A Study On The Connection Between Chinese Painting/Calligraphy And Music:Aesthetic Tradition And Presentation In Contemporary Art

The connection between painting and music is an ancient and also young proposition,which has been recorded in the early human civilization.It is true that the paintings of all nations present a certain musical connotation,and the connection between Chinese art and music is more prominent.In the 1950 s,Zhou Wenzhong created music with painting/calligraphy as the theme.The synaesthesia mode of associating music with painting/calligraphy broke the western paradigms and has a turning significance.The rapid development of media in the 21 st century has brought new variables and expanded space to art.The inheritance and innovation of national culture is also one of the contemporary themes.In this context,this article,from the perspective of the relationship between music and painting,reexamines traditional calligraphy and painting,explore its ancient traditions and contemporary methods of application,with a view to exploring the charm and the opportunity for development.Calligraphy is referred to as "silent sound",which can not only give auditory synesthesia;With the assistance of sound technology,it may also be transformed into "true sound".In this article,the author attempts to describe such transformations and the resulting cross-border creations,providing new methods for related creations while exploring the possibility of interdisciplinary research.This study focuses on connection in Chinese calligraphy/painting and music.From the development context and aesthetic mechanism;the aesthetic origin,mode analysis,and work interpretation,as well as the application and practice of the concept in contemporary art creation.The research is different from the previous studies that is limited to aesthetic elucidation and musical interpretation of works,but find the research entry point from a multi-dimensional perspective.Clarify the mechanism basis;Tracing back to the audio-visual cultural background,excavating the synaesthesia in ancient calligraphy and painting classics;Starting with artistic forms,analyzing the relevant patterns of Chinese music and painting;Deduce relevant elements and make specific analysis of classic art work;Taking contemporary synaesthesia art practice and representative creation as cases,this paper analyzes the application of relevance concept in creation.By analyzing the phenomenon in a broader historical context,sorting out the laws in dynamic development,attempt to clarify the vague relationship between music and painting/calligraphy.From the above research,it can be concluded that: The traditional calligraphy and painting rooted in the soil of Chinese audio-visual philosophy has a profound tradition of synesthesia.The connection between calligraphy/painting and music is not only in the category of literary artistic conception,but also in its unique formal characteristics.It is a classic interpretation of the "line-monotone" synaesthesia mode of traditional music and painting to establish a relationship between the musical connotation of calligraphy and painting lines and the control performance of single tone in traditional music.Then we can know that rhythm and prosody are the primary related elements in the linear expression of the two.The contemporary creation using synaesthesia between calligraphy/painting and music must seek ways from the tradition,and breaking through the discipline barrier will inevitably change from one-way reference to integrated development.Based on the theory,this paper explores a way to integrate calligraphy with sound perfectly.A theoretical hypothesis of "Sonification" of cursive is put forward and realized by the method of micro-sound recording.This study then cooperates with Mr.Tan Dun to apply the "voice" of cursive to the creation of contemporary cross-border music and painting,tracing back and promoting the Chinese practice on the stage of world synesthesia art.