Since poetry and painting are both art, they must have certain common characteristics; there must also be a wide connection between the two different disciplines of art, which is a problem that we must explore in depth while studying the differences in poetry and painting art.
The ancients recognized the commonality of the art of poetry and painting very early on. The Latin poet Horace said, "As it is with painting, so is poetry." The Chinese Song Dynasty poet Su Shi said: "Poetry and painting are the same. Kong Wuzhong also said: "The invisible painting of the writer, the tangible text, the two are different and the same." (Zongbo Collection, vol. 1, "Dongpo Resident Painting Strange Stone Endowment") Yang Weizhen of the Yuan Dynasty said: "The voice of the poet, the heart of the painter, the two are the same body." "Therefore, those who can poets must know how to paint, and those who can paint know more about poetry, and there is no difference between them." ("Dongwei Subset", vol. 11, "Silent Poetic Prelude") Ming Dynasty Wen Zhengming", "The Yellow Mao Xiaojing Painted by the Second Rhyme Inscription Zi Wei": "Zhijun painting is not a painting, and the poetry is clear but silent. Ancient sayings are that poetry and painting have no one to each other, and oral transmission should also refer to the heart. "People of insight in ancient and modern China and abroad have long reached a consensus on the commonality of poetry and painting.
In what places do poetry and painting show their commonalities?
First, both poetry and painting are "art of imitation." Danner says in The Philosophy of Art:
In the five major arts of poetry, sculpture, painting, architecture, and music, the latter two interpretations are more difficult and will be discussed later. Now look at the first three, and you all see that all three have one thing in common, which is that they are more or less "imitative" art.
The so-called three words of "imitation" actually mean that they are all art that reproduces objective objects. Both poetry and painting should take the objects of nature and the people in social life as their own objects of expression, and be vividly and concretely depicted, reflecting the beauty contained in life. The American poet Howard Nemolov, On Poetry and Painting and a Little Reflection on Music, said: "The painter creates the image, and the poet creates the image." (Ma Yongbo's translation of "Poets and Painters") Song Sushi said: "The painters of ancient times are not laymen, and the imitations are slightly the same as the poets. Shao Yong also said: "The paintbrush is good at things, and it is longer than Yun Danqing." Dan Qing is ingenious, and everything is invisible. "The poetry pen is good, and it is longer than Yun Dancheng." Dan Cheng into the show sentence, all things have no escape. (Poetry and Painting Yin) Cai Yun's "Western Qing Poetry" (Ming Codex) volume: "Cover the painting hand can shape, and the poet can speak." Sun Chengze's "Gengzi Pinxia Record" Volume II: "The bamboo branch of the cliff on the eastern slope hangs down, the pen is full of ink, and the ups and downs are flying, such as his poems, such as his text, although he sent out Huzhou, but the shen yun was too bold." "The theories of poetry and painting in China and the West have the same insights.
Shen Zhou's "Distant View of the Cane Quinoa"
Secondly, poetry and painting should also take the rich and peculiar artistic imagination as the vitality of their own creation. The German poet Goethe said: "Painting is to put the image in front of the eyes, while poetry puts the image before the imagination." Painting, like poetry, places the image before the imagination, but the painter places the imagination first in the image and then in front of the eyes of the people.
The Tang Dynasty poet Su Yong (苏颋) "Hu Congdu Du Jian Feng Presented to the Punishment Department Shangshu Uncle Cui Huang men Ma Chang Shi": "Yunshan is beautiful at a glance, and the bamboo tree Xiao Xiao cannot be painted." Song Dynasty poet Xin Abandoned Disease "Good Things Near the West Lake": "Although the mountain color is picturesque, it is difficult to paint when you want to paint." "These two poets use poetic images to illustrate the truth that without artistic imagination, it is impossible for a painter to depict the beauty of nature." Although the "Cloud Mountain", "Bamboo Tree", and "West Lake Mountain Color" are very beautiful, it is not easy to depict them, because natural beauty is not the beauty of painting, and the image of painting art is by no means a reproduction of the objects in the natural world and the characters in social life.
The preciousness of painting artwork is to inject the painter's fiery feelings and rich imagination into the painting. Gu Kaizhi of the Eastern Jin Dynasty pointed out that "the idea of moving the imagination is wonderful" ("On Painting"), and Su Shi also said: "The ancient painters are not laymen, and the wonderful ideas are really the same as poetry." ("The Song of The Second Rhyme Wu Chuanzheng Dead Wood") The concise and concise painting theory and the concise and simple inscription poems tell the profound truth that poetry and painting also need artistic imagination.
Wallace Stevens of the United States, The Relationship between Poetry and Painting (see Ma Yongbo's translation of The Poet and the Painter) says:
"He does not rely on inspiration, but on imagination or the mysterious cause inspired by imagination." In short, these two arts, poetry and painting, both share an element of labor, which is not only a labor, but also a consummation. This kind of labor is artistic imagination.
Wen Zhengming's "Spring Mountain Smoke Tree Map"
Third, poetry and painting share a common artistic pursuit. In the initial stage of artistic creation, people pursued "similarity" and "reality", but artists could not be satisfied with the requirements of "similarity", and then put forward the proposition of "god-like", hoping to pursue a higher artistic realm. Gu Kaizhi's theory of "writing God in form" ("On Painting") is precisely the concentrated expression of this artistic proposition.
During the Southern and Northern Dynasties, the doctrine of "elephant outside" appeared in the field of poetry and painting. Sheikh's "Narrative of Ancient Paintings": "If you are attached to an object, you will not see the essence; if you take the image outside, you will be disgusted with it, which can be described as subtle." Zong Bing's "Painting Landscape narratives": "Those whose purpose is small outside the words and images can be taken from within the book policy." This is the "outside of the image" theory in painting theory.
Zhong Rong's "Poetry" put forward "taste", and Liu Xun's "Wenxin Carved Dragon Yinxiu": "Hidden also, the heavy purpose outside the text is also." ...... Fu Hidden as the body, righteous life outside the text, secret sound bypass, Ambush hidden hair. This is the "outside of the image" theory in poetry.
The theory of poetry and painting "outside the image" reflects each other and promotes each other, and poetry and painting artists all hope to achieve higher artistic achievements in "outside the image" and "outside the words".
The "Xiangwai" theory in the literary world directly gave birth to the conception and development of the "artistic conception" theory, Wang Changling's "Shige" pioneered the "Poetic Realm", and Liu Yuxi's "Dong's Wuling Collection" also said: "The realm was born outside the elephant." This doctrine was quickly absorbed by painters and merged with the six laws of painting theory to create an artistic realm full of charm. Poetry and painting art both emphasize "feelings", attach importance to the temperament of tao writers, and emphasize the touching power of lyricism. Yun Shouping's "Ou XiangGuan Collection and Supplementary Paintings": "Poetry must be extremely ethereal, and there is a sound of singing and three sighs to be touching." However, it cannot be touching, nor is it poetic. Calligraphy and painting are the same. The meaning of the pen first, that is, the sound of singing and sighing, the deepness of the touching, there is no calligraphy and painting to speak of. Shen Zongqian's "Treatise on the Study of Painting in Mustard Boats" Volume II: "Painting and poetry are all things that people write about temperament, so anyone who can enter poetry can enter the painting." "In the long-term development of poetry and painting art, poetry painters have always maintained a diversified common aesthetic pursuit.
In summary, it can be seen that poetry and painting have common artistic characteristics, common artistic thinking laws and common aesthetic pursuits.
Since there is a commonality in the art of poetry and painting, it is possible to use poetry into painting and painting into poetry to realize the transformation and integration of natural beauty, painting beauty and poetic beauty. The similarities and differences in the art of poetry and painting are precisely the premise and foundation for the integration of poetry and painting art. Only by fully understanding their similarities and differences can we deepen our understanding of the basic laws and characteristics of poetry and painting. The Song Dynasty Cai Yun's "Western Qing Poetry" says: "Danqing, chanting, wonderful things." The two words "XiangZi" discuss the complementary artistic role of poetry and painting, and they are very thorough and clear. Wu Longhan's "Preface to Wild Fun Sound Painting": "Painting difficult scenes is made up of poetry; poetry is supplemented by painting." Fang Xuan's "On Painting in The Quiet Residence of the Mountains" also said: "High feelings and easy thinking, the lack of painting, the title is sent." Zou Yigui's "Sketch of The Hill" said: "Therefore, there are paintings in the poems of the good poets, and there are poems in the paintings of the good painters, but the sending pleasure of the paintings is in line with the poet." The above remarks all concisely expound the theory of the integration of poetry and painting, which deserves attention.
◎ This article is excerpted from the "Poetry and Painting Integration Theory" (author Wu Qiming), the source network, the copyright of the picture and text belongs to the original author, if there is infringement, please contact to delete.