terms of composition or schema. The creation and commercial operation of Wen Zhengming and the Wu School not only promoted the development of this theme in the field of literati painting and calligraphy, but also made it more obvious to show the characteristics of secularization and diversification.

Different texts of the theme of "Dongpo's Tour of Chibi" have different status. The status of words is higher than that of images, and the status of calligraphy is higher than that of painting. Su Shi's "Chibi" fu and ci, as the prototype text to be interpreted and expressed, undoubtedly have the highest status. This phenomenon reflects the traditional Chinese concept of that words are more important than images.

Since the Yuan Dynasty at the latest, under the adaptation and dissemination led by opera, "Fo Yin" was introduced into the story of "Dongpo's Tour of Chibi", which promoted the evolution of the story and the differentiation of refined and popular of the theme. In the late Ming Dynasty, the image of "Dongpo's Tour of Chibi" with the character element of "Fo Yin" gradually emerged. The acceptance of such images in literati paintings shows that the painting of "Dongpo's Tour of Chibi" has achieved the new convergence of refined and popular to a certain extent while experiencing the differentiation of refined and popular. In this process, different aspects of Zen's influence on literature and art can be discovered.

The 17th-century French painter Jacques Linard repeatedly depicted the blue-and-white porcelain bowl with the pattern of "Dongpo's Tour of Chibi", making it a symbol in his "Five Senses" or "Vanitas" paintings. The dislocation and variation in function, ornamentation and meaning of these three blue-and-white porcelain bowls make the image of "Dongpo's Tour of Chibi" presented independently as a pure "image". These three paintings also exhibit more pronounced "meta-picture" or "meta-painting" characteristics.

Song Gaozong started the history of emperors accepting the image of "Dongpo's Tour of Chibi". In this history, Qing Gaozong's performance was the most prominent. Song Gaozong and Qing Gaozong lived in different historical backgrounds and political environments, and their growth experiences, personalities and aesthetic orientations are also different,so their acceptance also showed different characteristics. Song Gaozong's acceptance was a combination of the imperial model and the literati model, while Qing Gaozong's acceptance basically belonged to the imperial model.