Study On The Same Principle Of Yuan Dynasty Literati Landscape Paintings And Poems

The landscape paintings of the Yuan Dynasty are different from the Song Dynasty, for the former focus on the representation of artistic conception, while the latter pay attention to reproduce the original scenery and build an artistic state. It is a significant shift, relating to not only the social environment and those painters’ own experiences, but also the Yuan Dynasty painters’ inheritance from the thought of literati paintings in Song Dynasty. The concept of "harmony of poetry and painting", proposed by Sushi who was one of famous great poets in Northern Song Dynasty in China, has always been praised by people since ancient times. Yang Weizhen, a famous painter in Yuan Dynasty, inherited Sushi’s point of view that "painting homology", for the poets know something about the paintings, while painters also have acquaintance with poetry and he emphasizes the commonalities between them. Seeing the literati landscape paintings in Yuan Dynasty from the external formation of the organization, we can find that the poetry painting became an integral part of image, besides, poems and paintings were closely combined in their forms. In terms of the essential relationship, the literati landscape paintings has run through the ideas and style of the Yuan Dynasty paintings. Gradually, poems and paintings in essence became more accommodative. Although the objects of landscape paintings are mainly the natural mountains and waters, the scholar painters take the mountain as a virtue, water as disposition, and this subjective landscape of nature is the painters’ emotional expression.This thesis mainly explores the "harmony of poetry and painting" of literati landscape paintings in Yuan Dynasty, including the following five parts:The first part is an introduction that introduce the research background, research purpose, research contents and methods.The second part explains the connotation of the "harmony of poetry and painting" from the combination between poem and painting as well as Sushi’s interpretation of their relationship, thus pointing out that the landscape pastoral poems and metrical poems promoted to introduce the poems into paintings at the same time.The third part firstly introduces the Yuan Dynasty painters’ living environments from political, economic and cultural angles, then points out the Yuan Dynasty literati painters’ inheritance from Sushi’s connotation of the "harmony of poetry and painting", and the appearance of "painting homology" theory.The forth part explains that the influence of "harmony of poetry and painting" on painting is to introduce poem into painting, which mainly expresses the poetic construction of literati paintings in Yuan Dynasty from the perspectives of aesthetic features, aesthetic taste as well as the harmony and unity of the poetic mood and painting mood.The fifth part summarizes the formation and thought of the united body of Yuan Dynasty calligraphy and painting. Meanwhile, it also points out that in today’s literature visualization age, we should not ignore the connotation of image literariness. Paintings of the Yuan Dynasty applied the poems into pictures not merely to make a balance between painting forms, but to deepen the literature connotation. When we read a good poem and see a fine picture, we will be led up to meaningful afterthoughts.