Chinese poetry and Chinese painting are important forms of expression of traditional Chinese culture. Although they belong to the two artistic categories of language and modeling, and have their own aesthetic characteristics, they are closely linked.
Chinese poetry and Chinese painting are consistent in their cultural foundation, realm pursuit, and expression of affection and intention. Because of this, in the process of the evolution of Chinese culture, poetry and painting have become two important means for Chinese literati to express their feelings, which is why there are classic expressions of the relationship between poetry and painting, such as "poetry is an invisible painting, painting is a tangible poem", "there is a painting in poetry, there is poetry in a painting".
Shen Zhou's "Distant View of the Cane Quinoa"
Turning to the dictionary of Chinese celebrities, there are not a few poets and painters, and everyone who is good at poetry and painting also occupies a large proportion. During the Tang and Song dynasties, which were deeply influenced by Zen buddhism, there were literati and celebrities of the Tang Dynasty, such as Wang Wei and Jiaoran, the Five Dynasties Guanxiu and Juran, the Northern Song Dynasty Huichong, Su Shi, and the Southern Song Dynasty Fachang, who were both poets and painters. Their poems and paintings fully embody the essence of traditional Chinese culture.
Today, when we read and chant Chinese poetry, appreciate and create traditional Chinese paintings, we must also have a deep understanding of the essence of traditional Chinese culture, otherwise we may fall into the situation of "only seeing the trees and not seeing the forest".
The excellent traditional Chinese culture is the common foundation of Chinese poetry and Chinese painting. Chinese poetry and Chinese painting itself are also the concentrated embodiment of the essence of traditional Chinese culture, which is deeply nourished by traditional Chinese culture and has a high degree of cultural identity. From the literati and painters to the study of traditional Chinese culture, taking the shape of poetry and painting alone, although it is extremely hard, it is often only on the surface, it is difficult to take the truth. In the same way, if the viewer does not understand and grasp the traditional Chinese culture, it will be difficult to appreciate its rich connotations and wonders in front of the excellent Chinese poetry and Chinese pictures.
Realm is the pursuit advocated by Chinese poetry and Chinese painting. With the evolution of Zen thought, the pursuit of realm by traditional Chinese literati has reached a higher level. Zen Buddhism's understanding of "emptiness" and "epiphany" has also profoundly shaped the understanding and creation of Chinese literati in literature and art. The high development of Chinese poetry and Chinese painting during the Tang and Song dynasties has a great relationship with this.
Wen Zhengming's "Spring Mountain Smoke Tree Map"
One of the important manifestations of Zen Buddhism's influence on the aesthetics of classical Chinese literature and art is to make the aesthetic experience and aesthetic pursuit of Chinese literati perfect. The representative figures first promoted the Tang Dynasty poet and painter Wang Wei. Wang Wei's poems and paintings fully embody the pursuit of the realm of "emptiness, distance, stillness and silence". Wang Wei sees through "nothing" in "being", and enters the poetry and painting realm with the Zen realm. Su Shi commented on Wang Wei: "There are paintings in the poems of Wei Ma jie; there are poems in the paintings of the observation of the paintings", which shows that Wang Wei's poetry and painting are unified. Although Wang Wei's poems and paintings often recede the depiction or depiction of characters, he let the landscape in his pen breathe, stripped away its independent spirit, and created a realm of "emptiness, distance, stillness, and silence".
Poetry and painting are important means used by Chinese literati to express their inner feelings. The Northern Song Dynasty literati painter group especially embodied this feature. Their poems and paintings "main feelings" break through the characteristics of Chinese poetry and Chinese painting before the Tang Dynasty, which are mainly narrative and reproduction. The Tang Dynasty painter Wu Daozi, although his paintings were also lyrical, he was able to use lines skillfully to express feelings. But his "lyricism" in the painting is still basically secondary, serving the narrative.
Until the rise of Zen Buddhism, unique Chinese literati painting began to emerge, and the "lyricism" of Chinese painting gradually changed into "main sentiment". They take shape and shape on the picture. When Su Dongpo expounded the principles of painting in the form of poetry, he wrote: "On painting in the form of similarities, see neighbors with children. Poetry must be this poem, and it must be known that it is not a poet. When he was also titled "Wu Daozi Wang Wei Painting", he said: "Although Wu Sheng is wonderful, he is like a painting engineering theory." Mahabharata is like a fairy cage. "Looking back, we re-read Su Dongpo's poems and appreciate Su Dongpo's paintings, just as he advocates and pursues the realm. Every word, every stroke of ink is all about emotion, and "shape" is obviously not the purpose he cares about.
Of course, Chinese poetry and Chinese painting's pursuit of realm have an important connection with the Taoist proposition of "the unity of heaven and man" and "the forgetting of things and me", and the aesthetic pursuit of Confucian poetics of "words are exhausted and meanings are infinite".
In the view of traditional Confucian poetics, whether it is poetry or painting, creators often pay attention to arousing people's thinking through the means of "Bixing", and the pen is not intentional, or the pen is here and the other. Liu Xun, a literary theorist during the Southern and Northern Dynasties of China, wrote in "Wenxin Carved Dragon Bixing": "Xing, Qiye", and the Southern Song Dynasty theorist and thinker Zhu Xi further said in the "Zhuzi Language Class": "Xing, Qiye, quote to start my intention." ”
Song Huizong Zhao Tuo 《Furong Jinji Tu》
"Borrowing objects to express nostalgia" and "entrusting things to speak zhi" are common expression techniques of Chinese poetry and Chinese painting. Because of their concern for nature, chinese literati advocate the purity of heaven and earth, and then the desolate and cold realm, which also occupies an important seat in the history of Chinese literature and art. Poets and painters have taken it into poetry and painting. The Chinese characters "Qing, Empty, Silent, Cold, Quiet, Quiet, Absolute, Extinction, Du, Idle, Go, Water, Night, Moon" and so on have become words that appear more frequently in ancient Chinese poetry; similar to the same work, "deep mountains, clouds, ancient temples, jackdaws, dead branches, dark forests, lone grass, moss" has also become a scene often painted by the painter, and Ouyang of the Northern Song Dynasty said when discussing painting: "Depression is indifferent, this is difficult to paint." The painter gets it, but the viewer does not necessarily know it. Therefore, the flight away is slow, the shallow things are easy to see, and the leisure and strict fun, the simple and distant heart is difficult to form. Those who are pinned on the millimeter, who are not highly intelligent, cannot get the magic. ”
It can be seen that Chinese poetry and Chinese painting are an organic whole, reflecting each other and generating each other. The modern scholar Qian Zhongshu said, "Poetry and painting are known as sister arts. It has been further argued that they are not only sisters, but twin sisters". It is the late literati who read and write in the ink, or the painter who writes and writes poems in his spare time, all of which are a natural outpouring of his emotional intentions, and are also the inevitable after his cultural cultivation. Creators and appreciators of Chinese poetry and Chinese painting need to integrate traditional philosophy, poetry and painting in order to achieve double results in the appreciation and creation of literature and art.
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