Zhao Mengfu's "Painting And Calligraphy Are Of The Same Origin" Thought In His Practice Of Painting And Postscript

The title question is an important part of Chinese painting.Its calligraphy has its own indep endence and coordination with painting.The Yuan Dynasty is the prosperous period of the devel opment of the title.This paper focuses on Zhao Mengfu's painting title and focuses on the relatio nship between the painting and the painting.Zhao Mengfu(1254-1322),a figure of the Yuan Dynasty's unanimous success.As the propo nent and practitioner of painting theory,the most representative one is the theory of "homologis m".In his painting practice,he realizes the intrinsic relationship between calligraphy and paintin g:one of the calligraphy influences the painting method;the second painting method influences calligraphy.The research of Zhao Mengfu by his predecessors was based on the one-way study o f how his calligraphy influences the painting method.He integrated the calligraphy brushwork in to the painting,and used calligraphy to enrich the expression of the painting.This article from th e perspective of two-way,focusing on the study of its influence calligraphy calligraphy,the speci fic performance of:title font choice,the location of the paintings,the number of paintings from t he money to the poor and then to the long section of the evolution,stroke changes and so on.Thr ough the exploration and practice of Zhao Mengfu,we learned about the core kernel of the theor y of "painting and painting homology".At the same time,it promoted the full integration of poet ry,calligraphy and painting,and pushed Chinese literati painting to the top of art.Thisarticle intends to use the literature analysis method,image analysis and style analysis c omprehensive research methods and work analysis methods to collect a large number of Zhao M engfu's paintings and select paintings of different themes and styles.The image data is analyzed and researched,and the ideas hidden in the deep layers of the image are explored.The author bel ieves that only by clarifying the formation of the concept of "painting and painting homologous"and the evolution in the course of practice can we create a fine work of beauty that is without losi ng the national character.