On The Relationship Between Poetry And Painting

The article "Chinese Poetry and Chinese Painting" is a systematic discussion of the relationship between poetry and painting by Mr.Qian Zhongshu.Mr.Qian believes that poetry and painting in traditional Chinese literary theory have the same style,but they have different requirements in poetry and painting.In the evaluation of paintings,Nanzong paintings are the highest in the tradition of old paintings.When poems are evaluated,the poems similar to the styles of Nanzong paintings are not the highest in the tradition of old poetry.The differences between poetry and paintings are derived.heterogeneous.This article generally agrees with Qian Zhongshu's view of poetry and painting,and tries to use money as an index to further explore the relationship between poetry and painting.The author believes that the literati as the root and main body of Chinese poetry and painting,its thoughts and spirit will certainly penetrate into the creation of poetry and painting.If you compare poetry and painting from the perspective of literati and scholars,you may be able to supplement some of the existing cognitions,and hope to have theoretical knowledge to enrich the connotation of the works in later creation.This paper attempts to take the relationship between Mr.Qian's poetry and painting evaluation heterogeneity and the relationship between literati and poetry and painting as the two basic lines of the serial.After summarizing the two general directions of heterogeneity in poetry and painting in the first and second chapters,the problem of the different pursuits of the scholar-officials in poetry and painting by the money theory is thrown out;the third and fourth chapters use the separate poems.The method of painting,taking Wang Wei and Du Fu as examples,finds materials and illustrations from his poems and even his life literature and historical paintings,and discusses the different paths of the literati's doctors in poetry and painting.Compare,analyze the similarities and differences and discuss the reasons in detail,try to see the law from it,and find the answer to the question.In the conclusions of the fifth and sixth chapters of this article,the author expounds his own point of view.The first is the partial approval of the view on money about the heterogeneity of painting and calligraphy.Chinese poetry and Chinese painting in the traditional literary theory and historical context,there are intricate complex connections,can not simply be attributed to "homogeneous" or "heterogeneous." Although due to the inconsistency of the spiritual origin of poetry and painting and the essential difference between the two in the history of literature and art,the poetry and painting have some differences and "heterogeneity",but from the point of view of the spiritual appeal of Confucianism as a cultural identity It is homogenous rather than heterogeneous.The research on poetry and painting can be described as full of enthusiasm,and the ancient books involving the criticism and poetry evaluation are so vast.This brings some difficulties to the screening and citation of the paper,which leads to the conclusion that the conclusion can only be one-sided and not intuitive.However,the author believes that the in-depth study and discussion of the relationship between poetry and painting has practical guiding significance for us to understand Chinese traditional culture and individual creative practice.